Re: [Frameworks] Texts on sound design in animation

[Michael Betancourt]

my book, "Synchronization and Title Sequences" addresses abstract animation.

Michael



Michael Betancourt, Ph.D
https://michaelbetancourt.com 
cell 305.562.9192
https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/
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> On Oct 14, 2020, at 10:23 AM, Chris G  wrote:
> 
> 
> Hi all,
> 
> I am looking for titles of literature on sound design in animation whether 
> they're articles, essays or books. It would be helpful if they were 
> accessible in the free world or usual academic libraries' digital collections.
> 
> Best,
> Christopher
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Re: [Frameworks] Films with montage sequences

[Michael Betancourt]

Satoshi Kon's animated montage in the title sequence to Paprika: 
http://artofthetitle.com/title/paprika

Michael



Michael Betancourt, Ph.D
https://michaelbetancourt.com 
cell 305.562.9192
https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/
Sent from my phone

> On Sep 11, 2020, at 7:28 AM, Cecilia Dougherty  
> wrote:
> 
> Hi everyone,
> I’m looking for films and videos, specifically  ones with online access, that 
> have montage scenes, for my classes. These can be popular, classics, 
> experimental. I’ve got a short list that starts with Eisenstein and Vertov 
> and also includes Rocky II, the Incredibles2, The Godfather, and Robert 
> Breer, Recreation.
> Any ideas?
> Thank you!
> Cecilia D.
> -- 
> Cecilia Dougherty
> https://www.ceciliadougherty.com/
> https://drift.ceciliadougherty.com/
> https://paleolithic.ceciliadougherty.com/
> 
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Re: [Frameworks] Deleuze and Husserl

[Michael Betancourt]

Interesting. Do I now need permission to speak? As a Latinx mediamaker (I am 
Cubano) it seems like the perfect example of colonialism, or at least irony, 
for a curator at the Whitney(!) to tell me what I should or should not be 
talking/thinking about. I am sure all the protestors who have staged protests 
in the past shows at the Whitney appreciate it too.

If you want to have that conversation, then have it. I'm not stopping you, but 
don't police what I want to talk about.



Michael Betancourt, Ph.D
https://michaelbetancourt.com 
cell 305.562.9192
https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/
Sent from my phone

> On Aug 25, 2020, at 5:36 PM, Chrissie Iles, Curatorial 
>  wrote:
> 
> 
> Most importantly, what are we all doing to support Black filmmakers and 
> thinkers, and expand the discussion beyond the Eurocentric model to take on 
> the larger, more inclusive post colonial thinking that is now so urgent. 
> We’re in the middle of the biggest uprising in American history, and that 
> changes everything and honestly blows all this out of the water in terms of 
> what we need to be thinking about now. 
> Chrissie 
> 
>>> On Aug 25, 2020, at 1:48 PM, Michael Betancourt 
>>>  wrote:
>>> 
>> 
>> Hi Bernie,
>> 
>> Thank you for reminding me why I don’t get involved in these discussions. 
>> Not in decades ... but animation and avant-garde film is a topic that is of 
>> personal interest. So, let me begin by saying that there is no emotion in 
>> this response I’m writing. I'm not angry, upset or anything except (perhaps) 
>> a bit disappointed. But I’d done with this discussion since I recognize a 
>> pattern of "gas lighting." You can claim I'm being over sensitive, that's 
>> fine. I'm not interested. This is not the start of a flame or me walking 
>> away in a "huff" because you're "right" (I don't think you are, and I'm 
>> not), but simply my giving up on the discussion entirely as I have more 
>> important and useful to me ways to spend what time I have; if this seems 
>> rude or confrontational, I'm sorry, but that is not the intention here. This 
>> is me making a polite exit, one where I do not accept the behavior I have 
>> observed directed at me.
>> 
>> So my response is simply, “No. I’m done.” 
>> 
>> 
>> 
>> For readers who haven’t been following, or who don’t understand what I mean, 
>> go through the other posts. "Gas lighting" someone in a discussion is an 
>> attempt to make the person you’re “conversing” with feel like they don’t 
>> know what they’re talking about, to make them doubt their expertise, 
>> knowledge, ideas. It is an attempt to make the challenge posed by their 
>> comments present go away. Recognizing it is simple. It works like this:
>> 
>> First, claim to have been unclear and explain a point that was perfectly 
>> obvious. This creates the sense that your comments have been misunderstood 
>> and makes the person being gas lighted doubt their comprehension.
>> 
>> Then, deny (some or all) of what the other person has been said, dismissing 
>> it as irrelevant or incoherent. Ignore the rest.
>> 
>> Next, drop in a few ad hominem asides during your comments that are 
>> irrelevant, but put the other person in “their place.” (These can be used to 
>> attach what you think are their credentials.)
>> 
>> Finally, introduce a non sequitur argument phrasing it so it can be seen as 
>> an attack. Whether it's coherent or relevant doesn't matter so long as it 
>> becomes the focus of discussion. Feel free to contradict your earlier 
>> comments since it doesn't matter what you're saying so long as the person 
>> you're addressing feels they don't know what they're talking about and defer 
>> to your "expertise."
>> 
>> 
>> 
>> So as I said, I’m done with this discussion. Feel free to have the last word.
>> 
>> Michael Betancourt
>> Savannah, GA USA
>> 
>> 
>> michaelbetancourt.com | vimeo.com/cinegraphic
>> 
>> 
>>> On Tue, Aug 25, 2020 at 11:47 AM Bernard Roddy  wrote:
>>> Greetings, Michael.
>>> 
>>> There was ambiguity in my sentence regarding Pip. When I wrote that I think 
>>> "he" sees himself as doing philosophy, I am referring to Deleuze. 
>>> 
>>> There is way too much to try to address in your post. But whenever you 
>>> introduce audiences, I think you are off track. Or, you are not talking 
>>> about philosophical questions, whatever people teaching film studies might 
>>> happen to say.
>>> 

Re: [Frameworks] Deleuze and Husserl

[Michael Betancourt]

Hi Bernie,

Thank you for reminding me why I don’t get involved in these discussions.
Not in decades ... but animation and avant-garde film is a topic that is of
personal interest. So, let me begin by saying that there is no emotion in
this response I’m writing. I'm not angry, upset or anything except
(perhaps) a bit disappointed. But I’d done with this discussion since I
recognize a pattern of "gas lighting." You can claim I'm being over
sensitive, that's fine. I'm not interested. This is not the start of a
flame or me walking away in a "huff" because you're "right" (I don't think
you are, and I'm not), but simply my giving up on the discussion entirely
as I have more important and useful *to me* ways to spend what time I have;
if this seems rude or confrontational, I'm sorry, but that is not the
intention here. This is me making a polite exit, one where I do not accept
the behavior I have observed directed at me.

So my response is simply, “No. I’m done.”



For readers who haven’t been following, or who don’t understand what I
mean, go through the other posts. "Gas lighting" someone in a discussion is
an attempt to make the person you’re “conversing” with feel like they don’t
know what they’re talking about, to make them doubt their expertise,
knowledge, ideas. It is an attempt to make the challenge posed by their
comments present go away. Recognizing it is simple. It works like this:

First, claim to have been unclear and explain a point that was perfectly
obvious. This creates the sense that your comments have been misunderstood
and makes the person being gas lighted doubt their comprehension.

Then, deny (some or all) of what the other person has been said, dismissing
it as irrelevant or incoherent. Ignore the rest.

Next, drop in a few ad hominem asides during your comments that are
irrelevant, but put the other person in “their place.” (These can be used
to attach what you think are their credentials.)

Finally, introduce a non sequitur argument phrasing it so it can be seen as
an attack. Whether it's coherent or relevant doesn't matter so long as it
becomes the focus of discussion. Feel free to contradict your earlier
comments since it doesn't matter what you're saying so long as the person
you're addressing feels they don't know what they're talking about and
defer to your "expertise."



So as I said, I’m done with this discussion. Feel free to have the last
word.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic


On Tue, Aug 25, 2020 at 11:47 AM Bernard Roddy  wrote:

> Greetings, Michael.
>
> There was ambiguity in my sentence regarding Pip. When I wrote that I
> think "he" sees himself as doing philosophy, I am referring to Deleuze.
>
> There is way too much to try to address in your post. But whenever you
> introduce audiences, I think you are off track. Or, you are not talking
> about philosophical questions, whatever people teaching film studies might
> happen to say.
>
> There is a priority on narrative in Delueze. This I see as distracting
> given my priorities. And all these questions about language derive from
> literary cases of narrative. Remember Pasolini and the "cinema of poetry,"
> which was supposed to conceive of cinema as unlike the written story?
>
> Of your quotations, the one from pp. 26 - 27 bears on narration. Deleuze
> seems to be asking what explains the appearance of narration when it
> appears. And he seems to be less inclined to adopt the terms from
> linguistics that were so common in discussion of cinema during the heyday
> of Barthes and semiotics.
>
> Only at the end do you take up what I find a manageable question, and the
> one at stake for me here. I wouldn't say the question concerns Deleuze
> exegesis. It was, rather, in what way are we going to think about
> animation?
>
> And yet, given the right focus, I would like to enjoy Deleuze's work. I
> just opened to p. 56, where he mentions Bergson and Husserl, and where this
> term "movement-image" seems to receive a definition. Think of movement as
> non-mental and image as mental. The long history of discussion around how
> the mind and body could interact comes back to the surface, but where
> "mind" is now "image" and the "external world" is represented by "movement."
>
> That's a history making its way into what we would probably appreciate
> more if it presupposed a little less. These are extremely attenuated
> summaries of chunks from modern philosophy. And with them Deleuze spins his
> own equally abbreviated thinking.
>
> For me, it was about the appearance of movement in cinema and how it is to
> be explained. But the cinema has offered a model for explaining the same
> appearance in everyday perception. So, what we have is a

Re: [Frameworks] "phi phenomenon"

[Michael Betancourt]

ism and narrative is
inherently tied to a recognizing how historical "cinema" is actually a
narrowly defined thing. The issue of narrative increasingly becomes
apparent to discussions as “cinema” moves beyond the parameters of
historical shot-on-celluloid feature films and into digital productions.

Which brings us to the issue of animation and the conception of *shot*
versus *differential between frames*. Because Deleuze's analysis is
concerned with narrative (i.e the audience's invented, causal account of
what they see) the conception of cinema necessarily depends on the
conception of 'shot' as the foundational unit of articulation: that the
presentation of what happens on screen is a distinct and unitary structure.
(This basis is also foundational to the realism it accompanies). To focus
on the correlations of individual frames undermines the concern with the
shot as a unit by splitting it into smaller and independent parts. The
'movement-image' concerns the motions shown and their role as expressions
within a narrative construct; the 'time-image' is even more dependent on
narrative since it articulates durations within the fictional construct.
While it might be possible to apply these to the depictions within some
animated narratives, it will create contradictions with other parts of
Deleuze's analysis when it moves outside that commercial, narrative
construction because it is built around the reality of what the depictions
within the shots show, rather than addressing anything outside that
narrative artifice.

