Re: [Frameworks] Deleuze and Husserl

[Ryder White]

Amen to that.

On Tue, Aug 25, 2020 at 2:36 PM Chrissie Iles, Curatorial <
chrissie_i...@whitney.org> 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 <
> hinterland.mov...@gmail.com> 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.
>>
>> 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" 

Re: [Frameworks] optical sound film screening

[Ryder White]

Maybe it falls outside your curatorial criteria but Norman McLaren's "Pen
Point Percussion" is a good overview of his approach to the process:
https://www.nfb.ca/film/pen_point_percussion/

His "Dots" is a good illustration of that technique in use.

Ryder

On Thu, Mar 2, 2017 at 8:43 AM mrktosc  wrote:

> Primary Stimulus by Robert Russett
>
> the Chromesthetic Response Series films by Scott Stark
>
> No Art of Memory by James Otis
>
> Dresden Dynamo and Light Music by Lis Rhodes
>
> Persian Pickles (and others) by Jodie Mack
>
> Photogrammetry Series by Louis Hock
>
> -Mark Toscano
>
> On Mar 2, 2017, at 5:27 AM, Peter Szely  wrote:
>
> hello all,
>
> my name is peter szely from ima, institute for media archeology.
>
> feel free to check out our website www.ima.or.at
>
>  I have a question:
>
> ima always set itself a yearly topic in our work.
>
> this years topic is optical sound.
>
> we plan to have workshops and concerts dealing with optical sound, and we
> also plan to hav a film screening  of movies.
>
> we are interested in movies where the sound comes from manipulations and
> treatments such as drawing or scratching directly on the celluloid,
>
> do you have any recommendations of fine pieces of film working like this?
>
> thanks in advance
>
> best szely
> Peter Szely
> sz...@ima.or.at
> IMA / Institut für Medienarchäologie
> Heinrich-Schneidmadl-Straße 15
> 3100 St. Pölten
> Tel: 0043 6991 9561906
>
>
>
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Re: [Frameworks] 16mm E6 - Wittner vs. Agfa

[Ryder White]

Hey Dan,

I've shot and processed a few rolls of the Agfa aviphot and like Pip says
hand processing in E6 is very doable. I found it to be a pretty tolerant
stock for that, but then again my QC is not very exacting so take that with
a grain of salt.

I know of a few people who have used 3383 as a camera stock, myself
included, and it is worth experimenting with since it's so (comparatively)
cheap. Rate it around 6 asa and treat it more like a tungsten stock. If you
get outside in the bright sun with a fast lens you might be able to shoot
it at something close to 24fps. It's also possible to cross process it to a
positive in E6. Getting a standard, well-balanced image is not something
I've been able to do with 3383 (could also be my processing, as mentioned
before) but it's very well-suited to abstraction...

Cheers,

R

On Mon, Jan 23, 2017 at 10:00 AM, Scott Dorsey  wrote:

> I think the Wittner and Agfa films are the same film off of one big jumbo
> that was released a couple years back.  When it is gone it is likely gone.
>
> 3383 is very slow but if you can stand one or two seconds per frame it
> could be interesting.
> --scott
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Re: [Frameworks] Moviola optical reader conversion

[Ryder White]

Thanks, all, for the very useful responses!

If anyone is interested in following me down the path of this idea further:

Trying to run the phototube on 48V seems like a good first option, and
probably more feasible than replacing the tube with a photocell (although
the latter is probably a better long term solution). I'm thinking that what
I may try to do then is replace the 4-pin Amphenol connector with an XLR,
running pin 4 of the original to pin 1 of the XLR (being the ground/shield
of each, respectively), pin 2 of the original to pin 2 of the XLR (to run
the phototube, pulling phantom), and pin 1 of the original to pin 3 of the
XLR (carrying signal). I believe this is a correct interpretation of your
suggestions, Scott, but please correct me if I'm wrong.

Thx!

R

On Sun, Jan 8, 2017 at 1:01 PM, Scott Dorsey  wrote:

> I will confirm this.
>
> The coaxial connector is still made by Switchcraft, it's sold as a
> "miniature microphone connector" I believe.
>
> The 4-pin Amphenol connector may not be available any more, I don't know.
>
> Regulated 5V power supplies for disk drives and the like are fine for
> running the lamp.  The phototube wants 70V bias but can probably be tricked
> into running into mike preamp with 48V phantom, just bridging the tube
> between
> pins 1 and 2 of the preamp and tying 1 and 3 together.
> --scott
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Re: [Frameworks] chemical disposal with septic system

[Ryder White]

Re: silver removal, it is my understanding that one can use a ball of steel
wool to replace the silver in the solution if you do not care about
recovering the silver easily. If you throw steel wool in a bucket of spent
fixer the iron from the steel wool will swap the silver in solution...the
result will be an iron-rich fixer solution (relatively harmless) and a
silver sludge. Filter the sludge and the rest can probably go down the
drain without consequence, although admittedly I've never done this on a
septic system.

I have a generally poor understanding of the finer points of chemistry, so
perhaps someone wants to clarify that...but as far as I know that is the
simplest silver recovery process.

Not sure if it works in reversal bleach as I've always considered that too
harmful to dump, silver or no silver.

R

On Tue, Aug 30, 2016 at 6:26 PM, George, Sherman  wrote:

> Sarah,
> There is no magnet to attract silver.
> For small batch processing precipitation is uncomplicated and inexpensive.
> Sherman
>
> Sent from my iPhone
> Sherman George
> 858-229-4368
>
>
> On Aug 30, 2016, at 18:00, Sarah Bliss  wrote:
>
> Thanks Amanda, Scott, Pip, Sherman and David!  I very much appreciate all
> the info.
>
> I appreciate the links to Kodak’s info, Sherman.  Unfortunately, I’m not
> able to access further links from that page.  Seems I need program
> membership, but I don’t find info on what that is.
>
> Great to learn about onions as a temporary fix, Pip!
>
> Sounds like the most problematic chemicals are in bleach, fix, and
> hypoclear.   If spent chemicals are decanted and taken to a toxic waste
> site, how much of a concern are the trace chemicals and silver in washes?
> Many folks seem to think the impact on the septic system is not of major
> concern, which leaves me with a concern about drinking water and general
> environmental health.  Searches online bring up opinions running the gamut,
> but we’ll be drinking water that has these untreated chemicals in them.
>
> And do  I have it right that installing a silver recovery system is as
> simple as getting a special magnet that will attract the silver?
>
>
> Sarah
> http://www.SarahBlissArt.com 
>
>
>
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Re: [Frameworks] how to power a projector mounted on a rotating device

[Ryder White]

Hi Scott,

I've been trying to figure this out too for some time, and as far as I can
tell you need something like this:

https://www.sparkfun.com/products/13063

Or any other sort of "slip ring" that is rated for sufficient current. The
issue with a turntable is you would probably have to rig your power supply
from the top since the slip ring has to be on the radial axis of the
platform, and underneath the turntable you'd have a bunch of moving parts
and gak. But this is all conjecture since I've never followed through on
it. If anyone out there has executed something like this I would be really
interested to see some pictures.

