Re: [Frameworks] Film to digital photo to video on a JK

[Sasha Janerus]

Don't think I've waded in on this, but forgive the redundancy if I have. 
Nicolas Rey has a setup at L'Abominable folks might be interested in, either in 
part or whole. Instead of a JK he uses a consumer projector--I think a variable 
speed running at something like 4 or 6 fps. On the other end is an industrial 
still camera triggered by a light sensor--maybe just an LED--at each light 
burst. Probably some ground glass in between. From my understanding the 
quality's comparable to a JK setup, since it's grabbing stills of each frame, 
but runs considerably faster. I might have some specs I could dredge up but 
they're probably in French and dated, and I imagine interested parties would do 
best to contact the man directly.

This is the sort of thing some of us had hoped to get going at MFW. Hopefully 
Josh Lewis, or some other worthy, will fill the void.

-Original Message-
From: "Joe Ventress" 
Sent: ‎11/‎12/‎2015 6:21 PM
To: "Experimental Film Discussion List" 
Subject: Re: [Frameworks] Film to digital photo to video on a JK

Hi Chris, my friend and I have JK's. He has developed a controller that will 
allow any digital slr to function as the capture device. It replaces the 
mechanical/cam driven device that comes with the JK. All that to say that I/w 
would be interested in participating in a more JK specific forum. Being able to 
capture s16mm and 16mm footage in this manner is a game change for us, the cost 
of hd telecine is insane here in LA. Keep me posted.


my email is jrventr...@gmail.com


Best, 
Joe V.
Red Route Tech
Hopscotch Opera
Hopscotchopera.com


On Mon, Nov 9, 2015 at 4:02 PM, Chris G  wrote:

Hi Zach,


I started implementing Matt's mcopy on my JK somewhere around the beginning of 
the year. It's a really nice system. It took me a while to work out some of my 
own kinks and apply his ideas to a slight varied setup. I've only seen excerpts 
from Break the Machine, but I was really excited about what I saw, especially 
having some greater familiarity with some of the specific projects. 


I ordered the LZC-83MC00. I will order the MR16 1 drivers as well, do you know 
of any North American/European distributors? I can't find any. I want to reach 
out to you about your hack once I have them. 



I agree a thousand times over that we are at a very exciting conjunction with 
film + digital technology. I would really enjoy it if there were a more common 
forum for this subset of film-users. It seems like neither here, 
cinematography.com or more tech/code centered sites are necessarily very active 
with this information, but it (seems) like there are a number of people working 
on similar projects, at least in the experimental community. If you/anyone out 
there listening are interested, I think it would be nice to start a wiki/forum. 



Chris


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Re: [Frameworks] Film to digital photo to video on a JK

[Sasha Janerus]

Well, I was about 20% right!

On Thu, Nov 12, 2015 at 11:49 PM, Pip Chodorov 
wrote:

> Oh sorry, of course the camera has a lens.
>
> At 13:42 +0900 13/11/15, Pip Chodorov wrote:
>
>> It runs at 18fps and the camera is a FireWire camera. There is no lens or
>> ground glass - the camera is focused on the film surface.
>>
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Re: [Frameworks] Millennium Film Workshop

[Sasha Janerus]

ntangle.

There is considerable mystery in how Howard Guttenplan was able to preside 
despotically for forty years
without adherence to any of the precepts set forth in the bylaws,
simultaneously acting single handedly as steward to a cultural milieu of such 
importance
that MoMA would proffer eighty five thousand dollars
(a number I believe was low for the staggering trove therein)
to obtain the archives.

Lili White as much as she may vex
(I have no appreciation for gender biased curation whatever the rationale)
decisively stepped up to lead a tiny group of people in order to preserve the
Millennium Film Workshop Archives at a moment of almost unimaginable disorder 
and chaos.
Were she not to have acted with such forceful authority this treasure could 
easily have
been made to disappear by an ensuing political regime determined to negate 
Howard's
achievement.