That's about as succinct as I can get, short of writing an actual essay or
book. There's a lot more that could be said, and lots more argument to
make, but this is an email.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic

On Sat, Aug 22, 2020 at 2:05 PM Bernard Roddy  wrote:

> Yes, a fair question. I will be repeating myself, but that's ok.
>
> I disagree with Pip when he suggests that Deleuze is describing shots in
> classic cinema, I think he sees himself as doing philosophy. And often it
> is whole films that serve his purpose.
>
> Now, all I had in mind, Michael, when I posted under the label
> "animation," was what I understand of early points made in Cinema !. And we
> can put it like this:
>
> For Deleuze, there is a context. It consists in a history of philosophy
> that has conceived of movement in a certain way. And if I understand it,
> the conception of movement belongs to a conception of time, namely that
> time consists in a series. Bergson also discusses perception, which would
> be central to any full account of what matters here.
>
> But a phenomenologist rejects the idea that time is to be understood as
> "clock time." That is the idea that there are these points in the past and
> in the future, and we are to distinguish between the experience of time,
> one one hand, and the correct time, on the other. That distinction has to
> go.
>
> So movement isn't this series of points or frames. The question has
> concerned a relationship between what you collect in empirical study
> (measured in minutes, say) and movement of different kinds. Now, the lab
> tests demonstrate that movement isn't the various frames. They can lie
> there without producing movement. You can see each one without seeing
> movement (if, say, each is held for too long).
>
> Deleuze seems to refer back to a much earlier time when poses would
> constitute a movement. You know, it's like just taking those key frames of
> Daffy in certain poses. There are frames between, but in this understanding
> of movement, a move isn't something that has parts not currently in front
> of you. It isn't something spatial at all. I imagine Deleuze elaborating by
> suggesting that there are these movements in something like the way there
> are the Forms in Plato.
>
> But, for my purposes here, what we get is not a lot of flicker films, but
> a reading of moments in cinema of significance, according to Deleuze.
>
> Bernie
>
> On Sat, Aug 22, 2020 at 12:28 PM Michael Betancourt <
> hinterland.mov...@gmail.com> wrote:
>
>> Hi Bernard,
>>
>> What do you mean by Deleuze then?
>>
>> It's very easy to reject or deny what someone else says when you haven't
>> explained your view yet. How about you explain it yourself?
>>
>> Michael
>>
>>
>>
>> Michael Betancourt, Ph.D
>> https://michaelbetancourt.com
>> cell 305.562.9192
>> https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/
>> Sent from my phone
>>
>> On Aug 22, 2020, at 1:19 PM, Bernard Roddy  wrote:
>>
>> 
>> proofing my post:
>>
>> 'It's as if the lab *protects* the writer from philosophy.'
>>
>> '*Now*, all these tests [. . .]&qu

Re: [Frameworks] "phi phenomenon"

[Michael Betancourt]

Hi Bernard,

What do you mean by Deleuze then?

It's very easy to reject or deny what someone else says when you haven't 
explained your view yet. How about you explain it yourself?

Michael



Michael Betancourt, Ph.D
https://michaelbetancourt.com 
cell 305.562.9192
https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/
Sent from my phone

> On Aug 22, 2020, at 1:19 PM, Bernard Roddy  wrote:
> 
> 
> proofing my post:
> 
> 'It's as if the lab protects the writer from philosophy.'
> 
> 'Now, all these tests [. . .]"
> 
> Bernie
> 
> 
>> On Sat, Aug 22, 2020 at 12:13 PM Bernard Roddy  wrote:
>> Hi Pip:
>> 
>> The perceptual experiments you describe don't seem to me to be necessary. We 
>> already have the moving image of cinema. What I have noticed, however, is 
>> that there is an attraction to the various lab studies. And this will be of 
>> particular interest for "experimental" animation.
>> 
>> One of the things I am a little impatient with is this continual observation 
>> that Delueze is somehow not saying anything about whatever we want to 
>> identify as this "phi phenomenon." It's as if the lab protests the writer 
>> from philosophy. All I have to do is open these first pages of Deleuze to 
>> see that his thinking begins with broader questions than some sort of film 
>> history.
>> 
>> You write that "Deleuze rejects the notion that motion is an illusion 
>> created from stills [. . .]." The very reliance on illusion, as far as I can 
>> tell, has no relevance in what I understand of Deleuze. So, in a sense, I 
>> can agree. But this point doesn't shed any light on what Deleuze thinks. (I 
>> don't think A Thousand Plateaus is a reference.)
>> 
>> No, all these details about tests with lights going on and off reminds me of 
>> Bergson, who is also reading that kind of research, or what we would today 
>> call cognitive science (only it's usually involving people who have suffered 
>> injury of some kind and can thus provide a case study without any ethical 
>> difficulty).
>> 
>> Let's go to this Gary Beydler. I've never heard of him. But the description 
>> lends itself to what goes for "experiment" in film. And that would belong 
>> also to what we encounter in psychological research that subscribes to the 
>> same philosophical orientation. That orientation, if I'm not mistaken, is 
>> rejected by Deleuze. For one thing, it fails to recognize the conception of 
>> movement and time that we find in Bergson. But we're all pretty versed in 
>> these effects, and so (as I see it) we present these as the philosophy of 
>> relevance.
>> 
>> Deleuze isn't easy. But he's damn interesting, and this is in part because 
>> he'll formulate all these notions of images to talk about changes over the 
>> history of narrative cinema (he's selective, and says this history doesn't 
>> include all the screen work we might be paying for). 
>> 
>> (And I signed on to open a thought about the avant-garde.)
>> 
>> Bernie
>> 
>> 
>> 
>> 
>> 
>> 
>> - - - - -
>> 
>> 
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Re: [Frameworks] animation

[Michael Betancourt]

Hi Bernard, 

I have some questions before we get started.

> 
>> On Aug 21, 2020, at 5:41 PM, Bernard Roddy  wrote:
> 
> 
> Hello, Michael:
> 
> When you make reference to a conception of motion pictures "as being produced 
> in the differential between different frames," how is that different from the 
> moving image produced by continuously running a movie camera while directing 
> it at live action?

I explained that already. It was what my post was about: how the cinematic 
image is conceived as a shot extracted from reality or as something else.


> 
> When thinking about Deleuze and the "extension of his proposals, such as the 
> movement image, to animation," what do you understand "the movement image" to 
> consist in? Part of the problem with the way this list works is that readers 
> are directed elsewhere rather than addressed in terms accessible within a 
> public "discussion." So the reference to a note in Cinema 1that is to 
> substantiate Deleuze's remarks on the movement image is, for me, 
> counter-productive, unless the idea is shared here in an explanation.
> 
> You seem to me to be offering a conception of movement that is not from 
> Deleuze when you quote McLaren and Kubelka. One might well wonder what 
> "between frames" means, or what a "perceptual construct" is. I would contest 
> the idea that Deleuze is talking about something an audience invents, or that 
> he would frame things in terms of the difference or resemblance between a 
> pair of frames.
> 

Yes, that is the point of what I said.


> You want to hold that filmmakers who "engage with cinema-as-animation" are to 
> be separated somehow from those who would produce live action movies. What 
> does it mean to engage with cinema-as-animation? Does that require that one 
> watch cartoons? Is it a production method? Or could a live action filmmaker 
> engage with live action that way as well? We haven't, after all, established 
> that "cinema-as-animation" is to be distinguished from cinema as anything 
> else.
> 

That is you saying that, not me.


> I am resisting the reliance on specific remarks in print anywhere from, say, 
> Deleuze or a scholar, since I prefer to explain what i understand right here. 
> So I am not particulalry interested in a debate over what scholars or 
> philosophers have actually said somewhere. Scholarship for me is secondary to 
> thinking, in as far as we can do that. (That's a tentative stand.)
> 

Ok. You're the one who brought up Deleuze. How about you explain what you mean 
first?



> The "approach" that you call more plastic appears to be a working method 
> familiar from a certain kind of production practice. That allows you to draw 
> on a technique involving the production of a Daffy Duck cartoon. This is a 
> nice way to include students interested in Disney. But I don't see how it 
> helps us appreciate anything about the movement image or the way in which 
> works in cinema are to be understood. My interest, of course, stems from 
> ideas from the history of philosophy that Deleuze thinks are significant for 
> understanding cinema.
> 

Daffy Duck is not a Disney character. If you want to demand precision and 
extensive explanations from others, how about you do it too?

Michael



Michael Betancourt, Ph.D
https://michaelbetancourt.com 
cell 305.562.9192
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Re: [Frameworks] animation

[Michael Betancourt]

The question of "cartoons vs animation" is, in my opinion, a red herring.
It's more about the conception of motion pictures as being produced either
in 'the shot' or in the differential between different frames.

Deleuze, much like Bazin and Cavell (as well as Eisenstein), is at a basic
level concerned with the shot and its depicted contents, generally produced
via live action production. The extension of his proposals, such as the
movement-image, to animation becomes rapidly problematic, esp. when
considered in relation to purely artificial constructions of movement in
animated and avant-garde works. He makes the restriction of his comments
clear in the notes he gives at the very start of *Cinema 1.*

Both McLaren and Kubelka arrived at differences between individual frames,
articulated over time. McLaren's proposal of "what happens between frames"
just like Kubelka's comment that “it’s between frames where cinema speaks”
are recognitions of the movement being a perceptual construct, invented by
the audience from how similar/different any pair of frames are. This
conception puts those filmmakers who engage with cinema-as-animation in a
different place than those who construct their cinema from shots produced
as records of live action. One approach is considerably more plastic and
atomistic than the use of the shot as a basis. It is also an approach that
seems to emerge rarely outside of filmmakers who work with animated
processes—and this includes the "cartoon" animators of Hollywood. Iwerks
and Fleischer both did very radical things with single frame animations, as
did Jones (look at Daffy Duck breaking his guitar in *Duck Amuck*
frame-by-frame and you can see how Jones' "superfast motion" in that bit is
actually radically truncated and overlapped frames rather than traditional
animation).

These approaches are commonplace now, but historically it's an issue of
engagement with individual frames that makes the difference—something that
has become much easier and cost-effective with digital movies and their
extensive use of CG and VFX than it was in celluloid.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic


On Mon, Aug 17, 2020 at 2:41 PM Bernard Roddy  wrote:

> Eric Thiese is prepared to read about cartoons. That wasn't what attracted
> me to animation. Although I enjoyed making line drawings in order to shoot
> them in series, of exploring timing tests, and of implementing cut-out as a
> visual means of theoriing about other things, it was Fischinger and McLaren
> (and the '70s text entitled Experimental Animation by Cecile Starr and
> Robert Russet) that raised the possibility of discovering something other
> than cartoons to call animation - something that could be sustained in
> dialogue with an "avant-garde" history (Man Ray, etc.) and take on a
> lab-like quality for "experiment" in film (where the accident of chemical
> reaction also seemed to belong).
>
> When I think about it today, however, I think of "animation" as an
> expression of a conception of time that is contested in Deleuze, who relies
> on Bergson to cast in question this spatialization of time (in the film
> strip, in a series of spatial locations). Film theory (separated from
> digital or video technologies, and thus conceived effectively as "film
> strip" theory, or Bolex-operation theory) is not ignored in Deleuze. In the
> first pages of Cinema 1 there is reference to Muybridge and the analysis of
> human or animal locomotion. But Deleuze joins Bergson in thinking that
> movement is not strung out in space, that it cannot be divided but is whole
> and complete at the point when it occurs.
>
> I have recently found that it is Deleuze who best incorporates both this
> early cinema (which he identifies with an early conception of time) and an
> appreciation of "art house" narrative (that history of cinema we find in
> Godard or Bazin, what is essentially photographic, a question of
> performance, shot, location, edit). A film strip conception of the cinema
> will limit itself to a philosophical question orientation on time that
> leave you without any means for talking about cinema's power (in Antonioni,
> for example).
>
> And then there are the scripts clearly written with introductory
> philosophy text in mind (science fiction of one kind or another), but that
> involve profound compromise at the level of production, where directors
> hold sway, a great deal is taken for granted (and enforced), where markets
> and money decide so much. But if you were never going to be making work
> yourself, if it will be theory or education in some broader sense that you
> will be advancing, then the studio ethos can be sacrificed to reader of
> images and the writer of theory or argument.