Best,

Ryder

On Sunday, 24 July 2016, Scott Stark  wrote:

> Hi all, does anyone have an idea of how to supply power to a projector
> that’s set on a rotating device such as a turntable? Is there such a thing
> as a rotating power supply?
>
>
>
> I saw this – the main cylinder wouldn’t do it but the part that attaches
> to the wall does rotate 360, but I can’t quite figure how to make it work.
>
>
>
> https://www.youtube.com/watch?v=u64Kn5ENkE0
>
>
>
> Just wondering if anyone’s found a device designed for such.
>
>
>
> thanks –
>
>
>
> Scott Stark
>
> scottstark.com 
>
> Experimental Response Cinema 
>
> Flicker 
>
>
>


-- 

Sent from mobile device, please forgive typographic errors. -RTW
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Re: [Frameworks] 16 mm eiki hacked

[Ryder White]

Absolutely, I'd second this...I'd love to see more info on the LED and any
power supply mods you had to make to get it working. We've been talking
recently about getting a Super 8 projector modified with a light source
like this.

Thanks for sharing!

Ryder

On Thu, May 19, 2016 at 4:18 PM, Chris G  wrote:

> Hi Xavi,
>
> Looks like quite a project! Can you share any details on the LED and lens
> you're using in the projector? Are you using it as a replacement for the
> bulb or as an alternative solution for a transfer machine? I'm working on
> something similar at the moment and would be interested in knowing more.
> Please keep sharing here, I think that there's enough of an audience for
> these types of efforts.
>
> Best,
> Chris
>
> On May 18, 2016, at 20:52, FCO. JAVIER HURTADO MOMPEO 
> wrote:
>
> hello everybody
> here some pictures
> one power led instead of the halogen EIKI lamp (same power and one can
> turn it on and off fast)
> and I think that there can be seen the two shutters in the background
> (motor controlled)
> its a hacked eiki slim line proyector
> will upload a video when finish the prototype
>
> (I would not want to bother anybody, I´m not a filmmaker my field is video
> and new technologies but I find these research I´m doing call "Machines of
> the visible" closed of some of your research works.. so I will keep on
> uploading information for if somebody is interested... thanks for your time)
>
> best
> xavi
>
>
>
> Aquest correu electrònic i els annexos poden contenir informació
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[Frameworks] Best of the $100 Film Fest in Vancouver

[Ryder White]

Hello Frameworks,

Afraid I've once again missed the boat on the Weekly Listing (and/or I
haven't been getting it...is it still a thing?) but I thought I'd quickly
pop in to let those of you in the Vancouver BC area know that Iris Film
Collective and Cineworks have teamed up to host a "Best Of" screening from
CSIF's fabulous $100 Film Festival with curator Nicola Waugh introducing
the program in person. All works shown on celluloid!

More info here: https://www.facebook.com/events/229356467415833/

All the best!

Ryder White
irisfilmcollective.com
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[Frameworks] For Sale: Arri SR

[Ryder White]

Hello Frameworksers,

I'll keep this brief because I don't want to clutter up the list with
my sales pitch, but I am selling my Arri SR 16mm camera to hopefully
fund the purchase of a more versatile camera, and perhaps some of you
might be interested. It is listed on eBay here:
http://www.google.com/url?q=http%3A%2F%2Fpages.ebay.com%2Flink%2F%3Fnav%3Ditem.view%26alt%3Dweb%26id%3D151951751616=D=1=AFQjCNEh-9imVYnooXwUZBFskFks9iAQlQ

If you have any questions, please feel free to contact me off-list.

Thanks!

Ryder
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[Frameworks] Projector installation prep

[Ryder White]

Howdy, Frameworks,

I am getting ready to put up an installation next month (a short 16mm loop)
and I am getting all my gear together...does anyone have any tips for
preparing a projector for this kind of run? It won't be running
continuously, but will probably rack up an hour or two daily for four
weeks. I have a spare machine on hand, other expendables, and many copies
of the loop, but there are probably things that others have thought up that
I haven't.

Many thanks for your thoughts!

Ryder
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Re: [Frameworks] Experimental film/video from COLUMBIA S.A.?

[Ryder White]

Hey David,

If ex-pats count, one half of Ojoboca (Juan David González Monroy) is from
Colombia, currently working in Berlin. Their film Gente Perra (2014) is
based in part on a story by a Colombian author and makes reference to
aspects of the culture there particularly regarding European colonization
of South America. Might fit the bill if you're not limited to a strictly
historical program.