As ironies go, one of the greatest for me to negotiate
has been observing my mentor Ken Jacobs's recent involvement with the 
Millennium,
serving as  great Oz behind
an obfuscating curtain in successive post-Howard "democratic" political regimes
each of which eschewed and expunged the monthly open screenings
that were an entry portal of the most democratic kind.
The irony being that it was precisely the open screening format
that gave Ken his start as a maker.
Things blossom in that sort of environment that cannot occur elsewhere.
One Friday on Fourth Street I remember the rare paperback book specialist and 
great single frame advance
practitioner Chris Eckhoff a.k.a. Mr. E speaking about the projection screen, 
he asked
"What if residue from all the films that have ever been projected on that screen
are still there in some way?".
Thereafter I treated that particular projection surface
as a secret sacred palimpsest.
When Millennium collapsed and the screen came down,
the ghosts were gone.
The place was useless to us.


Cronyism and concomitant kickbacks do not make a cultural milieu of consequence.

Singular courage and passion of the intensity you demonstrate does!

As artists it is our mandate to be fearless, to find a way, to make it happen.

As if it was our last day.

David






On Sep 30, 2015, at 12:16 AM, Sasha Janerus wrote:


Thank you Dr. Walley. Thank you David.

It is worth noting that MFW has kept this document off their website. Strictly 
speaking you're right about the "President" thing, which I'd forgotten 
about--but it's really a technicality, as the title doesn't bring any special 
powers. George was not elected to this or any other position, but was . As I 
recall it, after Howard stepped down, a member-consensus decision was made to 
keep the director off the board, and to have the ED be appointed by the board. 
All of which makes good sense, especially given everything that had transpired 
during the latter phase of the Gutenplan period, though this emergency measure 
should have been ratified by a timely revision of the bylaws. So "President" 
here is just an honorific--same term, different meaning--so that the board 
looks the way boards are supposed to look. 

If only the board had acted the way a board's supposed to act. 


One other quibble, David: the verb: "to Gerrymander" implies that elections are 
in fact taking place. The mot juste would have been "to steal."


***


George,


I didn't receive your email as you didn't send one to me. Apparently the fact 
that I don't agree with your failure to follow MFW's bylaws means that I'm not 
to be counted a "Friend" of Millennium--or is it simply a friend of yours? My 
partner, Stephanie Wuertz--who previously occupied your office--did receive a 
copy but deleted it, wanting nothing to do with MFW ever again. Another life 
you've touched. The email is, of course, also posted on an orphan page on your 
site. How could I have missed that? 


Your texts are, needless to say, mendacious in the extreme. Millennium didn't 
pack up shop because the MoMA money was late. Millennium sank because you and 
PK were incapable of providing financial information to go with the grant 
narratives I wrote for you. When you did finally massage the books into order, 
I'm pretty sure it involved making some shit up, in particular Jay Hudson's 
undocumented ATM withdrawals. 



Your claim to transparency is belied by the fact that nobody knows what's going 
on at MFW and next to nobody cares, as well as by a prior email from you 
instructing me 1) not to talk about MFW in public and 2) not to share 
"confidential financial and other information without authorization," namely 
PK's insane budget for FY2014. I should note that PK had himself informed me 
that all MFW documents--minutes, books, etc.--were available to anyone who 
wanted to see them. And why not?: it belongs to its members and to the 
community, and not to you. 


If you'd like to have a discussion about Millennium's future, I'd encourage you 
to do so in

Re: [Frameworks] Millennium Film Workshop

[Sasha Janerus]

Thank you Dr. Walley. Thank you David.

It is worth noting that MFW has kept this document off their website.
Strictly speaking you're right about the "President" thing, which I'd
forgotten about--but it's really a technicality, as the title doesn't bring
any special powers. George was not elected to this or any other position,
but was . As I recall it, after Howard stepped down, a member-consensus
decision was made to keep the director off the board, and to have the ED be
appointed by the board. All of which makes good sense, especially given
everything that had transpired during the latter phase of the Gutenplan
period, though this emergency measure should have been ratified by a timely
revision of the bylaws. So "President" here is just an honorific--same
term, different meaning--so that the board looks the way boards are
supposed to look.