Re: [Frameworks] books on animation theory?

[Michael Betancourt]

I wrote something in 2002. You can see it here: "Motion Perception in Movies 
and Painting"
http://ctheory.net/ctheory_wp/motion-perception-in-movies-and-painting-towards-a-new-kinetic-art/

Michael Betancourt

mich...@michaelbetancourt.com
Sent from my phone

> On Aug 9, 2020, at 12:06 PM, Cecilia Dougherty  
> wrote:
> 
> 
> I'm looking for books on animation theory, not about animation how-to or 
> history of, but articles, anthologies, texts that discuss theories of 
> animation. Any suggestions of titles?
> Thank you!
> Cecilia Dougherty
> 
> -- 
> Cecilia Dougherty
> https://www.ceciliadougherty.com/
> https://drift.ceciliadougherty.com/
> https://paleolithic.ceciliadougherty.com/
> 
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Re: [Frameworks] uncanny and experimental cinema

[Michael Betancourt]

I wrote something on the uncanny and digital cinema here: 

https://www.utsanga.it/betancourt-paranarrative-postcinema-and-the-unheimlich-glitch/

Michael Betancourt
Savannah, GA

> On Jul 18, 2020, at 8:43 AM, Péter Lichter  wrote:
> 
> 
> Dear All,
> 
> Can you recommend any text, book, essay (or even screening catalogue) on the 
> relationship between the "uncanny" (Freud: unheimlich) and experimental 
> cinema? 
> Thanks!
> Péter
> -- 
> https://peterlichter.com
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Re: [Frameworks] Experimental films on photography

[Michael Betancourt]

my movie, Postcard Film 



Michael

mich...@michaelbetancourt.com
Sent from my phone

> On Jun 9, 2020, at 6:06 AM, Albert Alcoz  wrote:
> 
> 
> Hello all,
> 
> I was making a list of experimental film practices on photography and I was 
> wondering if you could suggest more titles.
> 
> At first I wanted to focus just on movies where photographs are deleted 
> (burned, destroyed) or denied but I only know (nostalgia) for Hollis Frampton 
> and the project Found Monochromes by David Batchelor (slides). Does anyone 
> know other films where the main purpose is the destruction or the 
> invisibility of photographs?
> 
> On the other hand I have started a list of films made from photographs. There 
> are dozens of films (some of them animations) where the object of analysis 
> are still images, from filmed Polaroids to appropriation of advertising 
> images from magazines or the accumulation of digital images found on the 
> internet:
> 
> Transformation by Holding Time by Paul de Nooijer
> Pasadena Freeway Stills and Hand Held Day by Gary Beydler
> Production Stills by Morgan Fisher
> Frank Film by Frank Mouris
> Boy Meets Girl by Eugènia Balcells
> Wall by Takashi Ito
> Photodiary by Takashi Ito
> Clandestine Porn Film by Augustin Gimel
> DIES IRAE by Jean Gabriel Périot
> The World as Will and Representation de Roy Arden
> 
> Do others come to mind?
> 
> Thank you,
> Albert Alcoz
> --
> http://albertalcoz.com/
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Re: [Frameworks] Experimental Response Cinema Contact

[Michael Betancourt]

There is the issue of Incite (no. 4) that has an extensive listing of
microcinemas.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic


On Sat, May 30, 2020 at 11:08 AM Margaret Rorison <
margaret.b.rori...@gmail.com> wrote:

> Hi Friends!
>
> I am helping a distributor with a list of contacts/microcinemas and I am
> wondering who the contact is for ERC now that Scott Stark has moved.
>
> Is there a comprehensive list of microcinemas anywhere on the internet?
>
> thank you!
> Meg
>
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
>
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Re: [Frameworks] RE : Help Locating Work

[Michael Betancourt]

Thank you all! This has been very helpful, I need to go look everybody up now :)

Michael



> On May 21, 2020, at 11:10 PM, Colinet andré  wrote:
> 
> 
> Julien Maire ?
>  
>  
> Provenance : Courrier pour Windows 10
>  
> De : FrameWorks Admin
> Envoyé le :vendredi 22 mai 2020 03:36
> À : Experimental Film Discussion List
> Objet :Re: [Frameworks] Help Locating Work
>  
> Maybe Silvi Simon?
> https://www.film-gallery.org/silvisimonex
>  
>  
>  
>  
> > On May 22, 2020, at 2:49 AM, Michael Betancourt 
> >  wrote:
> >
> > I'm looking for an artist doing film installations where the film is 
> > projected through a glass sphere, glass of water, something of that nature. 
> > It's a group of pieces all by the same person (whose name escapes me right 
> > now, hence the request).
>  
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[Frameworks] Help Locating Work

[Michael Betancourt]

This something from ~15-20 years ago, that I've been trying to recall and
am getting nowhere, so help!

I'm looking for an artist doing film installations where the film is
projected through a glass sphere, glass of water, something of that nature.
It's a group of pieces all by the same person (whose name escapes me right
now, hence the request).

If you are/ know who this might be, please contact me off list!

Thanks in advance :)

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic
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Re: [Frameworks] Cameraless film in the university

[Michael Betancourt]

I teach cameraless film (both painting and scratching into black leader) as
the first part of a course on "alternative" processes and techniques of
animation that is focused on various physical and material ways to work
with moving images. It also includes other historical processes such as
video feedback and signal processing, some aspects of optical printing that
can be reproduced/simulated with digital systems (such as After Effects),
light show techniques done with overhead projectors, and various glitch
video techniques. At one time this class also covered projection mapping,
but since we now have a dedicated class on that, it's become more about the
materiality of the medium. The cameraless films are a way to get students
thinking about the physicality of moving images that I find helpful,
especially since they are usually very comfortable with digital animation
and haven't really done any hand or direct animation.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic


On Wed, Feb 12, 2020 at 8:10 AM Beebe, Roger W.  wrote:

> Albert,
>
>
> I’ve taught a cameraless filmmaking class every few years for the last
> decade or so at two large public universities in the US (the University of
> Florida and Ohio State University).  That class is definitely not
> industry-oriented—it’s an end in itself (i.e., fully in the experimental
> film tradition).  I have also taught it as a one- or two-week module in
> other classes, usually just to give students a sense of film material.
>
>
>
> I don’t know how widely spread this practice is, but my sense is there are
> enough folks like me situated at public universities who sneak this in in
> one way or another.
>
>
>
> Best,
>
> Roger
>
>
>
> __
>
> Roger Beebe
>
> Professor and Graduate Chair
>
> Department of Art
>
> The Ohio State University
>
>
>
>
>
>
>
> *From: *FrameWorks  on behalf of
> Albert Alcoz 
> *Reply-To: *Experimental Film Discussion List <
> frameworks@jonasmekasfilms.com>
> *Date: *Wednesday, February 12, 2020 at 6:59 AM
> *To: *Experimental Film Discussion List 
> *Subject: *[Frameworks] Cameraless film in the university
>
>
>
> Hello,
>
>
>
> Does anyone know if cameraless film is a common subject at university?
>
>
>
> I am investigating the role of cameraless film in the studies of Fine
> Arts and Media Studies.
>
>
>
> Most of cameraless film workshops are organized by art centers,
> alternative spaces or private film schools but i wonder the role it has
> within the university.
>
>
>
> Is it taught as a technique that can be applied in the audiovisual
> industry (such as video clips, advertisements, fiction animated films,
> etc.) or as a line to develop artistic projects or personal film
> developments?
>
>
>
> Would be great to know personal experiences concerning teaching this
> animation technique related to experimental cinema.
>
>
>
> Best,
>
> Albert
>
> --
>
> http://albertalcoz.com/
> <https://urldefense.com/v3/__http:/www.albertalcoz.com/__;!!KGKeukY!i_YaBpubfhMPcwgQ9PATQWAP9i_xWksC2xbVpfKZ8cl_t8mGE5CdJW-W39KUFVSm$>
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Re: [Frameworks] Independent research- looking for recommendations

[Michael Betancourt]

There's also Ai (Love) by Taka iimura

Michael

mich...@michaelbetancourt.com
Sent from my phone

> On Jan 24, 2020, at 8:30 PM, Robert Harris  wrote:
> 
> 
> “Undertow” Eiko & Kota filmed by James Byrne. 
> 
>>> On Jan 24, 2020, at 8:13 PM, Robert Harris  wrote:
>>> 
>> 
>> Many photo sequences by  Eadweard Muybridge.
>> 
 On Jan 24, 2020, at 1:01 PM, Madison Bounds  
 wrote:
 
>>> 
>>> Dear Frameworks,
>>> 
>>> I am working on an independent research project for a thesis project and 
>>> think the great community here might help me out. 
>>> 
>>> My project involves films that document/ involve the body. Along the lines 
>>> of Yoko Ono's work, Stan Brakhage’s “The Act of Seeing With One’s Own Eyes".
>>> 
>>> Does anyone have recommendations for similar films I can study?
>>> 
>>> Thank you,
>>> 
>>> Madison 
>>> 
>>> 
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Re: [Frameworks] Mac OS Catalina

[Michael Betancourt]

This is a fairly common problem with Apple and the video codecs included
with their OS. Apple has a tendency to make undocumented (or at least not
public) changes to even commom video codecs such as H.264 so that older
files encoded with them do not always play correctly, if at all. Since some
files play and others don't, it sounds like you have a compatibility issue
and it either has settings that are not longer recognized, or uses a codec
you just don't have any more.
You can get some work arounds, such as Parian that help a lot, but building
a library of codecs that you (re)install with each new machine is the only
way I've found to consistently escape this problem.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic


On Fri, Jan 10, 2020 at 3:23 PM Dominic Angerame 
wrote:

> Thanks for all this.. I do backup everything on Time Machine once an hour.
> I did not heed the warning on Premier. The type was so small and was
> talking about tech things beyond my knowledge so I ignored it. For some
> reason it is now reading my newest film o 2020 Premier however all my edits
> are gone, so I need to start all over. I was just in the final stage of
> completion. However when an operating system will not open “Quick Time”
> that has been supported for years is just not correct. Some of my files are
> opening and it is taking a long time. They are all backed up on an external
> hard drive but what good are they if I cannot open the files to edit.
>
> D
>
> On Jan 10, 2020, at 11:21 AM, Fred Camper  wrote:
>
> On 1/10/2020 12:35 PM, Adam Hyman wrote:
>
> First, to help others before they run into this, there are several general
> rules before updating an Operating System.
> 1. Always backup everything to an external hard drive
> 2. Always backup everything to a second external hard drive
>
> I was going to reply similarly, but did not want to seem obnoxious about
> it. I second, third, and fourth Adam's comments. Perhaps these warnings
> will benefit others, though I thought everyone knew to back up by now.  It
> has been known for decades that hard drives can fail unexpectedly and
> unpredictably. All hard drives. I actually have four complete physical
> backups, on multiple exterma; hard drives, and they are divided into two
> different locations, in case of burglary or fire. Also consider additional
> cloud backup. I used to have that, and am planning to add it again. One
> should never depend on a single computer for data.
>
> Similarly, I no longer accept "my computer crashed" (the modern equivalent
> of the old "The dog ate my homework") from students. My syllabi now
> required backing up assignments to a cloud service while you work. In a
> crash, go to a library computer and continue. If there is a massive failure
> of, say, a Microsoft cloud backup, yes, I will accept that as an excuse.
>
> In Dominic's case, though, could the files still exist, and just not be
> readable by this new "insanely great" trash-the-past OS?
>
> I have never used Apple. I really loathe Apple, but will spare you the
> reasons here. But there is also a lesson from the PC world, going back 25
> years to Windows95: it can be unsafe to switch a computer to a new OS.
> Therefore, I have never done this. The reasons make sense; a new OS changes
> a lot of things, and there might even be hardware incompatabilities. Wait
> until you get a new computer with a new OS.
> Fred Camper
> Chicago
>
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Re: [Frameworks] New book on experimental cinema in Spanish

[Michael Betancourt]

Looks exciting!
Do you mind sharing the list of films included?