Best,
R

On Sun, Dec 27, 2015 at 6:52 PM, Caroline Gil 
wrote:

> Hi David,
> To add to the list of suggestions, *La Langosta Azul *(
> https://youtu.be/lYfGQ-jw-TI) would be a great addition. All of Luis
> Ospina and Carlos Mayolo’s work is fantastic, in particular their amazing
> documentary on writer Andrés Caicedo; *Unos pocos buenos amigos* (
> https://youtu.be/hmPyyIw7rCM). Víctor Gaviria has made some interesting
> fiction work, *El Vagón Rojo *comes to mind. As well as Jorge Silva and
> Marta Rodríguez, their most well-know documentary is called *Chircales. 
> *Artists
> to consider on the videtart front would be Rodrigo Castaño, Sandra Isabel
> Llano, Gilles Charalambos.
> You could expand on your search with these organizations:
> http://www.bibliotecanacional.gov.co/content/cine-experimental
> http://www.patrimoniofilmico.org.co/anterior/index1.htm
> http://www.proimagenescolombia.com/index.php
>
> Good luck on your search!
>
> On Dec 27, 2015, at 5:49 PM, FCO. JAVIER HURTADO MOMPEO 
> wrote:
>
> one of the most experimental "classic" colombian films its called
> "Agarrando pueblo" directed by Carlos Mayolo and Luis Ospina. Luis Ospina
> is still alive. Marta Rodriguez (anthropologist and filmmaker, still alive
> too) on the other hand is another key figure in the documentary engaged in
> social (indigenous) issues.
>
>
> *De:* FrameWorks [frameworks-boun...@jonasmekasfilms.com] en nom de David
> Sherman [davidgatessher...@gmail.com]
> *Enviat el:* diumenge, 27 / desembre / 2015 21:01
> *Per a:* frameworks@jonasmekasfilms.com
> *Tema:* [Frameworks] Experimental film/video from COLUMBIA S.A.?
>
> Greetings,
> We have a young video artist from Columbia S.A.  visiting Exploded View in
> a couple of weeks and I was looking for any recommendations of any works
> (are there any classics?) of Columbian experimental film/video that we
> might show to round out the bill. I am unfamiliar with works from here and
> searching for "Columbia and experimental film" ends up w/ a million links
> Columbia College & Columbia University and the other N.A Columbias...
>
>
> I did find this organization http://cineautopsia.com/ , but wanted any
> Frameworks recommendations if they exist.
>
> Best New Years wishes from Exploded View,
> David
>
> --
> David Sherman
>
> Exploded View Microcinema
> Tucson, AZ
>  520-366-1573
> www.explodedviewgallery.org
> www.davidshermanfilms.com
>
>
> Aquest correu electrònic i els annexos poden contenir informació
> confidencial o protegida legalment i està adreçat exclusivament a la
> persona o entitat destinatària. Si no sou el destinatari final o la persona
> encarregada de rebre’l, no esteu autoritzat a llegir-lo, retenir-lo,
> modificar-lo, distribuir-lo, copiar-lo ni a revelar-ne el contingut. Si heu
> rebut aquest correu electrònic per error, us preguem que n’informeu al
> remitent i que elimineu del sistema el missatge i el material annex que
> pugui contenir. Gràcies per la vostra col·laboració.
>
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> recibido este mensaje electrónico por error, le rogamos que informe al
> remitente y elimine del sistema el mensaje y el material anexo que pueda
> contener. Gracias por su colaboración.
>
> This email message and any documents attached to it may contain
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[Frameworks] The eye in experimental cinema

[Ryder White]

Hello Frameworkers,

I am currently embarked on designing an installation the draws on cinematic
instances of the human eye and, as I write about it, I'm interested in
finding examples of the eye as a major symbolic device, particularly in the
realm of experimental and avant-garde cinema. I can think up a couple of
examples...Man With The Movie Camera, for instance, or Un Chien Andalou,
but I'd be happy to hear of other such appearances.

If it helps narrow the (admittedly broad) field, of particular interest are
examples where the eye is used to refer to the cinematic apparatus itself,
or the camera's voyeur qualities.

Thanks in advance!

Ryder
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[Frameworks] Fwd: Iris Film Collective presents End Of The World U.S. Tour

[Ryder White]

Howdy Frameworks! I am pleased to finally put this notice out to the hive
mind - following in the tradition of many other great filmmakers, we are
hitting the road to bring our films closer to you. I (Ryder) will be in
attendance at all of these shows, so if you live nearby any of them and
want to check them out, I would love to meet you.

Please see below or get in touch with me personally for more information.

Best!

R

-

Iris Film Collective is happy to announce a multi-destination travelling
exhibition of new analog film work which will take place in October and
November of 2015. The "End Of The World Tour" will present eight new films,
all of which consist of hand-processed black and white 16mm film, as well
as various other works by members of the collective. The films in the main
program represent eight unique perspectives on the idea of the 'end of the
world.' They also evoke the tenacity of life in an untenable environment,
and together serve as a statement on the group's use of celluloid film
despite the changing industrial landscape which enables the medium. From
semi-narratives to poetic meditations on space to hard-wrought cameraless
abstraction, the End Of The World is far more fruitful than its name
suggests.

The collective is composed of Vancouver, BC film artists Ariel
Kirk-Gushowaty, Zoe Kirk-Gushowaty, Alex MacKenzie, Lisa g Nielsen, Sydney
Southam, Michèle Simone Smith, Amanda Thomson, Ryder Thomas White, and John
Woods. Since 2014, the group has been creating their own work,
collaborating with community members, and hosting exhibitions of work by
their colleagues from across the world. They are currently artists in
residence for the City of Vancouver's Fieldhouse Residency Program, and are
working out of their studio at Falaise Park until the end of 2017.

The End Of The World Tour will take place on, in, and at:

Oct. 6 - Seattle, WA - EXcinema / Grand Illusion Cinema
Oct. 12 - Portland, OR - Northwest Film Center
Oct. 15 (7:30pm) - Tucson, AZ - Exploded View Microcinema
Oct. 18 - Albuquerque, NM - Basement Films / Graft Gallery Collective
Nov. 14 - New Orleans, LA - The Front
Nov. 19 (8:30pm) - Oakland, CA - Black Hole Cinematheque

All shows at 7pm unless otherwise indicated.

More Information:
www.irisfilmcollective.com
Facebook.com/IrisFilmCollective
Twitter.com/IrisCollective
Trailer: https://vimeo.com/138456956

Press:
Interview with Luma Quarterly:
http://lumaquarterly.com/issues/2015/001-summer-2/dark-corners/
Interview on CFRO Co-Op Radio:
http://www.coopradio.org/content/make-better-world-105
Interview with Discorder Magazine:
http://www.discorder.ca/discorder-magazine/index.php/2015/07/15/the-iris-film-collective/
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Re: [Frameworks] Kid-friendly films?

[Ryder White]

I've had some success showing John Smith films in this context
before...Girl Chewing Gum is good, and Om if you're after something
shorter. Both have a lot of teachable elements if that's interesting to
you.