If only the board had acted the way a board's supposed to act.

One other quibble, David: the verb: "to Gerrymander" implies that elections
are in fact taking place. The *mot juste* would have been "to steal."

***

George,

I didn't receive your email as you didn't send one to me. Apparently the
fact that I don't agree with your failure to follow MFW's bylaws means that
I'm not to be counted a "Friend" of Millennium--or is it simply a friend of
yours? My partner, Stephanie Wuertz--who previously occupied your
office--did receive a copy but deleted it, wanting nothing to do with MFW
ever again. Another life you've touched. The email is, of course, also
posted on an orphan page on your site. How could I have missed that?

Your texts are, needless to say, mendacious in the extreme. Millennium
didn't pack up shop because the MoMA money was late. Millennium sank
because you and PK were incapable of providing financial information to go
with the grant narratives I wrote for you. When you did finally massage the
books into order, I'm pretty sure it involved making some shit up, in
particular Jay Hudson's undocumented ATM withdrawals.

Your claim to transparency is belied by the fact that nobody knows what's
going on at MFW and next to nobody cares, as well as by a prior email from
you instructing me 1) not to talk about MFW in public and 2) not to share
"confidential financial and other information without authorization,"
namely PK's insane budget for FY2014. I should note that PK had himself
informed me that all MFW documents--minutes, books, etc.--were available to
anyone who wanted to see them. And why not?: it belongs to its members and
to the community, and not to you.

If you'd like to have a discussion about Millennium's future, I'd encourage
you to do so in full view of your constituency, which I'm sure you'll agree
extends beyond present membership and self-selected "friends". Here are
some places to begin:

Could you put text of MFW's present bylaws on your website--preferably not
on an orphaned page.

How many active members does MFW presently have? How many of them do you
consider elligible to vote? How many lapsed members would you consider
eligible to vote upon renewal? According to what criteria?

How much cash does MFW have on hand?

What are its month-to-month expenses?

What were its FY2014 net income and expenditures, exclusive of the MoMA
money?

How much income did MFW receive from workshops and equipment rentals FY14?
How much profit on the same?

Has the board passed any resolutions to compensate Peter Kingsbury? If so,
for how much?

ON WHAT DATE, IN OCTOBER, IS A MEMBERS MEETING TO BE HELD?

Finally, there is the question of "slander." I was careful to frame certain
statements speculatively, and in your last email to me you enjoined me
to "desist
from broadcasting via Frameworks opinions and speculation that are not
based on facts." The present opacity of MFW makes a necessity of
speculation. I do, however, know these people. Lili, for instance,
attempted to program herself in a Millennium show at the New School, with a
$200 honorarium for a single film. Steph and I stepped in, and those with
conflicts of interest were replaced by Jen Reeves and Peter Hutton, among
others. Lili promptly one-upped herself by having her husband build
Millennium a website. MFW was stuck with unauthorized, recurring,
exorbitant paypal payments. The website Mark built was so shitty it had to
be replaced by the current shitty site.

MFW has furnished me with many more interesting anecdotes. And I should
note I have been a model of restraint insofar as I have not contacted or
the NY arts press, regulatory bodies, or your prospective funders. That
stance is subject to revision.

Yours in cinema

Sasha Janerus

PS I have a sneaking suspicion certain phrases in the trash you've been
sending out as "Outreach Coordinator" were derived, consciously or not,
from the grants and other fluff I wrote. It's the sort of vague,
pseudo-descriptive language that is meant to soun

Re: [Frameworks] NEW DIRECTOR NEEDED for Millennium Film Workshop

[Sasha Janerus]

Ah! Millennium Film Workshop! A vibrant arts organization! Though a while
back Kent Jones referred to it on a podcast as--and I quote--"a place that
no longer exists." It's like Brigadoon or something!

As far as I know, MFW board elections are a couple years overdue. The
present board was elected as part of an effort to restore democratic member
control of MFW, which has always been mandated by the bylaws. So I'm not
sure they have the legal authority to hire anybody. It is they who need to
be replaced.