Michael Betancourt
Savannah, GA, USA

> On Jul 26, 2019, at 5:18 AM, Albert Alcoz  wrote:
> 
> Hello all,
> 
> The UOC publishing house has just released a book about avant-garde cinema 
> and experimental film in Spanish named Radicales libres. It is a sort of 
> introduction to the subject with a prologue and 50 movie analysis, as with 
> all books in the collection. I wrote it considering a chronological order so 
> the book begins in 1921 with Walter Ruttmann (the series Opus) and ends in 
> 2012 with Tacita Dean (FILM). The publication is intended for university 
> students of who begin to discover this other cinema but it is also designed 
> to expand the bibliography of the international experimental cinema in 
> Spanish which, unfortunately, remains scarce. Thanks and sorry for the 
> autopromotional email.
> 
> "Transcurriendo en paralelo a las rupturas estéticas de las vanguardias 
> artísticas de principios del siglo XX, el cine experimental investiga el 
> potencial del medio cinematográfico a través de sus posibilidades formales y 
> su trasfondo crítico. Estas prácticas fílmicas interrogan las imágenes y los 
> sonidos tecnológicos vindicando un espíritu autodidacta, narraciones 
> atípicas, formulaciones abstractas y temporalidades inusitadas. Radicales 
> libres analiza cincuenta obras fundamentales que constatan el desarrollo de 
> la experimentación desde la década de los años 20 hasta la actualidad. De la 
> sinestesia de la música visual a la transgresión del surrealismo; del vigor 
> autobiográfico del cine lírico al reciclaje matérico del found footage; del 
> minimalismo del structural film a la irradiación del expanded cinema; del 
> discurso metafílmico del cine-ensayo a la pausa del documental contemplativo 
> y del elogio fotoquímico del celuloide al cine de artistas en el cubo blanco. 
> Libertad y radicalidad fundamentadas de modo cinemático."
> 
> Best,
> Albert Alcoz
> -- 
> http://visionaryfilm.net/
> http://albertalcoz.com/
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Re: [Frameworks] Film Festivals

[Michael Betancourt]

I increasingly feel that everytime I see "innovative" in a call for works what 
is really meant is "like the 1960s" rather than "new."

The Bergman quote on the home page is a give away that this festival doesn't 
want innovations or experimental work. As the email announcement suggests, I 
don't think its the actual focus.

Michael

Sent from my phone so appologies for any typos!

> On May 19, 2019, at 12:04 PM, Dominic Angerame  
> wrote:
> 
> Well said it is just almost impossible to find a festival that puts the 
> filmmakers’ need for exposure as the number one goal. Most Festivals are 
> concerned with promoting the Festival itself and not the filmmakers. 
> 
> "Suppose they had a film festival and no filmmakers entered?”
> 
> To bring back a derivative of an old anti war slogan. “Suppose they had a war 
> and no one went”.
> 
> Film Festivals are festivities that only benefit a relatively small number of 
> filmmakers.
> 
> D
> 
>> On May 19, 2019, at 8:59 AM, Francisco Torres  wrote:
>> 
>> Well, there are festivals of all kinds, it all depends on the overall
>> release strategy for a particular film.
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Re: [Frameworks] Film Festival Blues

[Michael Betancourt]

I agree about the prescreening process, even if there aren't thousands of 
entries . I spoke with the organizer of a show a few years ago who asked why I 
hadn't submitted--and he was surprised to learn that I had, but the 
prescreeners had simply rejected my work. I get the feeling thiis happens a 
lot, especially since my work is digital and incorporates errors. Its 
disheartening to say the least.

Michael

Sent from my phone so appologies for any typos!

> On May 1, 2019, at 1:59 PM, Dominic Angerame  
> wrote:
> 
> I do not think the competitive nature of festivals in the problem. It is 
> definitely with the PRE SCREENING process. I have sat as a judge for the 
> Experimental Category (New Visions) at the SF Int’l Film Festival. After 
> viewing all of the work approved by the prescreens I request a list of all of 
> the entries and filmmakers. I found four important and well known filmmaker’s 
> work on this rejected list.
> 
> I requested that the judges see these works and all of them were shown at the 
> Festival and won achieved an award.
> 
> Prescreens are often not qualified to watch experimental work often they have 
> no idea what that genre is. Pre screening has been a problem with festivals 
> for decades and this process should be re evaluated by Festival Directors and 
> Organizations.
> 
> D
> 
>> On May 1, 2019, at 10:25 AM, Dante Fresse  wrote:
>> 
>> Film festival proliferation is a good thing for me, but focusing on the next 
>> time increase in my opinion isn’t the right thing to do. As a young 
>> filmmaker I find competitive process of selecting to be an opportunity for 
>> growth and scarcity in this industry and that is an excellent way to learn 
>> how to use opportunities where you can get a chance to talk to succeeding 
>> artists.
>> 
>> What do y’all think about this?
>> 
>>> On Tue, Apr 30, 2019 at 5:11 PM Dominic Angerame 
>>>  wrote:
>>> Every film festival is telling me that they have received record number of 
>>> entries from hundreds to thousands. If entries are increasing should not 
>>> the scope and duration of the festivals increase to accommodate the record 
>>> numbers. Increased entries also mean increased income to the festivals. 
>>> 
>>> A question to the community
>>> 
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Re: [Frameworks] GERMAINE DULAC'S WRITINGS ON CINEMA AVAILABLE IN ENGLISH

[Michael Betancourt]

I can fully understand the costs of printing a physical edition being a
constraint. Have you considered setting it up as a print-on-demand book, as
with Amazon's createspace? It's basically the same design files you would
use for the ebook. Since you're already using Amazon this should be
relatively easy. I personally prefer print over electronic.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic


On Fri, Dec 21, 2018 at 9:29 AM  wrote:

> Sorry, we don’t send pdf.
>
>
>
>  Message d'origine 
> De : "Evan Greene" 
> À : "Experimental Film Discussion List" 
> Objet : Re: [Frameworks] GERMAINE DULAC'S WRITINGS ON CINEMA AVAILABLE IN
> ENGLISH
> Date : 20/12/2018 18:50:48 CET
>
> Could you make the book available as a pdf to buy directly from you?
>
> On Thursday, December 20, 2018,  wrote:
>
> Dear Adam,
>
>
> we are sorry, but we don't have the funding to publish this book on paper.
>
>
>
> That's why we made the choice to publish it on e-book, and as 80 % of our
> books sales are made through Amazon, we did choice Kindle.
>
>
>
> The Kindle application is free. If you have a device which permits you to
> post to Frameworks, you can purchase and read the book.
>
>
>
> I understand people who don't wish to patronize Amazon, but actually we
> have no choice.
>
>
>
> Yours,
>
>
>
>  Christian Lebrat
> PARIS EXPERIMENTAL
> http://www.paris-experimental.asso.fr
>
>
>
>  Message d'origine 
> De : "Adam Hyman" 
> À : "Experimental Film Discussion List " <
> frameworks@jonasmekasfilms.com>
> Objet : Re: [Frameworks] GERMAINE DULAC'S WRITINGS ON CINEMA AVAILABLE IN
> ENGLISH
> Date : 19/12/2018 21:22:16 CET
>
> What is one supposed to do if you don’t have Kindle or do’t wish to
> patronize Amazon?
>
>
>
> Best regards
>
>
>
> Adam Hyman
>
> Los Angeles Filmforum
>
>
>
> From: FrameWorks  on behalf of
> Christian Leblat 
> Reply-To: "Experimental Film Discussion List <
> frameworks@jonasmekasfilms.com>" 
> Date: Wednesday, December 19, 2018 at 1:50 AM
> To: "Experimental Film Discussion List " <
> frameworks@jonasmekasfilms.com>
> Subject: [Frameworks] GERMAINE DULAC'S WRITINGS ON CINEMA AVAILABLE IN
> ENGLISH
>
>
>
> Hello,
>
> we are pleased to announce:
>
>
>
> WRITINGS ON CINEMA (1919-1937)  BY GERMAINE DULAC
>
> E-BOOK EDITION NOW AVAILABLE IN ENGLISH !
>
> Ed., with a new preface by PROSPER HILLAIRET
> Foreword by TAMI M. WILLIAMS
> English translation by SCOTT HAMMEN
>
> These seminal texts by pioneering filmmaker and feminist Germaine Dulac
> will be of great interest to film scholars and cinephiles alike.
>
> Maryann De Julio, Professor of French, Department of Modern and Classical
> Language Studies, Kent State University.
>
> Paris Expérimental has done us all a great favor by updating, translating,
> and putting everything on e-book so that we all may see the visionary
> brilliance of this
> pioneering feminist filmmaker.
>
> Sandy Flitterman-Lewis, Associate Professor of English and Comparative
> Literature, Rutgers University, author of To Desire Differently: Feminism
> and The French
> Cinema.
>
> Germaine Dulac is among the most important figures of French silent
> cinema, even world cinema tout court. Her writings, made available in
> English for the first
> time in an excellent translation by Scott Hammen, are simply a must-have
> for any scholar or lover of cinema as well as for scholars of gender and
> sexuality
>
> Christophe Wall-Romana, Associate professor, University of Minnesota.
>
>
>
> Price: $11,34
>
> Buy it on Kindle Amazon:
>
>
> https://www.amazon.com/dp/B07LFJHT6C/ref=sr_1_2?s=books=UTF8=1545080083=1-2=writings+on+cinema+dulac
>
>
>
> Yours,
>
> Christian Lebrat
> PARIS EXPERIMENTAL
> http://www.paris-experimental.asso.fr
>
>
>
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>
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>
>
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Re: [Frameworks] Toronto book launch for Sculpting Cinema - Nov 24 @ 3pm

[Michael Betancourt]

where is it available?

Michael

Sent from my phone so appologies for any typos!