And of course, there's the early avant garde films...Symphonie Diagonale
Retour a la Raison, etc. I also liked showing Len Lye films ( colourful,
usually not too long). I guess my suggestion here is that direct-film
techniques rarely produce content of questionable moral fibre :)

R

On Sunday, July 12, 2015, Chris Freeman christopherbriggsfree...@gmail.com
wrote:

 EFF Portland had a family friendly screening on one of the days of the
 festival in 2013.  This is the list of films from that:


 *Whale Story*, dir. Tess Martin
 *Borboletas Delicadas (Delicate Butterflies)*, dir. Wladymir Lima
 *Background Singer*, dir. Javier Villegas
 *(Dis) Connect 2*, dir. Emeka Ogboh
 *Never Be That Tough*, dir. Nancy Jean Tucker
 *It Doesn’t Matter*, dir. Lori Felker
 http://www.undergroundfilmjournal.com/tag/lori-felker/
 *Pargu*, dir. Sean Grounds
 *Spring Tide*, dir. Sean Hanley
 *You Are Here*, dir. Leslie Supnet
 http://www.undergroundfilmjournal.com/tag/leslie-supnet/
 *Rolling Stock*, dir. Dan Inglis
 *9 Pixels of Katy Perry – “California Gurls”*, dir. William Burn
 *Free Movements*, dir. Mikhail Basov

 On Sun, Jul 12, 2015 at 9:01 PM, Dan Anderson bcfilmf...@gmail.com
 javascript:_e(%7B%7D,'cvml','bcfilmf...@gmail.com'); wrote:

 Hey all,

 Just wondering if anyone has recommendations for avant-garde films that
 go over well with kids (12 and up). I'm not very good with censorship and
 always forget that there is something  inappropriate with most of my
 favorite movies... even just a good PG narrative is hard to find..

 So far my go-to is usually Neighbours by McLaren, and Dr. Strangelove
 for a good narrative that won't get me in trouble..

 thanks!



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Re: [Frameworks] research question: pos/neg-film and chemistry on film

[Ryder White]

I think Al Razutis did it to varying extents in the Amerika films.

RW

On Friday, May 8, 2015, Peter Mudie peter.mu...@uwa.edu.au wrote:

 Yes No Maybe Maybe Not
 (Malcolm Le Grice, 1967)
 Peter
 (Perth)

 From: Rick Prelinger foot...@panix.com
 javascript:_e(%7B%7D,'cvml','foot...@panix.com');
 Reply-To: Experimental Film Discussion List 
 frameworks@jonasmekasfilms.com
 javascript:_e(%7B%7D,'cvml','frameworks@jonasmekasfilms.com');
 Date: Saturday, 9 May 2015 6:45 am
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 javascript:_e(%7B%7D,'cvml','frameworks@jonasmekasfilms.com');
 Subject: Re: [Frameworks] research question: pos/neg-film and chemistry
 on film

 The beginning of Master Hands, online at archive.org.

 Rick

 Rick Prelinger
 Prelinger Library  Archives, San Francisco
 foot...@panix.com javascript:_e(%7B%7D,'cvml','foot...@panix.com');

 Associate Professor, Film  Digital Media
 UC Santa Cruz
 r...@ucsc.edu javascript:_e(%7B%7D,'cvml','r...@ucsc.edu');
 On May 8, 2015 12:28 PM, viktoria schmid viktoria.sch...@gmx.at
 javascript:_e(%7B%7D,'cvml','viktoria.sch...@gmx.at'); wrote:


 Hello Frameworkers!  I am sure you can help me!

 I am researching ...


 a film where the negative and positve image is clued or printed on top of
 each other (with a slightly shift  so that a relief-effect is created.
 does anyone know title and filmmaker?

 and films in which chemistry was used directly on the film.


 Thanks in advance for any of your suggestions and your help!

 viktoria






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Re: [Frameworks] film out to 16mm

[Ryder White]

Hey Rob, I am pretty sure Niagara offers the service:
http://niagaracustomlab.com/?page_id=17 although I've never used it, so I
can't attest to it.

Cheers!

Ryder

On Tue, May 5, 2015 at 1:10 PM, Rob Christopher random...@gmail.com wrote:

 Greetings,

 I am about to finish a feature film digitally that was originally shot on
 16mm, and would like to create a 16mm film out print from my final digital
 file. (The movie is called PAUSE OF THE CLOCK ... you can read more about
 it here: http://kck.st/14DP69l)

 Is anyone capable of doing this anymore? Fotokem only does 35mm workflow
 now. The finished movie is 78 minutes.

 Thanks very much for any advice or leads you can offer!

 Regards,
 Rob Christopher

 www.randomcha.net
 Twitter: @randomcha http://twitter.com/#%21/randomcha

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Re: [Frameworks] Single-shot fixed camera landscape/cityscape films

[Ryder White]

Some of Chris Welsby's films might fit the bill: River Yar Tree
Anemometer Park Film all come to mind.

Ryder

On Monday, February 2, 2015, _blank bl...@null66913.net wrote:

 Hi,

 I’m looking for single-shot fixed camera landscape/cityscape films, as
 “Empire” by Andy Warhol or “Fog Line” by Larry Gottheim. When I say
 “landscape/cityscape” I mean it in the broadest sense of the term, I’m
 interested in all kinds of landscapes/cityscapes, with or without human
 figures.

 Any suggestions?

 Thank you!
 Blanca

 (Ø)
 _
 _blank
 www.null66913.net
 www.mediateletipos.net

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Re: [Frameworks] Super 8 camera BROKE!!!!!

[Ryder White]

I'd agree with the others..try another cartridge. The same thing happened
to me on a couple different cartridges I got from the same case...it seems
like a manufacturing defect made the hub seize up.


On Wed, Aug 20, 2014 at 3:28 PM, Scott Dorsey klu...@panix.com wrote:

 Are you sure it's a bad camera and not just a bad mag?
 --scott
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Re: [Frameworks] Vancouver Experimental Screenings?