As a side note: I've heard Peter Kingsbury got the thirty grand he was
after for doing fuck all. True? Regardless, applicants are advised that
there is doubtless very little left to grift. And, if I know Lili, she'll
want her cut of whatever's left in the cushions.

On Thu, Sep 24, 2015 at 7:19 PM, Lili White  wrote:

> Hello experimental Film World! Millennium Film Workshop
> http://millenniumfilm.org/
> is looking for a NEW EXECUTIVE DIRECTOR to take us into our 50th Year.
> PLEASE SPREAD THE WORD AROUND!
> We welcome queries from any competent person who would be responsible for
> the successful leadership and management of the organization according to
> its incorporating purpose, and the strategic direction set by its Board of
> Directors and Members. This involves the planning and management of
> MILLENNIUM's organizational, programming services, its finances, human
> resources, and community relations. We ask that the candidate have a degree
> in a related field and prefer some management experience in an arts, non
> profit, or educational organization and that they have a knowledge and
> understanding of Experimental cinema history and practice.
>  MFW statement of purpose (1967) - "To offer the non-commercial film
> artist -of whatever experience, or proven degree of proficiency, and
> without interference in either film-subject or style -the use without cost,
> or at minimal cost, of the tools of filmmaking, instruction in filmmaking,
> and a means of contacting others of like creative interest."
>
> PLEASE CONTACT the  MFW BOARD's secretary, Lili White, for further
> information: l...@millenniumfilm.org
>
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Re: [Frameworks] 16fps 16mm projectors?

[Sasha Janerus]

Warhol wasn't sufficiently concerned with the technical side of things to
warrant a claim that he intended the films to run 16 as opposed to 18.
Warhol would have been interested in the creative misuse of the apparatus,
and in the footage being submitted to and deformed by norms enforced by
mass-production and standardization. The screen test *raisonné* lists
running times for both speeds--see the chapter on Cataloguing and
Methodology for a discussion.

The only reason I can think of for using 16fps would be to get some slight
flicker in the image, a spectral effect that by my lights makes for an
ideal presentation. But then you get into the question of number of shutter
blades.

I've checked with the Warhol Foundation as to what consumer projectors he
used. They were very gracious, but not especially helpful. W owned numerous
projectors, and would likely have used whatever was at hand--or several at
once, as in the EPI.

If you're still committed painstaking historical accuracy, Lary 7 projected
a couple of Warhol shorts at 16 fairly recently at Judson Church. I'd get
in touch with him about projectors, or with Bruce Jenkins or Claire Henry
at the Warhol Film Project for more info on the films.


On Tue, Aug 4, 2015 at 1:10 PM, Scott Stark sst...@hi-beam.net wrote:

 Thanks to all for the excellent suggestions and information. It is in fact 
 *Sleep
 *that we'll be showing in Austin, TX in October; I'm not hopeful that
 I'll be able to find two functioning 16fps projectors locally, but as
 someone told me this morning privately, most 16fps projectors just had
 rheostat controls that were not particularly accurate, and in fact many
 18fps projectors probably don't run at that exact speed anyway. (MOMA also
 noted that we could show it at 18fps.)

 Anecdotally, we recently had a successful two-projector screening of The
 Chelsea Girls in Austin. Prior to the screening, I got an email from
 someone encouraging me to instead use four projectors, as it would cut the
 screening time in half. Always good to get these things over with quickly,
 I say!

 best,
 Scott

 At 09:31 PM 8/3/2015, Steve Polta wrote:

 In 2001 San Francisco Cinematheque projected Andy Warhol's *Sleep*, which
 is six hours (360 minutes) at 16fps. We started the show at midnight,
 expected it to end at 6am. We ran it at 18fps and the show got out at
 5:30am (and in fact I just did the math and I think the difference over
 that time is closer to 45 minutes somehow). So that's a good cumulative
 difference but probably minimal (to quote David Sherman quoting David
 Gerstein) difference moment-to-moment in viewing.