> On Oct 24, 2018, at 1:42 PM, Melanie Wilmink  wrote:
> 
> BOOK LAUNCH: Sculpting Cinema
> Saturday, November 24, 2018 - 3:00 pm
> John H. Daniels Faculty of Architecture, Landscape, and Design – University 
> of Toronto in Room 230 – 1 Spadina Crescent. Toronto, ON  
> Join our Sculpting Cinema Book Launch event here!
> Or order your copy by emailing pleasuredomemana...@gmail.com.
> 
> 
> 
> 
> Pleasure Dome is pleased to announce the launch of its newest publication, 
> Sculpting Cinema (Ed. Melanie Wilmink & Solomon Nagler).
> 
> Sculpting Cinema documents the intersections of sculpture, architecture, 
> performance, installation art, and expanded cinema within contemporary 
> Canadian art. Through seven pieces of writing and two artists' projects, a 
> selection of scholars and creatives from across the country have explored the 
> ways that cinema flows off the screen and into physical space. The book 
> embodies this thematic content through a creative design, making it an 
> attractive collectors' object and critical discourse simultaneously. Each 
> copy of this limited-edition run contains unique photo-emulsion prints by 
> Solomon Nagler and Angela Henderson, and the overall design by Jayme Spinks 
> uses creative layout and typography to convey the “feeling” of cinema through 
> the format of a printed book. Sculpting Cinema considers how cinema has moved 
> beyond the black box in an aesthetically-driven format that is scholarly, but 
> also accessible to general interest readers who wish to learn more about 
> these artworks.
> 
> Includes essays by Harry Vandervlist, Melanie Wilmink, Zoë Heyn-Jones, Carmen 
> Victor, Tom Kohut, Collin Zipp, Shana MacDonald; with artists' projects by 
> Angela Henderson/ Solomon Nagler and Pierre Hébert.
> 
> Featuring the work of: Donald Lawrence, Solomon Nagler/ Alexandre Larose and 
> Passage Studio, Christina Battle, Kristie MacDonald, Charles Stankievech, 
> Andrew John Milne, David Hoffos, and Shary Boyle.
> 
> 
> This publication was produced through the support of the Canada Council for 
> the Arts, Media Arts Initiatives Grant.
> 
> ABOUT PLEASURE DOME (est. 1989)
> 
> Pleasure Dome is an artist-run exhibition collective dedicated to the 
> presentation of artists’ film, video and experimental media. Pleasure Dome 
> partners with media art organizations and artist-run centers in Toronto, 
> nationally, and abroad to initiate co-presentations, collaborations, and 
> sponsorships to bring forward culturally diverse and experimental media 
> projects.
> 
> Pleasure Dome is generously supported by the Toronto Arts Council, the 
> Ontario Arts Council, and the Canada Arts Council, and by our members, 
> sponsors, and community partners.
> 
> For more information: pleasuredomemana...@gmail.com   | www.pdome.org.
> 
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Re: [Frameworks] Saul Levine & MassArt: resources

[Michael Betancourt]

It seems that these days the real crime is making art. Creating work that 
challenges assumptions, perhaps even works against biases is something that 
will always "harm" the  narrow minded by forcing them to consider positions 
which make them uncomfortable. This situation sounds a lot like what happened 
here. 

Michael Betancourt
Savannah, GA


> On Apr 1, 2018, at 6:42 PM, John Muse <jm...@sonic.net> wrote:
> 
> Surprised that I haven’t read anything here on the recent news that Saul 
> Levine "was pushed out of the Massachusetts College of Art and Design after 
> administrators accused him of 'harming students' by showing his film Notes 
> After Long Silence, 1989, to his senior thesis class.”
> 
> Here are a few resources:
> 
> Saul’s original post detailing his decision to “[retire] from MassArt,” as he 
> says, and his reasons: 
> https://www.facebook.com/story.php?story_fbid=10215932754649479=1165322620
> 
> The Artforum article: 
> https://www.artforum.com/news/filmmaker-saul-levine-leaves-massart-following-dispute-over-artwork-74844
> 
> Indiewire article: 
> http://www.indiewire.com/2018/03/saul-levine-mass-art-notes-after-long-silence-1201945678/
> 
> Saul’s Facebook page: https://www.facebook.com/saullevine 
> 
> Films mentioned in the Artforum article include "Notes After a Long Silence" 
> https://vimeo.com/73242778 and “The Big Stick / An Old Reel” 
> https://vimeo.com/89886468
> 
> j/PrM
> 
> *
> 
> john muse
> visual media scholar
> haverford college
> he/him/his
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
> 
> *
> 
> 
> 
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[Frameworks] I have a new book on visual music

[Michael Betancourt]

My new book might be of interest to some of you. Apologies for the
self-promotion

*Harmonia: Glitch, Movies and Visual Music*, by Michael Betancourt

It's on amazon:
https://www.amazon.com/exec/obidos/ASIN/1479436089/cinegraphicne-20

*Harmonia,*  “harmonies,” analyzes the connections between glitch art,
visual music, abstraction, and motion pictures. This collection is a
chronological survey of glitch art pioneer Michael Betancourt’s artistic
research into, around, and with digital motion pictures that theorizes and
critiques visual music. This anthology is directly connected to his
critical engagement with the socio-cultural meaning of “visionary art” that
builds on the work of Umberto Eco and Michel Foucault to engage with the
historical films of John Whitney, Mary Ellen Bute, Mark Hallock-Greenewalt,
and Stan Brakhage (among others) connecting them with contemporary glitch
movies. Included in this collection is his taxonomy of abstract forms based
on synaesthesia, a discussion of the historical foundations and connections
between color music/color organs, synaesthesia and the visual music
instruments and films of the twentieth century, and an analysis of the
fundamental connections between visual music and realism that reveals an
ideological reification created by the synchronization of sound and image.
This analysis goes beyond a historical recounting of artists and their
works to propose an understanding of synaesthetic media in aesthetic as
well as critical, ideological terms. Included are the essays “The Aura of
the Digital,” “The Invention of Glitch Video,” “Semiotics of the Moon as
Fantasy and Destination,” and “Welcome to Cyberia” along with many other
talks, publications, and analyses of glitch art and visual music.


Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
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Re: [Frameworks] Asking for a friend

[Michael Betancourt]

Has anyone seen this?
https://medium.com/@soleri/sexual-abuse-its-you-him-and-his-work-88ecb8e99648
It speaks to the issues of abuse versus "great artist" ....

Michael Betancourt
Savannah, GA USA


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Re: [Frameworks] NEW BOOK BY MAURICE LEMAITRE

[Michael Betancourt]

M

Sent from my iPhone

> On Aug 21, 2017, at 8:08 AM, paris-experimen...@numericable.fr wrote:
> 
> NEW BOOK BY MAURICE LEMAÎTRE
> Maurice Lemaître (b. 1926) is a poet, painter, filmmaker, and performer. A 
> historic figure of the Lettrist movement from its inception, whose 
> revolutionary ideas, together with Isidore Isou, helped propagate. Paris 
> Expérimental is proud to present Done with Filming, its fifth Lemaître 
> publication.
> http://www.paris-experimental.asso.fr/project/fin-de-tournage-done-with-filming-maurice-lemaitre/
> 
> PAYPAL PAYMENT AVAILABLE
> contact us at : paris-experimen...@numericable.fr
> 
> 
> 
> DONE WITH FILMING
> by Maurice Lemaître
> Done with Filming is the title of a film made by Maurice Lemaître between 
> 1985 – 1990. It is composed of a collection of slides, primarily from New 
> Wave films, on which the artist has intervened in multiple ways: with 
> touch-ups, smudges, and graphic and visual interventions. Simultaneously, the 
> soundtrack consists of a fake journalistic-style interview in which Lemaître, 
> in his characteristic manner that is both serious and humorous, gives an 
> account of his relationship with cinema, criticism, and creation.
> 
> The book imitates the format of the film, in a printed version. The text of 
> the bilingual sound-track (English-French) winds its way throughout the 
> approximately 200 images. The book showcases the visual power of Lemaître, 
> with his détournements of images, who is undeniably one of the most talented 
> of the Lettrist generation. In the interview, Lemaître poses the question of 
> cinema’s imminent end, while also passing the torch to future generations.
> 
> 
>  
> 
> JUST RELEASE
> 
> 
> FIN DE TOURNAGE / DONE WITH FILMING
> par / by Maurice Lemaître
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
>  
> Artist book
> 2017
> 104 p.
> 191 color illustrations
> 20 x 29 cm
> ISBN : 978-2-912539-51-9
> Price : 35 €
> Text in English and French
> 
> Print run  : 500 ex.
> 
> of which 10 special editions with an original photo 
> for more info contact us off the list
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
>  
>  
> 
> 
> 
> 
> 
> 
> 
> This email was sent to leb...@numericable.com 
> why did I get this?unsubscribe from this listupdate subscription 
> preferences 
> Paris Expérimental · paris-experimen...@numericable.fr · 
> www.paris-experimental.asso.fr _ · France 
> 
> 
> 
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Re: [Frameworks] Experiments in Cinema NEW 9 disc DVD collection plus Cuban yearbook

[Michael Betancourt]

M

Sent from my iPhone

> On May 12, 2017, at 10:43 PM, bryan konefsky  
> wrote:
> 
> Hi everyone - thanks to all who participated and supported the 12th edition 
> of Experiments in Cinema!  The event was particularly historic as we brought 
> 5 Cuban film scholars to our event from Havana AND their presentations were 
> nothing short of magical!
> 
> I wanted to let everyone know that if you go to our website 
> (http://www.experimentsincinema.org/shop--cart) you will find our new 9 disc, 
> fundraising DVD collection which is available for individual and 
> institutional purchases - many Cuban titles are included in the collection.  
> Additionally, our new yearbook is available with essays about the state of 
> the (media) art in Cuba - the yearbook has been published 1/2 in English and 
> 1/2 in Spanish.  
> 
> Be the first on your block to collect all DVD collections and each of our 3 
> yearbooks!
> 
> Thanks for supporting Experiments in Cinema
> Bryan Konefsky
> founder/director
> 
> -- 
> Bryan Konefsky, Visualiste 
> Artistic Director, Experiments in Cinema
> President Basement Films
> 
> PO Box 9229
> Albuquerque, NM 87119 USA
> 
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[Frameworks] source for Horace Towner Pierce's films?

[Michael Betancourt]

Does anyone know a source for Horace Towner Pierce's films?

Thanks!

Michael Betancourt
Savannah, GA USA


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Re: [Frameworks] Books on Contemporary Experimental Film

[Michael Betancourt]

Thanks to everyone who suggested readings. I'm going to be busy :)

It is a bit of a disappointment (but not really a surprise, since there is
so much good work being made everywhere) to see that none of the readings
are specifically about what's been happening in the US.

Michael Betancourt
Savannah, GA USA



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[Frameworks] Books on Contemporary Experimental Film

[Michael Betancourt]

Does anyone know a good introductory book on contemporary experimental
film/video that isn't all about either work from pre-1980, or focused
heavily on video installations? I've been trying to think of one, and am
coming up blank...

Thanks!

Michael Betancourt
Savannah, GA USA


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Re: [Frameworks] Support My New Kickstarter project

[Michael Betancourt]

The phone number goes to a drive-in movie theater incorporated in 2010 in
Las Vegas called "Pure Cinema Celluloid" so I'm not even certain this is
actually a film. Looks more like a scam, so the best thing to do with
trolls is not to feed them.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic
www.cinegraphic.net | the avant-garde film & video blog

On Sat, Oct 22, 2016 at 10:12 PM, christopher nigel <
christophernige...@gmail.com> wrote:

> I have to say you come across as very rude , As most film makers find it
> hard to make ends meet as it is along with high rents etc .
>
> Then with the price of film these days /
>
> Then the way you go about asking ?
>
> On Sat, Oct 22, 2016 at 11:44 PM, Charles Chadwick <
> infiltration...@gmail.com> wrote:
>
>> I'd really drop the antagonistic language of the call for donations as
>> well. It made me not want to donate really. Filmmakers such as us aren't
>> usually swimming in money, and to call us unsupportive and useless old
>> cranks is insulting. Just a point of advice dude. -charles
>>
>> On Fri, Oct 21, 2016 at 6:17 PM, Dominic Angerame <
>> dominic.anger...@gmail.com> wrote:
>>
>>> On your google page you are called Doug Graves. Are you Doug Tolstoy,
>>> Doug Graves or Doug Chapin. I just do not get it! Sorry. And the images
>>> posted seem to be by Bruce Baillie and any mis representation of his films
>>> is a copy right violation.
>>>
>>> On Thu, Oct 13, 2016 at 7:09 PM, Doug Chaffin("Douglas Graves") <
>>> dgtols...@yahoo.com> wrote:
>>>
>>>>
>>>>
>>>>
>>>> Pure Cinema Celluloid
>>>>
>>>> Pure Cinema Celluloid
>>>>
>>>>
>>>> Prove you're not a completely useless, unsupportive "non-community" of
>>>> old cranks & send money to me for my next movie & to save my life!
>>>>
>>>> Sincerely,
>>>> Doug Graves
>>>>
>>>> 702-580-4293
>>>>
>>>> dgtols...@yahoo.com
>>>>
>>>>
>>>>
>>>>
>>>>
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>>>>
>>>>
>>>
>>> ___
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>>>
>>>
>>
>> ___
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>>
>
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[Frameworks] my new book