[Ryder White]

DIM is a monthly moving image art screening series in Vancouver held at the
Pacific Cinematheque. They usually have excellent stuff, but it seems like
they might be taking a break next month. Regardless, Cinematheque is often
showing something cool. http://www.thecinematheque.ca/dim

If you are willing to take on student work, I know that the grad show for
Emily Carr University begins on May 4...it varies with the year, but
there's frequently some enjoyable work as well.
http://www.ecuad.ca/about/events/310279

Enjoy your trip!

RW

On Friday, April 25, 2014, cont...@benjaminrtaylor.com wrote:

 Hi, group,

 I'm visiting Vancouver in early May and was wondering if there are any
 regular screenings or resources to check out some interesting cinema.

 Cheers,

 Benjamin R. Taylor

 www.benjaminrtaylor.com
 www.visionsmtl.com







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Re: [Frameworks] Screen Recorders

[Ryder White]

Xserve

On Wednesday, April 23, 2014, chris bravo iamdir...@gmail.com wrote:

 I use this a lot:
 iShowUssszstsxtzzy
 https://itunes.apple.com/us/app/ishowu-hd-pro/id449093286?mt=12

 and its pretty easy to get for free if you are open to thievery


 On Wed, Apr 23, 2014 at 7:59 PM, Aaron F. Ross 
 aa...@digitalartsguild.comjavascript:_e(%7B%7D,'cvml','aa...@digitalartsguild.com');
  wrote:

 Camtasia is the gold standard for screen capture. I use it professionally
 on a daily basis. It *does* capture absolutely everything, picture and
 sound.

 The main issue with screen capture software is the cursor. It is on a
 different plane overlaid on the rest of the desktop. Some software does not
 even capture the cursor at all. Camtasia works around this by capturing the
 cursor commands and generating its own cursor. So it does have minor
 issues. For example, if you zoom in on the screen using Magnifier, the
 cursor is the wrong size and place.

 But generally, Camtasia is pretty foolproof. It uses a proprietary codec
 that is lossless and very, very efficient. It's worth the $300 price tag if
 you use it regularly.

 Aaron




 At 4/23/2014, you wrote:

 There are a number of screen recording products, like Bulent Screen
 Recorder for PC, that promise to capture anything that appears on your
 screen. Is that true? Anything? No exceptions?
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   Aaron F. Ross, artist and educator
   http://dr-yo.com
   http://digitalartsguild.com

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Re: [Frameworks] super 8 transfers?

[ryder . white]

Hi Dan,

Where are you located? There are a number of good options I can think of but if 
you're looking for low cost, you don't want to be going all across the 
continent. And low-cost is pretty relative...most of the services I know of 
(that produce acceptable results) come in between $.50 and $1/ft for HD or 2K.

Here's a cursory list (but I'd be eager to hear others' suggestions). Some are 
more expensive than others, but I don't think that any have exorbitant set up 
charges:

Frame Discreet (Toronto)

Lightpress (Seattle)

Movette (San Francisco - they have a Kinetta machine and do transfers quite 
affordably, it seems, though I haven't yet been able to use them personally)

And there's always Kinetta Archival in NYC!

Hope that helps a bit.

RW



Sent from mobile - please excuse typographical errors.

-Original Message-
From: Dan Anderson bcfilmf...@gmail.com
Sender: FrameWorks frameworks-boun...@jonasmekasfilms.comDate: Sat, 15 Mar 
2014 15:35:55 
To: Experimental Film Discussion Listframeworks@jonasmekasfilms.com
Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Subject: [Frameworks] super 8 transfers?

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Re: [Frameworks] exp film orgs suggestions

[Ryder White]

In Vancouver, the Pacific Cinematheque has excellent programming that
includes classics, new alternative releases, and experimental work. They do
an educational outreach program for youth. PC shares a building with
Cineworks, a local film co-op.

The Winnipeg Film Group is also a great organization that operates as both
a member-based production organization and as a screening space (the
Winnipeg Cinematheque). I'm not too up on their youth programming, but I
know they run a spring break film workshop for teens.

Aaand while we're talking about the most excellent Basement Films, it is
also worth mentioning the Guild Cinema in Albuquerque (where some of
Basement's festival Experiments in Cinema is held). Their programming is
fabulously diverse, and, if I recall correctly, I was able to sneak into my
first burlesque show ever there at age 14. If you ever wanted to interest
young people in film, that's one way to do it.

Cheers,

RW


On Tue, Mar 11, 2014 at 3:29 PM, Huckleberry Lain huckleberryl...@gmail.com
 wrote:

 Hello friends

 I'm putting together a lecture for USC at the end of March and I'm
 organizing a list of micro-cinemas, exp film orgs and periodicals for young
 filmmakers to get to know.  I'm mainly looking for organisations that are
 supportive of *young *filmmakers like Echo Park Film Center, but I'm also
 including some places they can go to watch important classics like PFA (I'm
 staying away from film festivals).  Here's my current list (I know I'm
 forgetting a bunch):

 LA Filmforum

 Echo Park Film Center

 Academy Film Archive

 Anthology Film Archive

 Pacific Film Archive

 Millennium Film Workshop

 Artists Television Access

 Light Industry

 RedCat

 Harvard Film Archive

 MoMA

 Pittsburg Filmmakers

 Filmmaker's Co-operative

 ABC No Rio

 Black Hole Cinematheque

 Lux Center for Film and Video Art

 CineWest

 MoCA

 Pasadena's Armory Center for the Arts

 SF Cinematheque

 OtherCinema

 iotaCenter

 CVM

 ReVoir

 Frameworks - hi-beam.com

 40 Frames

 Dublab

 Prelinger Archive

 OtherZine

 Millennium Film Journal

 Bomb!

 LA Record

 Thanks for your help!


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Re: [Frameworks] new architecture/buildings/rooms wired with cameras and mics

[Ryder White]

Hi Shelly,

A few years ago, when I was still in university, our contemporary arts
department moved to a new purpose-built facility complete with a lot of the
kind of integrated infrastructure I think you're talking about. Instead of
having a lot of independent systems, every lecture hall and seminar room
had all the media playback and recording devices (as well as the lights,
screens, blinds, etc) controlled by the same console that was linked back
to a central server. It made for a much nicer space in that there weren't
wires and cables and carts everywhere, but it was still fraught with
difficulty. One of the main problems was that the configuration of each
space was only MOSTLY the same...they all differed somewhat. Besides that,
the control interface itself was not particularly intuitive.