 18 (or 16)fps vs 24 fps is obviously a very big difference and there is
 always the (possibly apocryphal) story of Stan Brakhage viewing *Sleep *at
 24fps and declaring it a farse, then at 16fps and declaring it a
 masterpiece. Not that Brakhage's word is unquestionable but this would make
 a huge difference in many of these films. As I'm sure most of us know...

 Steve Polta




 On Mon, Aug 3, 2015 at 5:26 PM, Scott Dorsey klu...@panix.com wrote:
 The BH filmosound in a box projectors (the 300 series) have universal
 motors with mechanical governors, which can be adjusted for a variety of
 speeds.  If set according to the manual the silent speed is 16 fps, but
 if no maintenance has been done it could be anything.  They are truly
 among the best projectors made, aside from the narrow barrel which severely
 limits your lens selection.

 That said, I doubt the difference between 16 and 18 fps would be that
 dramatic on screen.
 --scott
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[Frameworks] Millennium Film Workshop R.I.P.

[Sasha Janerus]

Dear Frameworkers,

The subject line is a slight exaggeration, meant to get your attention.
I've cut all direct ties with the place, but from what hear it isn't far
from the truth. Only two of the five elected board members remain. The
place has been spectacularly mismanaged by Peter Kingsbury. While I was
still around, Peter repeatedly assured me that new elections were just
around the corner. Elections will soon be two years overdue. Their website
states that Millennium has suspended public access hours, but to my
knowledge none of its members or stakeholders have yet been consulted. It's
time to get together and decide how to wind this thing down. Democratically
and transparently. Before Peter makes off with the with whatever funds are
left.

Sincerely

Sasha Janerus

P.S. Attached is MFW's FY2015--i.e. through June 2015--operating budget,
drafted--and apoplectically defended--on September 16, 2014 by PK, at my
insistence. There are some interesting figures here: $39,955 in workshop
fees! Eager to learn how that worked out...


MFW Budget FY2015 (9.16.14).pdf
Description: Adobe PDF document
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Re: [Frameworks] Visiting Joe Gibbons

[Sasha Janerus]

Awesh and Sanborn have been.

On Wed, Feb 25, 2015 at 10:28 PM, Mark Street mstreet...@gmail.com wrote:

 Wonder if anyone has visited Joe, and if so if they could share the
 protocol for visiting people on Rikers Island.  I would like to go see him.

 all best,
 Mark Street

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[Frameworks] COOP/MILLENNIUM V-DAY SHOW

[Sasha Janerus]

Sorry to have missed this week. There'll be a


http://millenniumfilm.org/2015/02/cinematic-valentine-from-the-filmmakers-cooperative/
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Re: [Frameworks] COOP/MILLENNIUM V-DAY SHOW

[Sasha Janerus]

...oops...

There'll be a Valentine's Day screening, Saturday, at Millennium Film
Workshop, with the following program of all-celluloid cinematic seductions
from the Filmmaker's Coop:

Jerry Abrams “Lotus Wing” 1968, 16mm, color  bw, 16.5 min
Bob Cowan “Soul Freeze” 1967, 16mm, bw, 25 min
Willard Maas “Orgia” 1967. 16mm, color, 12 min
Saul Levine “Note to Poli” 1983, 16mm, color, 2.5 min
Storm de Hirsch “The Tattooed Man” 1969, 16mm, color, 35 min
Jose Rodriguez-Soltero “Jerovi” 1965, 16m m, color, 11.5 min
Tom Chomont “Oblivion” 1969, 16mm, color, 4.25 min
James Benning  Bette Gordon “I-94″ 1974, 16mm, color, 3 min
Walter Gutman “Bolex” 1974, 16mm, color, 12 mi

There are some fantastic films in this lineup that likely haven't screened
in town in decades, so brave the weather and groove on some rare,
mind-expanding flix. Only ten bucks, rotgut included.

On Fri, Feb 13, 2015 at 1:57 AM, Sasha Janerus sasha.jane...@gmail.com
wrote:

 Sorry to have missed this week. There'll be a



 http://millenniumfilm.org/2015/02/cinematic-valentine-from-the-filmmakers-cooperative/

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[Frameworks] loop printing at lab

[Sasha Janerus]

Anyone out there know of a lab that would do some loop printing at a
reasonable price? Fotokem? Niagara?
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Re: [Frameworks] loop printing at lab

[Sasha Janerus]

thanks.