[Michael Betancourt]

This is a shameless self-promotion for my new book. It's something that is
relevant:

Glitch Art in Theory and Practice: Critical Failures and Post-Digital
Aesthetics

It's a short history-theory book about the heritage of
structural-materialist film and contemporary digital media, using glitch
videos as the contemporary reference for the discussion.

https://www.amazon.com/Glitch-Art-Theory-Practice-Post-Digital/dp/1138219541/ref=asap_bc?ie=UTF8


Michael Betancourt
Savannah, GA USA


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Re: [Frameworks] Structural Film

[Michael Betancourt]

It's reprinted in the Film Culture reader anthology if that's more
accessible

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
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www.cinegraphic.net | the avant-garde film & video blog

On Sun, Jul 24, 2016 at 2:57 PM, Jonathan Walley <wall...@denison.edu>
wrote:

> Hello everyone,
>
> I’ve lost my copy of the original “Structural Film” essay, from *Film
> Culture* #47. *Film Culture* pre-1990s is not to be found on any research
> databases (at least none to which I have access), and I don’t feel like
> shelling out $240 for the one and only used copy on amazon. Does anyone
> have a scanned copy they might send my way (off-list)?
>
> Thanks in advance!
>
> Best,
> Jonathan “out of summertime beach reading in a big way” Walley
>
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> wall...@denison.edu
>
>
>
>
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Re: [Frameworks] audio recorder recomendations?

[Michael Betancourt]

Thanks for all the suggestions!

Michael Betancourt
Savannah, GA USA



michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic
www.cinegraphic.net | the avant-garde film & video blog

On Tue, Jun 7, 2016 at 8:53 AM, <danhal...@yahoo.co.uk> wrote:

>
> If you don't have the budget to splash out on a Sound Devices or the like,
> you may want to try the Tascam dr-70d. It has all the features you
> mentioned, decent build and audio quality for the price and can even be
> improved with a swap on op-amps..
>
> Best
> Danny
>
> Sent from my iPhone
>
> > On 7 Jun 2016, at 13:00, frameworks-requ...@jonasmekasfilms.com wrote:
> >
> > Send FrameWorks mailing list submissions to
> >   frameworks@jonasmekasfilms.com
> >
> > To subscribe or unsubscribe via the World Wide Web, visit
> >   https://mailman-mail5.webfaction.com/listinfo/frameworks
> > or, via email, send a message with subject or body 'help' to
> >   frameworks-requ...@jonasmekasfilms.com
> >
> > You can reach the person managing the list at
> >   frameworks-ow...@jonasmekasfilms.com
> >
> > When replying, please edit your Subject line so it is more specific
> > than "Re: Contents of FrameWorks digest..."
> > Today's Topics:
> >
> >  1. audio recorder recomendations? (Michael Betancourt)
> >  2. Re: audio recorder recomendations? (Scott Dorsey)
> >  3. Re: audio recorder recomendations? (Jason Halprin)
> >  4. Re: Simpson Optical lens quality (Scott Dorsey)
> >  5. Re: Simpson Optical lens quality (Scott Dorsey)
> >  6. Digital 8mm (George, Sherman)
> > 
> > 
> > 
> > 
> > 
> > 
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[Frameworks] audio recorder recomendations?

[Michael Betancourt]

I'm looking to buy an easily portable digital audio recorder, so this is an
appeal to the collective knowledge of the list. I haven't looked at what's
out there in a long time, and value recommendations of equipment that's
actually been put in use.

Doesn't have to be fancy, but an internal microphone and the ability to
pull files directly off a memory card would be perfect; to have phantom
power and xlr connectors would be a plus. I know there are lots of devices
that have this profile, but I've had bad experiences with untried
equipment. Any suggestions are greatly appreciated!

Michael Betancourt
Savannah, GA USA


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Re: [Frameworks] STAN BRAKHAGE NEW BOOK / CATALOGUE RAISONNÉ

[Michael Betancourt]

How to order a copy if you're not in Europe?

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
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www.cinegraphic.net | the avant-garde film & video blog

2016-05-01 12:53 GMT-04:00 <paris-experimen...@numericable.fr>:

>
>
> * STAN BRAKHAGE* NEW BOOK – CATALOGUE RAISONNE
>
> Paris Expérimental is honored to announce the publication of the
> definitive catalog of Stan Brakhage's film work (1952-2003).
>
> Compiled by Emilie Vergé, in close collaboration with Marilyn Brakhage,
> the catalog contains 300 film references with abstracts, technical data,
> and locations all around the world (public and private
> collections and copies in distribution).
>
> This 448 page book is the result of two years work -- an unpublished text
> by P. Adams Sitney and rare film stills provided by Fred Camper
> complete this reference book.
>
> This bilingual  book (English and French) will be released in June.
>
> A special offer with 30% discount is valid until 20 June.
>
> You can order the book at a price of 45 € (instead of 65 €).
>
> Don't miss this offer!  Fill out the form online to reserve your copy.
>
> * PRE ORDER THE BOOK  *
> <http://asso.us9.list-manage.com/track/click?u=9da96499bb6d69cc48bfbb39f=ce634046fb=229f003287>
>
> --
>
> Les éditions Paris Expérimental ont l’honneur d’annoncer la parution du
> catalogue raisonné de l’œuvre filmée de Stan Brakhage (1952-2003).
>
> Réalisé par Emilie Vergé, en étroite collaboration avec Marylin Brakhage,
> ce livre contient 300 notices de films avec résumés, données techniques et
> localisations des copies dans le monde entier (collections publiques et
> privées, et distributeurs).
>
> Résultat de deux ans de travail, le livre contient également un texte
> inédit de P. Adams Sitney et un ensemble rare de reproductions de
> photogrammes de films réalisées par Fred Camper.
>
> Ce livre de référence de 448 p., bilingue (anglais-français), sera en
> librairie en juin prochain.
>
> Une souscription est mise en place jusqu’au 20 juin prochain permettant de
> bénéficier d’une remise de 30 % sur le prix public.
>
> Vous pouvez réserver votre exemplaire au prix de 45€ (au lieu de 65€) en
> remplissant le formulaire en ligne.
>
> * RESERVEZ UN EXEMPLAIRE  *
> <http://asso.us9.list-manage1.com/track/click?u=9da96499bb6d69cc48bfbb39f=a812c1545d=229f003287>
>
> PARIS EXPERIMENTAL
> www.paris-experimental.asso.fr
> <http://asso.us9.list-manage.com/track/click?u=9da96499bb6d69cc48bfbb39f=5237633de8=229f003287>
>
>
>
>
>
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Re: [Frameworks] Found Footage Magazine issue#2 - May 2016

[Michael Betancourt]

They have an eshop: http://foundfootagemagazine.com/en/eshop/

Michael Betancourt
Savannah, GA USA


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On Sun, May 1, 2016 at 1:56 PM, Francisco Torres <fjtorre...@gmail.com>
wrote:

> sorry, i cant see any links to subscribe or buy a single issue  why?
>
> 2016-05-01 13:19 GMT-04:00 FFM INFO <i...@foundfootagemagazine.com>:
>
>>
>> *FOUND FOOTAGE MAGAZINE ISSUE#2 - MAY 2016. JUST RELEASED! *
>> *TABLE OF CONTENTS:*
>>
>> - AUDACIOUS APPROPRIATIONS: BARBARA HAMMER’S FIRST HALF-CENTURY,  by
>> Greg Youmans
>>
>> - INTERVIEW WITH BARBARA HAMMER, by Matthew Levine
>>
>> - BECOMING VISIBLE, by Abigail Child
>>
>> --
>>
>> - TWO FILMS BY JEAN-CLAUDE BUSTROS, by Dirk de Bruyn
>>
>> COPYRIGHT IN A NUTSHELL FOR FOUND FOOTAGE FILMMAKERS, by Brian L. Frye
>>
>> IMAGES BEYOND TIME: CINEMA AS PHOTOGRAPHIC ARCHIVE, by Clint Enns
>>
>> HISTORY DECAYS INTO IMAGES NOT STORIES: A JOURNEY WITH WALTER BENJAMIN
>> FROM FUTURE TO PAST, by Nazare Soares
>>
>> INDEXING VERSUS TAXONOMY: I, DALIO—OR THE RULES OF THE GAME AND THE
>> THOUGHTS THAT ONCE WE HAD, by Jonathan Rosenbaum
>>
>>
>> --
>>
>> VIEW THEM FOR WHAT THEY ARE, REVEAL WHAT THEY ARE HIDING: A CONVERSATION
>> WITH MICHAEL ROBINSON, by Alejandro Bachmann
>>
>> SOMEWHERE I HAVE NEVER TRAVELLED: ENGRAM OF RETURNING, by André Habib
>>
>> THE LAST BROADCAST, by Peter Snowdon
>>
>> SOMETHING OLD, SOMETHING NEW: TWO DVDs FROM GUSTAV DEUTSCH, by Scott
>> MacDonald
>>
>> FILM REVIEWS: CUT’N’PASTE, by Albert Alcoz, Matthew Levine, M.J.
>> Ostrowski, Marta Álvarez & César Ustarroz
>>
>> --
>>
>> BOOK REVIEWS
>>
>> Scratch, Crackle & Pop! (Steven Woloshen, 2015), by Albert Alcoz
>>
>> Off-Screen Cinema: Isidore Isou and the Lettrist Avant-garde (Kaira M.
>> Cabañas, 2014), by James Luce
>>
>>
>> --
>>
>> INTERVIEW WITH VICKI BENNETT, by Kenneth Goldsmith
>>
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>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>
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[Frameworks] Noteworthy Publications This Year?

[Michael Betancourt]

What were the noteworthy publications this year? My reading pile has gotten
smaller...

Michael Betancourt
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Re: [Frameworks] Titles of scratch films

[Michael Betancourt]

There's Rey Parla's films from the 90s:
Sporadic Germinatipn
Rumba Abstracta

M

Sent from my iPhone

 On Aug 25, 2015, at 3:08 PM, Tess Takahashi tess.takaha...@gmail.com wrote:
 
 I'm doing something on films that employ scratching directly on celluloid 
 like Brakhage's Chinese Series, David Gatten's Fragrant Portals..., Dona 
 Cameron's World Trade Alphabet, Barbel Neubauer's work, Pierre Hebert's work, 
 Storm DeHirsch's Peyote Queen, and Len Lye's Free Radicals.
 
 What am I missing? Old and New? 
 
 Bonus points it it's set to African drums...
 
 
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[Frameworks] essay on Prisoner's Cinema

[Michael Betancourt]

I have a piece on Joshua Gen Solondz's flicker film *Prisoner's Cinema*
that's up on Bright Lights Film Journal.

http://brightlightsfilm.com/technology-and-transcendence-on-joshua-gen-solondzs-prisoners-cinema-2012/#.VbT60vlViko

Michael Betancourt
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Re: [Frameworks] Kid-friendly films?

[Michael Betancourt]

There's also the Whitney's films, especially things like Arabesque or Lapis.