To my mind, it is a nice thing to do but only if it can be done in a very
particular way. For one thing, ensure consistency throughout your systems,
because learning one new way of using a space is hard enough. Secondly,
demo your interface options extensively and always ask yourself Is this
something that the least technologically literate person in our
organization could use? It's pretty awful when class/session/presentation
time gets cut down because you can't figure out how to differentiate the
projector controls from the lighting ones.

Hope that helps. I only have experience with the one setup, though, so I'd
like to hear if anyone knows of more positive implementations.

Best,

RW


On Fri, Dec 6, 2013 at 1:10 PM, Shelly Silver silver...@earthlink.netwrote:

 dear all:
 does anyone have experience, good or bad, with rooms pre-built with
 wiring, cameras, mics.  not for surveillance but for filming lectures, etc.
 im involved in the pre-planning of a building and i want to collect
 experiences.

 thanks!
 shelly
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Re: [Frameworks] (no subject)

[Ryder White]

Hi Daniel, We've often used D-76 in our workshops because it's half the
price of D-19 if you're buying it off the shelf (which we do). If you're
mixing your own, however, you might not have that issue and I'd have to say
all things being equal that I prefer the D-19 (just to add my voice to the
chorus). One thing we've done to sort of split the difference is use D-19
for the first developer (I assume you're processing as reversal) and D-76
for the second. Seems to work well for us.

Best of luck,

RW


On Thu, Oct 31, 2013 at 7:05 AM, Daniel Boos d.alexanderb...@gmail.comwrote:

 Has anyone any experience hand-processing Super 8 Kodak Tri-X 7266? If so,
 what developer would you suggest? I mix my own D-76 and D-19. Can anyone
 confirm if D-76 yields a good result? Thanks!


 --
 *Daniel Boos*
 Moving Image Artist
 +44 (0)7719 771712
 d.alexanderb...@gmail.com
 skype: danny.boos




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Re: [Frameworks] Animated Conversations

[Ryder White]

Chris Landreth's Ryan, which is sort of the extension of a conversation
between Landreth and animator Ryan Larkin, may fit your query. It's online
here: http://www.nfb.ca/film/ryan/

RW


On Sat, Oct 26, 2013 at 4:13 PM, Jon Dieringer jon.dierin...@gmail.comwrote:

 Hi Frameworks Members

 As research for an article I am writing, I'm curious to learn more of
 films that might take the form of animated conversations -- audio
 interviews rendered visually by animation -- or perhaps more broadly
 animated or collage works based on extant audio of speech (whether found or
 deliberately recorded).

 Thank you for giving it your consideration!

 Warm regards,
 Jon

 --
 *SCREEN SLATE http://www.screenslate.com/ / Publisher-Editor /
 Independent, Repertory  Gallery Screening Listings*
 *SPECTACLE http://www.screenslate.com/ / Programmer / A community
 screening space in Williamsburg, Brooklyn**
 *
 *330.265.3875 / jon.dierin...@gmail.com / follow screen slate on 
 facebookhttp://www.facebook.com/screenslate
 twitter http://twitter.com/#!/screenslate*

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[Frameworks] Canadian Frame(lines) retro media night in Halifax

[Ryder White]

Hey Frameworks! Sorry for the slim notice, but the cross-Canada filmmaking
venture Alexandra Caulfield and I have been working on has been invited to
present about using Super 8mm and hand processing in a community art
project at Saint Mary's University in Halifax, NS.

The event is tomorrow evening (Monday the 23rd) at 7pm--see the facebook
event below for more details. Our black and white cross sections of rural
Canada will be followed by Home Bodies, an investigation into
locally-sourced VHS archival material. If you are in the Halifax area, we'd
love to see you!

Facebook event: https://www.facebook.com/events/184075211778678/

Cheers!

Ryder
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Re: [Frameworks] Alpha Cine discontinuing film processing

[Ryder White]

It's a joke, Mr. Kreines.


On Mon, Sep 16, 2013 at 7:53 PM, Jeff Kreines j...@kinetta.com wrote:


 On Sep 16, 2013, at 6:40 PM, Ryder White ryder.wh...@gmail.com wrote:

 Wow, way to make me look like a buffoon, A/C. And to think I just
 recommended you…


 Not sure this is all about you, Mr. White….  there are greater things at
 stake than you appearing to be a buffoon, I think.





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Re: [Frameworks] Alpha Cine discontinuing film processing

[Ryder White]

Consider me duly chastened. It won't happen again, sir. (late 80's - 90's,
I think)


On Mon, Sep 16, 2013 at 8:26 PM, Jeff Kreines j...@kinetta.com wrote:


 On Sep 16, 2013, at 7:06 PM, Ryder White ryder.wh...@gmail.com wrote:

 It's a joke, Mr. Kreines.


 Tone, tone, tone.  (And I don't mean the 80's band, or was it 90's?

 Jeff Kreines
 Kinetta
 j...@kinetta.com
 kinetta.com
 kinettaarchival.com



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Re: [Frameworks] buy dev + print 16mm film in America

[Ryder White]

If you have an address you'll be staying at on the east coast, you could
always order ahead from kodak so your film is there when you arrive (this
has helped us out a lot as we travel). I don't have any experience with LA
labs but Alphacine (http://www.alphacine.com) in Seattle does high quality
work if you can handle the shipping.

RW


On Sat, Sep 14, 2013 at 8:09 PM, Chris G spy...@gmail.com wrote:

 If you're in NYC you can purchase it directly from Kodak at their office
 inside of Panavision (go in, fill out a form, pay and get it in 20-30
 minutes).

 On Sep 14, 2013, at 14:30, Stefan Grabowski ste...@radonlake.com wrote:

 Hi Sophie,

 If you'll be in New York , you can buy 100' rolls of 16mm film from 
 BHhttp://www.bhphotovideo.com/.
 Hunt's Photo http://huntsphoto.com/ in Boston also stocks 16mm. Or you
 could purchase directly from Kodak if you can wait for them to ship it.