On Mon, Feb 2, 2015 at 8:17 PM, Mark Toscano mrkt...@gmail.com wrote:

 Fotokem does.  I think there's a loop setup charge, but I don't remember
 it being too much.  I did it once, about a couple of years ago, and they
 did a great job.

 Mark Toscano


 On Mon, Feb 2, 2015 at 5:14 PM, Sasha Janerus sasha.jane...@gmail.com
 wrote:

 Anyone out there know of a lab that would do some loop printing at a
 reasonable price? Fotokem? Niagara?

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[Frameworks] Holy Shit!

[Sasha Janerus]

http://nypost.com/2015/01/10/bank-robber-appears-to-be-screwball-former-professor/
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Re: [Frameworks] John Lennon Miles Davis playing hoops

[Sasha Janerus]

It's Mekas.

On Wed, Nov 19, 2014 at 12:18 PM, Adam Hyman a...@lafilmforum.org wrote:

  Is this from Jonas Mekas’s film?
 https://www.youtube.com/watch?v=kGbkW_Ifc8Y

 I've seen footage from a party at the home of Lennon's lawyer (drawing a
 blank).  A lot of folks were there, including Yoko Ono, Andy Warhol. Jonas
 Mekas, and Shirley Clarke.  Clarke was filming with an early Sony bw video
 portapak; Jonas was filming with super8mm I think, maybe 16mm.

 I don't know if this film is from that, though.  The editing makes it look
 like it could be Jonas's film, but I don't see any of the other trappings
 of that party that I remember.  The YouTube link does say Recorded from a
 John Lennon's party where Miles was a guest.

 If it is Jonas’s, I infer that it was posted without his permission.

 Best regards,

 Adam


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Re: [Frameworks] North American distribution for Snow's 'A Casing Shelved?'

[Sasha Janerus]

Snow owns a print, which is what gets shown in the states, or at least
at PFA. You might try going through Jack Shainman Gallery or writing
directly.

On Tue, Jun 24, 2014 at 12:39 PM, Kate Ewald katherine.ew...@gmail.com wrote:
 Hi Frameworks,

 After realizing that I can't get my hands on an audio transcript for 'A
 Casing Shelved' by Michael Snow, I'm wondering if anyone knows if there are
 any US distributors for the piece so I can reference the soundtrack that
 way?

 Lux in the UK carries it (I'm presuming that's the copy they used for
 Oberhausen this year), but I'm hoping to find something a little closer to
 home in the US or Canada.  An initial search of the main rental houses'
 databases has proved fruitless.  Any information would be greatly
 appreciated!  Thanks!

 Cheers,
 Kate Ewald

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Re: [Frameworks] Turner and Film

[Sasha Janerus]

on Brakhage and Turner, see Paul Arthur's essay in Stan Brakhage: Filmmker


On Wed, Feb 26, 2014 at 2:47 PM, Fred Camper f...@fredcamper.com wrote:

 Not less known perhaps, but Brakhage is key here.

 He cites Turner as an influence in a list of influences, as someone
 mentioned, in my Criterion liner notes. It might be worth recounting how
 that list was composed. I asked him on the phone for his most important
 influences from writers, painters, and composers, and added, You only get
 two of each. For painters he chose Turner and Pollock as the two most
 important. (He also added, on his own, an additional art, dance.)

 The Text of Light would be the most important film here. Not only did he
 look at Turner, but the variability of light in Turner is deeply inscribed
 in that film. He also spoke of The Text of Light in terms of landscape.
 This aspect of light was explored even more radically in the Romans,
 Arabics, and Egyptians. The imagery in those films is far more removed
 from ideas of landscape.