Michael Betancourt
Savannah, GA USA


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On Mon, Jul 13, 2015 at 1:49 PM, JB Mabe jb.m...@gmail.com wrote:

 On Mon, Jul 13, 2015 at 10:16 AM, Carl E Bogner crlel...@uwm.edu wrote:
  Dan,
 
 
  One of the best things I have been able to see this year was the Saturday
  morning cartoon 16mm program that EYEWORKS presented at Jesse Malmed’s
  LIVE-TO-TAPE FESTIVAL in Chicago this last May.
 
  The program was entitled “Make Me Psychic” and featured films by Sally
  Cruikshank, Kathy Rose, Trixy Sweetvittles, and Amy Lockhart. Some of the
  prints -- the Cruikshank and the (sublime) Rose films -- were, I think,
 from
  the holdings of Chicago Filmmakers, do I have that right?
 
  I was smacked out on all of the free breakfast cereals provided and am
 old,
  but I thought it was all a delight, giddy and transcendent, of possible
  interest to your programming. Psychedelic/trippy presented, understood,
 as
  also kid-friendly?
 
  Details on the LIVE-TO-TAPE program here:
  https://www.facebook.com/events/837281176348961/
 
  Eyeworks Festival of Experimental Animation
  http://eyeworksfestival.com
 
  Chicago Filmmakers Film Distribution Project
 
 http://www.chicagofilmmakers.org/membership-filmmaker-services/film-distribution-project
 
 
  Carl
  Milwaukee

 That is correct Carl. Chicago Filmmakers distributes most of that
 animation program that was put together by Alexander Stewart of
 EYEWORKS. We distribute a ton of amazing and rare animated films. If
 anyone has any questions about it, check out the catalog
 (
 http://www.chicagofilmmakers.org/membership-filmmaker-services/film-distribution-project
 ),
 or call Chicago Filmmakers at 773-293-1447.

 Best,
 Josh B Mabe
 Program Director
 Chicago Filmmakers
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Re: [Frameworks] historical question

[Michael Betancourt]

Hi Eric,
Thanks--yes, that looks like a good candidate. Odd, though that it's listed
as unpublished since Richter's letter seems to say it was. Perhaps its a
shorter version? I will have to take a look.

Michael Betancourt
Savannah, GA USA


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On Fri, Apr 3, 2015 at 10:06 PM, Eric Theise ericthe...@gmail.com wrote:

 Michael,

 I noticed that on page 281 of
 http://monoskop.org/images/9/9a/Foster_Stephen_C_Hans_Richter_Activism_Modernism_and_the_Avant-Garde.pdf
 , as part of the section called Books, Pamphlets, there's a mention of

 Film and Progress. Not published in full; published in part in
 the Neue Zu¨rcher Zeitung.American version of Der Kampf
 um den Film, prepared in collaboration with Herman Weinberg,
 New York, 1939–42.

 which fits the date pretty well. That manuscript turns out to be in Yale's
 collection.

 http://www.worldcat.org/title/hans-richter-papers-1916-1973/oclc/795896197referer=brief_results

 There's also a guide to the Richter Archive at the Museum of Modern Art (
 https://www.moma.org/learn/resources/archives/EAD/HansRichterf) that has
 some candidates for what you're looking for.

 Eric


 On Fri, Apr 3, 2015 at 4:16 PM, Michael Betancourt 
 hinterland.mov...@gmail.com wrote:

 Great, thanks! I didn't realize that was the case. My impression was he
 wrote something (or expanded it) for the Art in Cinema symposium book since
 it so closely mirrors the program.

 M

 Sent from my iPhone

 On Apr 3, 2015, at 6:11 PM, Dominic Angerame dominic.anger...@gmail.com
 wrote:

 It is in the Art in Cinema catalog for the first cinematheque in the
 world created by Frank Stauffacher here in San Francisco during that time
 period. The article is on page #6 of the original catalog reprinted by
 Scott M. dated 1947.

 Dominic Angerame

 On Fri, Apr 3, 2015 at 1:49 PM, Michael Betancourt 
 hinterland.mov...@gmail.com wrote:

 On pg 34 of MacDonalds book Art In Cinema, there is a letter from Hans
 Richter in which he mentions a pamphlet on the history of avant-garde film
 he wrote, published in 1943. Does anyone have/know of a copy they could
 share with me? I've been looking and can't find it--or any other reference
 to it

 Thanks in advance

 Michael Betancourt
 Savannah, GA
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[Frameworks] historical question

[Michael Betancourt]

On pg 34 of MacDonalds book Art In Cinema, there is a letter from Hans Richter 
in which he mentions a pamphlet on the history of avant-garde film he wrote, 
published in 1943. Does anyone have/know of a copy they could share with me? 
I've been looking and can't find it--or any other reference to it

Thanks in advance

Michael Betancourt
Savannah, GA
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Re: [Frameworks] historical question

[Michael Betancourt]

Great, thanks! I didn't realize that was the case. My impression was he wrote 
something (or expanded it) for the Art in Cinema symposium book since it so 
closely mirrors the program.

M

Sent from my iPhone

 On Apr 3, 2015, at 6:11 PM, Dominic Angerame dominic.anger...@gmail.com 
 wrote:
 
 It is in the Art in Cinema catalog for the first cinematheque in the 
 world created by Frank Stauffacher here in San Francisco during that time 
 period. The article is on page #6 of the original catalog reprinted by Scott 
 M. dated 1947.
 
 Dominic Angerame
 
 On Fri, Apr 3, 2015 at 1:49 PM, Michael Betancourt 
 hinterland.mov...@gmail.com wrote:
 On pg 34 of MacDonalds book Art In Cinema, there is a letter from Hans 
 Richter in which he mentions a pamphlet on the history of avant-garde film 
 he wrote, published in 1943. Does anyone have/know of a copy they could 
 share with me? I've been looking and can't find it--or any other reference 
 to it
 
 Thanks in advance
 
 Michael Betancourt
 Savannah, GA
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[Frameworks] Pat O'Neill Contact?

[Michael Betancourt]

Off list, can someone put me in contact with Pat O'Neill?
Thanks!

Michael Betancourt
Savannah, GA USA


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Re: [Frameworks] question regarding color preservation of early animation films

[Michael Betancourt]

They're all on this DVD set, in color and very legible transfers; region 0
disk:

http://www.edition-filmmuseum.com/product_info.php/info/p70_Berlin--die-Sinfonie-der-Gro-stadt---Melodie-der-Welt.html

Michael Betancourt
Savannah, GA USA


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On Sat, Jan 31, 2015 at 5:08 PM, Laura Trager tragerla...@gmail.com wrote:

 Hello Frameworkers,

 I have a question regarding color preservation of Walter Ruttmann's Opus
 films, and was hoping you might be able to point me in the right direction
 or share your insights with me. I am currently researching the use of color
 (or lack thereof) in the early absolute animations by Viking Eggeling,
 Hans Richter and Walter Ruttmann, and recently came across an essay by
 William Moritz titled Non-Objective Film - The Second Generation (1979).
 He states that we have only fragmentary black-and-white silent prints of
 Ruttmann's originally hand-coloured films - and yet, these
 https://www.youtube.com/watch?v=od0MxuD4xxQ digital color versions of
 his films are widespread online.

 So, my question is: What do we actually know about the use of color in
 Walter Ruttmann's Opus films, and what sources is this knowledge based on
 if his colorized films are not preserved? Have there been any new insights
 since Moritz' essay was published? And who made these digital color
 versions of his films - are they just amateur work, or are they a legit
 institutional reconstruction project?

 Any leads you might have regarding the use and preservation of color in
 Ruttmann's films or in early abstract films in general will be greatly
 appreciated.

 Thanks so much!
 Laura

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Re: [Frameworks] Books on the History of Avant-Garde film in US

[Michael Betancourt]

Thanks to everyone who had titles to add! Here's the compiled list:

*Histories of avant-garde film in the United States:*





Lewis Jacobs, “Experimental Cinema in America 1921-1947” in *The Rise of
the American Film* (1948)



Roger Manvell, *Experiment in the Film* (1949)



Robert Pike, A Critical Study of the West Coast Experimental Film Movement
(UCLA dissertation, 1960)



Gregory Battcock, *The New American Cinema* (1967)



Sheldon Renan, *An Introduction to the American Underground Film *(1967)



Parker Tyler, *The Underground Film: A Critical History* (1968)



Gene Youngblood, *Expanded Cinema* (1970)



P. Adams Sitney, ed., *Film Culture Reader* (1970)



David Curtis, *Experimental Cinema *(1971)

Annette Michelson, *Artforum: Structural Film (special issue), September
1971*


Jonas Mekas, *Movie Journal* (1972)


Annette Michelson, *New Forms in Film. Montreux, August 3/24 1974*
(catalog, 1974)


P. Adams Sitney, *Visionary Film* (1974)

P. Adams Sitney, ed. *The Essential Cinema: Essays on the Films in the
Collection of the Anthology Film Archives* (1975)



Standish Lawder, *The Cubist Cinema* (1975)



Stephen Dwoskin, *Film Is: The International Free Cinema* (1975)



Amos Vogel, *Film as a Subversive Art* (1976)



Robert Russett  Cecile Starr, *Experimental Animation* (1977)



Malcolm Le Grice, *Abstract Film and Beyond* (1977)



Maureen Turim, *Abstraction in Avant-Garde Films* (1978/85)



Dominique Noguez, *Une renaissance du cinéma : le cinéma underground
américain* (1985, reprinted 2002)



David E. James, *Allegories of Cinema* (1989)


Stan Brakhage, *Film at Wit’s End* (1989)



Patricia Mellencamp, *Indiscretions: Avant-Garde Film, Video,  Feminism*
(1990)



William Wees, *Light Moving in Time: Studies in the Visual Aesthetics of
Avant-Garde Film *(1992)



David James, *To Free the Cinema: Jonas Mekas and the NY Underground* (1992)



Bart Testa, *Back and Forth: Early Cinema and the Avant-Garde* (1992)



Scott MacDonald, *Avant-Garde Film Motion Studies* (1993)


William C. Wees, *Recycled Images* (1993)



James Peterson, *Dreams of Chaos, Visions of Order* (1994)



Robert Haller, *First Light: Abstract Light Forms* (1998)



Jan-Christopher Horak, *Lovers of Cinema: The First American Film
Avant-Garde, 1919-1945* (1998)



Joan Hawkins, *Cutting Edge: Art-Horror and the Horrific Avant-Garde* (2000)



Bruce Posner, *Unseen Cinema: Early American Avant-Garde Film 1893-1941*
(2001)



Bill Nichols, *Maya Deren and the American Avant-Garde* (2001)



Scott MacDonald, *The Garden in the Machine. A Field Guide to Independent
Films About Place* (2001)



Chrissie Iles, *Into the Light: The Projected Image in American Art
1964-1977* (2001)



Lauren Rabinovitz,* Points of Resistance: Women, Power, and Politics in the
New York Avant-garde Cinema, 1943-71* (2003)



David E. James, *The Most Typical Avant-Garde: History and Geography of
Minor Cinemas in Los Angeles* (2005)



Jeffrey Skoller, *Shadows, Specters, Shards: Making History in Avant-Garde
Film* (2005)



Paul Arthur, *Line of Sight: American Avant-Garde Film Since 1965* (2005)



 Robert Haller, *Crossroads: Avant-Garde film in Pittsburgh in the 1970s*
(2005)



Alexander Graf, ed., *Avant-Garde Film (Avant-Garde Critical Studies 23)*
(2007)



Robin Blaetz, *Women’s Experimental Cinema: Critical Frameworks* (2007)



P. Adams Sitney, *Eyes Upside Down* (2008)



Woody Vasulka and Peter Weibel, eds., *Buffalo Heads: Media Study, Media
Practice, Media Pioneers, 1973–1990* (2008)



Steve Anker, et al, *Radical Light: Alternative Film and Video in the San
Francisco Bay Area, 1945-2000* (2010)



Dominique Noguez, *Eloge du cinéma expérimental *(3rd ed., 2010)



A. L. Rees, *A History of Experimental Film and Video* (2011)



A. L. Rees, et al, *Expanded Cinema: Art, Performance, Film* (2011)



Adeline Coffinier  Victor Gresard, *Film Culture Index 1955-1996* (2012)


Erika Balsom, *Exhibiting Cinema in Contemporary Art* (2013)



P. Adams Sitney, ed. *The Collected Writings of Gregory Markopolous* (2014)



Michael Betancourt
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[Frameworks] Books on the History of Avant-Garde film in US

[Michael Betancourt]

I'm sure I'm forgetting something, so please help!