 For prints - FotoKem 
 http://fotokem.com/services/film_laboratory.phpsupposedly does good work 
 though I haven't had much experience with them.
 If you have time to send it to the East Coast, I highly recommend sending
 to Colorlab http://www.colorlab.com/ in Maryland.

 Best,

 Stefan

  Date: Sat, 14 Sep 2013 10:53:49 +0100
  From: m...@sophielascelles.co.uk
  To: frameworks@jonasmekasfilms.com
  Subject: [Frameworks] buy dev + print 16mm film in America
 
  Dear All,
 
  I will be touring the US for 2 months, can anyone tell me how much it
  costs to buy, develop and print a roll of 100 ft 16mm negative film? How
  do prices compare to the UK? Also where do I buy film on the east coast
  and where do I dev + print in LA?
 
  Thanks
 
  Sophie
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Re: [Frameworks] Eastman 2210

[ryder . white]

Afraid I don't have any info, Graeme, but have you had any success finding 2210 
to order? I tried chasing it down through Kodak USA a couple years back and got 
dead ends.

Cheers

Ryder

Sent from mobile - please excuse typographical errors.

-Original Message-
From: graeme hogg graemeh...@irational.org
Sender: FrameWorks frameworks-boun...@jonasmekasfilms.comDate: Wed, 28 Aug 
2013 22:18:02 
To: Experimental Film Discussion Listframeworks@jonasmekasfilms.com
Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Subject: [Frameworks] Eastman 2210


Has anyone had any experience using the Eastman B/W 2210 16mm stock?
This is the so called Surveillance one. Fine grain negative.

Any info useful at this stage?




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Re: [Frameworks] Q for the list: digitize 16mm mag stock reels

[ryder . white]

I've worked mostly with places in Vancouver, but I find that a lot of 
soundhouses still have their old magnatechs around and are not using them. So 
if you hit the right group of people they might just charge you a flat rate to 
dump the sound onto a hard drive (hopefully the reels don't need a lot of 
attention, otherwise you're looking at more cost).

Hope that helps!

RW

Sent from mobile - please excuse typographical errors.

-Original Message-
From: Rob Christopher random...@gmail.com
Sender: FrameWorks frameworks-boun...@jonasmekasfilms.comDate: Sat, 10 Aug 
2013 09:49:05 
To: frameworks@jonasmekasfilms.com
Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Subject: [Frameworks] Q for the list: digitize 16mm mag stock reels

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[Frameworks] R-9 Ingredients Ottawa/Montreal

[Ryder White]

Hey all,

Does anyone know of a good source for R-9 bleach ingredients (H2SO4 and
K2Cr2O7) in Ottawa or Montreal? We'll be passing through in the next day or
so and are looking to refresh our supply.

Muchos gracias!

RW
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Re: [Frameworks] Frame Discreet 2K

[Ryder White]

Thanks very much, Roger and Karl, for the advice! Sounds like an excellent
option.

ryder


On Sat, Apr 27, 2013 at 6:53 PM, Karl Reinsalu kreins...@gmail.com wrote:

 Frame Discreet is a great place to get 2K scans if you are in Toronto or
 Ontario. Their frame accurate system, quality colour correction and keen
 eye for detail has made many a fellow filmmaker up here jump for joy with
 the results.  I personally have had detail pulled from what I thought were
 totally blown out highlights once FD got my print into their machines. This
 positive edge is also to be said about the general quality of work as I've
 heard from others about having their faith in film regained as a medium
 after having FD re-transfer their prints that were inadequately transfered
 by other companies in the city.

 I'm often finding myself shooting in lower frame rates such as 8fps and
 16fps and their delivery method allows for me to edit (NLE) my content at
 it's proper frame rate in order for me to have a totally accurate
 film-output for my release print. That being said, this did not stop Sarah
 Polly from utilizing their services for super 8 contend for her latest
 feature documentary Stories We Tell.

 As Roger said, they are more than willing to provide samples of their work
 if you ask. Their website already does have content to peruse.

 Cheers!

 Karl Reinsalu - LIFT Technical Coordinator - (www.lift.ca)


 On Sat, Apr 27, 2013 at 4:46 PM, Roger Wilson 
 rogerdwil...@sympatico.cawrote:

 Hi Ryder,

 I have used Frame Discreet for many SD transfers in the past and know
 fellow filmmakers who have used their HD transfers, I only have good things
 to say about Frame Discreet and Justin Lovell. But if you like to see
 samples I am sure they can provide something for you to view they are a
 very helpful bunce!

 Good Luck!



 Roger D. Wilson
 613 324 - 7504
 rogerdwil...@sympatico.ca
 http://www.rogerdwilson.ca

 Without failure you can never achieve success. I have based my process
 and my career as an experimental film artist on this statement; and I
 welcome it as it pushes me forward as an artist to try something different,
 something new.
 *
 *


 --
 Date: Sat, 27 Apr 2013 12:52:23 -0300
 From: ryder.wh...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Subject: [Frameworks] Frame Discreet 2K


 Hello all,

 Has anyone used Frame Discreet in Toronto for their 2K digital transfer,
 especially for colour super 8? Looks like a decent deal but I can't say
 that I've seen any work come out of there personally...

 Thanks,

 RW

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 --
 Karl Reinsalu
 e.mail: kreins...@gmail.com

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[Frameworks] Frame Discreet 2K

[Ryder White]

Hello all,

Has anyone used Frame Discreet in Toronto for their 2K digital transfer,
especially for colour super 8? Looks like a decent deal but I can't say
that I've seen any work come out of there personally...

Thanks,

RW
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[Frameworks] Eumig 300xl Super 8mm Camera

[Ryder White]

Hello all,

A month or two ago someone in a community I was working in gave me a super
8 camera owned by his former business to add to the arsenal of cameras our
project already uses. It's a Eumig 300xl, pretty nice camera really with a
fast lens. It worked great for the first few rolls we put through it but
recently it has been yielding footage that inexplicably turns black for a
few feet at a time. This phenomenon seems unrelated to other functions of
the camera–it happens at the beginning of shots, in the middle of shots,
sometimes spans multiple shots. It happens at 18fps, 9fps, and single
frame. And all other factors besides! We're shooting Tri-x and
handprocessing it so originally I thought it was a processing error but the
frames in the black sections will show no sign of exposure when inspected
with a loupe, not even frame lines, when the good portions of the film come
out perfect.