 Fred Camper
 Chicago



 Quoting Aaron Juneau aaron.jun...@tate.org.uk:


 Dear frameworks members,

 I'm contacting from Tate Etc. Magazine, London in the hope that somebody
 at Frameworks might be able to help me with some research I'm undertaking
 with regard to an article we're publishing in a couple issues time.
 Essentially the article will focus on J.M.W Turner's influence on film. I
 was wondering whether somebody at Frameworks could advise on some
 interesting, perhaps less known filmmakers who have been influenced by him?
 I'm really looking at hard fact and solid evidence as opposed to conjecture.

 Any assistance you can offer would be greatly appreciated.

 My very best,



 Aaron Juneau
 Editorial Assistant
 TATE ETC. magazine
 20 John Islip Street
 Millbank
 London
 SW1P 4RG
 T: +44 (0)20 7821 8606
 F: +44 (0)20 7887 3940
 E: aaron.jun...@tate.org.uk
 www.tate.org.uk/tateetc
 follow us on Twitter: @TATEETCmag








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Re: [Frameworks] projector-less film loops

[Sasha Janerus]

A good place to look would be the recent book Exhibiting Cinema in
Contemporary Art by Erika Balsom.


On Tue, Dec 17, 2013 at 6:20 PM, Mary Stark maryst...@hotmail.co.uk wrote:

 Hi Rebecca,

 I have been working with 16mm film as installation using loops, fresnel
 lenses and film as a sculptural material. If you are interested please look
 at my website and blog
 http://www.marystark.co.uk/
 http://interwovenpractices.co.uk/

 Best wishes,

 Mary Stark

 Tel: 07828450979


 On 17 Dec 2013, at 20:27, Jonathan Walley wall...@denison.edu wrote:

  Rebecca, et. al.,
 
  After re-reading your post, and reading Scott's response, it strikes me
 that you may have been looking for information about early (e.g. silent,
 primitive?) film systems that involved viewing 16mm film without lens or
 projector. Your use of the term installation made me assume expanded
 cinema, film installation, etc., but then there's your reference to the
 zoetrope, which suggests that you're looking for something further back in
 history. Of course, the zoetrope did not use film of any kind. What's more,
 16mm film wasn't invented until 1923, by which time projection - with
 lenses - was, of course, standard practice in film exhibition. I'm not
 aware of any viewing systems for 16mm that don't employ at least lenses:
 flatbed editors don't quite project the images, at least not in the same
 way a projector does, and devices like Moviolas and Moviscopes don't
 involve projection - the film image is simply magnified into a viewer, not
 unlike the Kinetsoscope. But these systems are used to edit film reels, not
 to show loops. And they all use lenses.
 
  Specifying your research project would be helpful - can we have a little
 more detail?
  Jonathan
 
  Dr. Jonathan Walley
  Associate Professor
  Department of Cinema
  Denison University
  wall...@denison.edu
 
 
  On Dec 17, 2013, at 12:44 PM, Scott Dorsey wrote:
 
  Well, the first loop system was the Edison Kinetoscope but that was
 35mm..
  --scott
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Re: [Frameworks] Best Lab to develop S8 in NY?

[Sasha Janerus]

It depends--vision at paclab is russian roulette with more than one bullet
in the chamber. I don't know what their E6 is like now. BW is
inconsistent. When there are problems with the latter, it's usually
scratches, the severity of which varies. You'll get a processing voucher
and some fresh stock. For diaristic or observational stuff that I'm not
heavily invested in, isn't irreplaceable or doesn't need to be pristine,
their shoddiness makes for a reasonably good value. The woman who's working
there from time to time is the devil, but everyone else is genial enough,
helpful and fair despite not giving a shit. If you're not just passing
through, and shoot a fair amount of bw, it's probably best to get a lomo
and DIY, though the above out-of-town recommendations are solid. For really
excellent in-town scans, Jeff Kreines is your man.