Histories of avant-garde film in the United States:





Lewis Jacobs, “Experimental Cinema in America 1921-1947” in *The Rise of
the American Film* (1948)

Roger Manvell, *Experiment in the Film* (1949)



Gregory Battcock, *The New American Cinema* (1967)



Sheldan Renan, *An Introduction to the American Underground Film *(1967)



Parker Tyler, *The Underground Film: A Critical History* (1698)



Gene Youngblood, *Expanded Cinema* (1970)



David Curtis, *Experimental Cinema *(1971)



Amos Vogel, *Film as a Subversive Art* (1976)



P. Adams Sitney, *Visionary Film* (1974)



Maureen Turin, *Abstraction in Avant-Garde Films* (1978/85)



William Wees, *Light Moving in Time: Studies in the Visual Aesthetics of
Avant-Garde Film *(1992)



Scott MacDonald, *Avant-Garde Film Motion Studies* (1993)



James Peterson, *Dreams of Chaos, Visions of Order* (1994)



Jan-Christopher Horak, *Lovers of Cinema: The First American Film
Avant-garde, 1919-1945* (1998)



Joan Hawkins, *Cutting Edge: Art-Horror and the Horrific Avant-Garde* (2000)



Bruce Posner, *Unseen Cinema: Early American Avant-Garde Film 1893-1941*
(2001)



Lauren Rabinovitz, *Points of Resistance: Women, Power, and Politics in the
New York Avant-garde Cinema, 1943-71* (2003)



David E. James, *The Most Typical Avant-Garde: History and Geography of
Minor Cinemas in Los Angeles* (2005)



Paul Arthur, *Line of Sight: American Avant-Garde Film Since 1965* (2005)



Alexander Graf, ed., *Avant-Garde Film (Avant-Garde Critical Studies 23)*
(2007)



A. L. Rees, *A History of Experimental Film and Video* (2011)



Michael Betancourt
Savannah, GA USA


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[Frameworks] Write-up on Morrison's Decasia

[Michael Betancourt]

I have a short write-up on Bill Morrison's *Decasia* here:
http://brightlightsfilm.com/dread-mechanics-the-sublime-terror-of-bill-morrisons-decasia-2002/

Michael Betancourt
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[Frameworks] contact info - Joshua Yumibe

[Michael Betancourt]

Does anyone have contact info for Joshua Yumibe? Please contact me off-list. 
Thanks

Michael Betancourt
Savannah, GA
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Re: [Frameworks] digital hair in the gate removal?

[Michael Betancourt]

If it isn't an overall issue of serious dirt, or redoing the transfer isn't
a possibility for whatever reason, you can draw it out carefully
frame-by-frame in several ways. The simplest is to convert all your frames
into stills and do it with Adobe Photoshop (even though this is a
brute-force method, it offers the most perfect result), or you can use the
paint technique in AfterEffects which allows a certain amount of easy
repeat from frame to frame. Depends on how much time, money and labor you
want to put towards fixing the problem.

Generally, if redoing the transfer is a possibility, you should do that. If
it isn't, the only method that will produce high quality results is some
variant of frame-by-frame retouching.

Michael Betancourt
Savannah, GA USA


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On Mon, Jun 9, 2014 at 10:28 PM, Scott Dorsey klu...@panix.com wrote:

 If there was so much filth that there was a visible hair in the gate,
 I'd take it back to the telecine guy and yell at him.
 --scott
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[Frameworks] History question about Hallelujah the Hills

[Michael Betancourt]

In doing some unrelated research into the animator Byron Rabbitt, I ran
across a mention of Hallelujah the Hills and the NY documentary production
company BO Film Specialists, Inc. What did BO do on the film? Did they
produce its titles?

Michael Betancourt
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Re: [Frameworks] sound track collaboration

[Michael Betancourt]

I saw you email to Frameworks; perhaps you can help me with something. I
have a movie that is currently in need of a soundtrack. Do you have
something already done that you think might work? As this is still in
progress, its not yet public. Here's a link to it https://vimeo.com/86503040
the password is moon
There's no way I can finish this without a soundtrack

Michael Betancourt
Savannah, GA USA


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On Mon, Dec 2, 2013 at 1:37 AM, Peter Hofstad ififif...@gmail.com wrote:

 Any filmmakers in need of music for their current projects? I record
 mostly hypnagogic, loop-based music that (in my opinion) fits non-narrative
 film particularly well.

 Check out my bandcamp here for examples:
 http://eerieapartment.bandcamp.com/

 I'd love to provide a track for your film or collaborate on something.

 Thanks,
 PW Hofstad


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[Frameworks] Feb 14 appropriate movies?

[Michael Betancourt]

Here's mine: https://vimeo.com/13108795

Any other movies appropriate for February 14?

Michael Betancourt
Savannah, GA USA


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[Frameworks] email request - Bill Morrison

[Michael Betancourt]

I'm looking to get in touch with Bill Morrison. If someone can send me his 
email off list, it will be greatly appreciated.

Michael Betancourt
Savannah, GA

Sent from my iPhone
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Re: [Frameworks] films/videos using/made up of text

[Michael Betancourt]

There's my movie: A Self-Referential Film in 30 Sentences, which is
(mostly) all text.

You can see it here: https://vimeo.com/14794720

Michael Betancourt
Savannah, GA USA


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On Thu, Nov 14, 2013 at 12:42 PM, Shelly Silver silver...@earthlink.netwrote:

 dear collective knowledge base folks:
 i'm compiling a list of works using text/made up of text.  i'm especially
 interested in works by women.

 thank you!

 best,
 shelly
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[Frameworks] 1935 review Avant-garde film

[Michael Betancourt]

I'm posting this for fun:

http://www.cinegraphic.net/article.php?story=20131114205523108

I recently came across a 1935 review of Oskar Fischinger's Symphony in Blue
in the Dutch journal FilmLiga. The link above includes both a basic
translation and a pdf of the original article.

Michael Betancourt
Savannah, GA USA


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[Frameworks] new movie: The Kodak Moment

[Michael Betancourt]

After 10 months of single frame retouching to make this movie work, I'm
finally finished (and more than a little tired of frame-by-frame
retouching.)

https://vimeo.com/73802758

But the result seems worth it.

Michael Betancourt
Savannah, GA USA


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[Frameworks] Work Exchange URLs (formerly Frameworks DVD Exchange)

[Michael Betancourt]

Is anyone interested in a work exchange?

A few years ago I organized some exchanges of DVDs. That seems a bit 'old
fashioned' today so how about a list of URLs?

Just post in reply, or email me, and I'll compile a list to share and can
post to the group too.

Michael Betancourt
Savannah, GA USA


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Re: [Frameworks] Let's define things

[Michael Betancourt]

This article left me with that you're joking sense: it doesn't even get
Sheldon Renan's name right (quote: Sheldon Ren, author of *An Introduction
to the American Underground
Film*http://www.amazon.com/gp/product/052547207X/ref=as_li_qf_sp_asin_tl?ie=UTF8camp=1789creative=9325creativeASIN=052547207XlinkCode=as2tag=theindep-20,
writes that the term came into usage because “there was at the time a
feeling that the forces that be were trying to keep this certain kind of
film from being made.) Problem is, people who don't know any better will
read it and think they've learned something.

But somehow I don't think objecting will actually do any good. (It's
already in print.)

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic
www.cinegraphic.net | the avant-garde film  video blog


On Mon, Mar 4, 2013 at 7:47 PM, Beebe, Roger roge...@ufl.edu wrote:

  I tried to post a comment to this article expressing my dissatisfaction
 about her very idiosyncratic lexicon, but it seems not to have taken.  The
 author goes on to say that Citizen Kane was avant garde, completely
 ignoring the historical usage of this term.  I don't understand why The
 Independent got someone to write this article who seems to have very little
 exposure to experimental film.  (She also seems to have mostly art-world
 references for exp. film, which is another problem after the more basic
 ones.)

  Mass protest?
 R.



  On Mar 4, 2013, at 6:53 PM, Chuck Kleinhans wrote:


 http://independent-magazine.org/magazine/2013/03/Minhae-Shim_defines_experimental-film_avant-garde_video-installation

  For me, experimental film is essentially a broad strokes or umbrella
 term for moving images that explore the human condition, nature, or fantasy
 in ways that haven’t been traditionally explored before. “Experimental
 film” includes a wide range of works, from a video performance of a heavily
 made-up woman smearing her face on a pane of glass (Pipilotti Rist,*Be
 Nice to Me http://www.youtube.com/watch?v=nYDh_D1G0hU*) to Wes
 Anderson’s *Moonrise Kingdom http://www.imdb.com/title/tt1748122*.





  Chuck Kleinhans

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Re: [Frameworks] contemporary animation texts

[Michael Betancourt]

Did you try amazon.fr?

http://www.amazon.fr/Paul-Sharits-Yann-Beauvais/dp/2840662434/ref=wl_it_dp_o_pC_S_nC?ie=UTF8colid=63UVXAAAEWIJcoliid=I38BNNKQMO24D6

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic
www.cinegraphic.net | the avant-garde film  video blog


On Wed, Jan 23, 2013 at 2:51 AM, Eric Theise ericthe...@gmail.com wrote:

 On Thu, Jan 17, 2013 at 2:18 PM, Jodie Mack jodiemac...@hotmail.com
 wrote:
  Here are a few neat books on individual animators written in the past ten
  years:
  PAUL SHARITS (Beauvais)

 Would anyone care to share their opinions of this book?  I wasn't
 aware of it before this thread (thanks Jodie), and I'm not finding it
 in any libraries that I have access to.  Even Pacific Film Archive
 doesn't have it.

 I'm especially interested in analysis of Sharits' sequencing of colors
 and the effects he was trying to achieve.

 Thanks in advance, Eric
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Re: [Frameworks] downloading videos from youtube

[Michael Betancourt]

If you're on firefox, there is the download helper plug-in.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic
www.cinegraphic.net | the avant-garde film  video blog



On Mon, Jan 2, 2012 at 9:07 PM, Ed Inman edin...@earthlink.net wrote:

 An up-to-date Real Player will download  convert most YouTube videos.


 -Original Message-
 From: lj frezza ljfre...@gmail.com
 Sent: Jan 2, 2012 7:59 PM
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com,
 Experimental Film Discussion List framewo...@listserv.aol.com
 Subject: [Frameworks] downloading videos from youtube
 
 hey everyone,
 i'm working on a video and part of the concept is that it's
 constructed from footage sourced from youtube. the browser-based
 downloader i've been using doesn't seem to be available anymore, and
 i'm wondering if anyone on here has any recommendations.
 thanks
 -lj
 
 --
 ljfre...@gmail.com / 904.762.8300
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