I've been totally unable to wrap my brain around this problem, but maybe
it's something totally obvious. Has anyone run into this problem before? Or
does anyone have a 300xl manual?

Many thanks,

Ryder
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Re: [Frameworks] 8mm/16mm looping

[Ryder White]

hi matthew,

what do you need to achieve with the loop? 10ft is pretty easy, especially
for 16mm. if you want to hang the loop or make it change direction i would
recommend using daylight spools–that is, if you don't mind some fine
scratches. anything can be used to help form a loop...some have suggested
coathangers, suspended wire, and i have a friend who uses those 1 steel
rings that unclip (i think they are office supplies...they have a hinge and
are used to clip things together through a hole punch) to suspend the film
which is also good because it only touches the edges of the film and keeps
it much cleaner. regardless, there is going to be crap accumulating in your
projector so make sure you can clean it at intervals.

most of what i know about loops comes from old frameworks conversations
anyway, so i won't take the credit away from other people...it's googlable
on the archive. there was a thread about the loop in academic writing on
FW about a week ago, come to think of it.

oh! and one thing i really like is if you can have your film illuminated
from the back so it's easy to look though (if the projector is in a public
space). just lends kind of a neat sculptural touch.

cheers,

RW

On Sat, Jan 19, 2013 at 10:34 PM, matthew brown 
matthewfrancisbr...@gmail.com wrote:

 Hi,
 I am trying to set-up a basic loop on a super-8 projector and also a 16mm
 projector,
 the film would be pretty short, no more than 10ft.

 anyone with experience with looping have
 suggestions/readings/instructions???


 thanks so much,
 matthew brown

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Re: [Frameworks] sound on film

[ryder . white]

Hey scott, I don't know where you're located but I'm pretty sure transit audio 
in toronto is still shooting opticals. They're nice guys and very skilled.

RW


Sent from mobile - please excuse typographical errors.

-Original Message-
From: Scott Dorsey klu...@panix.com
Sender: frameworks-boun...@jonasmekasfilms.com
Date: Fri, 30 Nov 2012 14:38:51 
To: frameworks@jonasmekasfilms.com
Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] sound on film

 Actually, Alpha Cine does not make optical tracks. For making optical
 tracks on the west coast there is Gibbs Chapman
 in SF, and then a handful of places in Los Angeles... Chace, NT, DJ.

 I don't know about Cinelab.

Cinelab sends theirs out to Gibbs Chapman.  Alpha Cine also contracts it
out but I don't know who they send it to.
--scott
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[Frameworks] Scrap Film (Vancouver-ish)

[Ryder White]

Hello all!

Does anybody in the Vancouver area have any junk 16mm prints (or negs)
they'd be willing to let go for cheap or free? I'm doing a hand film
workshop and I could use some more scrap than I currently possess. Let me
know off list.

Many thanks!

Ryder
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Re: [Frameworks] humorous experimental films

[Ryder White]

jason already mentioned hotel diaries by John Smith; i'd add most of John
Smith's work to that list. Girl Chewing Gum, Gargantuan, and I laughed out
loud (which is uncommon for me) at Om.

cheers!

RW

On Tue, May 22, 2012 at 9:19 PM, David Tetzlaff djte...@gmail.com wrote:

 I'm all for droll humor, but I wouldn't call Wavelength a laugh riot. It's
 a long wait before Hollis shows up. I think there's a lot of humor in
 Frampton, especially Hapax Legomena 1-3 [(nostalgia), Critical Mass, Poetic
 Justice) but it's subtle, and tickles the back of your brain more than
 boinking your funnybone.

 Experimental films are rarely 'just' funny. Where you find humor it's
 often mixed in a very unstable balance with darkness. How can I shave when
 I can't think of s reason for living? Cracks me up every time. Cause I've
 already been through the angst straight, you know.

 For American films, some that come to mind:
 The Geography of the Body, (Willard Maas) which is the rare
 straightforward comedy.
 The End, (Christopher Maclaine) which is intermittently hilarious and
 apocalyptic.
 Flaming Creatures (Jack Smith) (it helps if you know it's a comedy going
 in)
 Hold Me While I'm Naked, Sins of the Fleshapoids and other early George
 and Mike Kuchar stuff.
 Oh Dem Watermelons (Robert Nelson)
 Blonde Cobra (Ken Jacobs) again funny parts amidst a darker vision overall
 Recreation (Robert Breer)
 New Improved Institutional Quality (George Landow aka Owen Land)

 other Breer, Nelson and Landow works also have their share of humor

 Then there are some experimental films that are more 'fun' than funny,
 such as Cosmic Ray by Bruce Conner, Roger Beebe's TB/TX Dance, Peace
 Mandala by Paul Sharits.

 good luck, (or good yuck) Let there be rejoicing!

 djt


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Re: [Frameworks] books on alternative/diy film distribution

[Ryder White]

Likewise–I think there'd be considerable demand for it!

RW

On Sun, Apr 29, 2012 at 11:27 AM, Tim Halloran televis...@hotmail.comwrote:

 I would be very interested in this--please post info when it becomes
 available.

 Tim

 Sent from my iPhone

 On Apr 29, 2012, at 11:21 AM, Beebe,Roger W roge...@ufl.edu wrote:

 There's a wonderful, as-yet unavailable collection edited by Andrea Grover
 and Ed Halter called *The Microcinema Primer* that'd be just what you're
 looking for.  I know they're trying to figure out a way to make this
 available in relatively short order, so hopefully there'll be news before
 long about precisely how that'll be.

  (I have one of the 50 exemplars they made to satisfy a grant.  It's
 really a great resource, covering a wide range of DIY practices.)

  ...
 R.

  On Apr 29, 2012, at 2:15 PM, matt's frameworks address wrote:

 hello Frameworkers,

 Wondering if anyone has any recommendations on good books or articles
 about alternative film distribution.  I know there are a number of texts
 out there focusing on self distribution of independent features, but I am
 hoping to find something that addresses experimental, short, and other
 sorts of films, and addresses things such as film festivals, micro-cinemas,
 and the like... truly DIY distribution for the filmmakers working far from
 the mainstream system.

 thanks!

 -Matt

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