On Tue, Oct 15, 2013 at 2:03 PM, ev petrol epetr...@yahoo.com wrote:

 cinelab for b/w http://www.cinelab.com/
 dwaynes for colour http://www.dwaynesphoto.com/
 (have had dodgy experiences from paclab - reels back with half the
 emulsion missing / chemical stains - so i wouldn't recommend them)


 moiratierney.net
 vimeo.com/moiratierney


   On Wednesday, October 9, 2013 11:06 AM, Leandro 
 leandro.listo...@gmail.com wrote:
  Self explanatory subject above.
 Thanks!
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Re: [Frameworks] Cinema Siblings

[Sasha Janerus]

Jim and Tom Jarmusch. Tony and Dan Conrad.


On Wed, Oct 16, 2013 at 1:07 AM, C Keefer kee...@earthlink.net wrote:

 The Whitney offspring (sons of John Sr.) are Mark, John Jr. and Michael.
 Details in Youngblood's Expanded Cinema about their famous Untitled Three
 Screen film, each brother operated a projector. Here's an invitation to a
 1974 screening event at Cirrus (Los Angeles), from the CVM Collection:
 www.centerforvisualmusic.org/EF_ExpCin2c.jpg

 Admission $1.50. Please bring pillows...

 Also for the siblings list, Oskar and Hans Fischinger.

 Cindy Keefer
 Center for Visual Music
 www.centerforvisualmusic.org
 Please reply only to:  cvmaccess at gmail.com


 -Original Message-

 Date: Wed, 09 Oct 2013 11:54:31
 From: Adam Hyman a...@lafilmforum.org


 John Whitney Jr., Michael Whitney
 
 
 On 10/9/13 11:15 AM, Steve Polta steve.po...@gmail.com wrote:
 
  FYI there are more Whitneys. I don't have the time at the moment to
 reach
  behind me and grab it but Gene Youngblood talks about them in Expanded
 Cinema.
  I think there was another brother and two offspring.
  Jem Cohen also has a brother‹Adam? Pacific Film Archive did a program
 in like
  1995 or '96 called The Other Cohen Brothers.
 
  Steve Polta
 
 

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[Frameworks] experimental film discussion group in nyc

[Sasha Janerus]

Check it out here. should be starting up soon.

http://thepublicschool.org/node/34950
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Re: [Frameworks] Final orders of Ektachrome.

[Sasha Janerus]

I've talked both to phone reps and their NY office. It's been gone gone for
weeks in S8 and 16. I assume R8 too, as I think they perfed it to order.

On Thu, Jan 10, 2013 at 6:07 PM, Nicholas Kovats nkov...@gmail.com wrote:

 Zach,

 What format are you seeking re: E100D?  R8, S8. 16mm, etc.

 Nicholas

 Sent from my iPhone

 On 2013-01-10, at 2:26 PM, Royce Marcus (Film) 
 roycemarcusfi...@gmail.com wrote:

 From what I understood, when the sent out that press release, they were
 already done making ektachrome.  It was just whatever they had left they
 were going to sell.  I may be wrong though.  It was sort of a mad dash
 after that.

 Royce

 On Thu, Jan 10, 2013 at 1:43 PM, zach vonjoo zu...@yahoo.com wrote:

 Hello Filmmakers--

 I was still getting my resources together for a large order when I found
 Kodak had stopped taking orders for Ektachrome a couple of weeks ago, a
 little sooner than I had anticipated.

 Does anyone know the status of Kodak's final batch of Ektachrome?  How
 much are they making, when will it be shipped out, etc.

 I called Kodak and they couldn't answer my questions, but maybe that was
 just whoever I spoke with on the phone...

 Happy New Year,

 Zach

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 roycemarcusfi...@gmail.com
 https://twitter.com/RoyceMarcusFilm
 http://www.behance.net/RoyceMarcusFilms (password for video is preview
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Re: [Frameworks] films featuring projectionists

[Sasha Janerus]

Daddy Longlegs has plenty.

On Wed, Jan 9, 2013 at 3:15 PM, Sasha Janerus sasha.jane...@gmail.comwrote:

 Goodbye Dragon Inn def., Variety and Serbis probably


 On Tue, Jan 8, 2013 at 11:16 PM, Jack j...@jacktext.net wrote:

 Mary Jane isn't a virgin anymore, 96, Sarah Jacobson

 Jack

 Sent from my iPhone

 On 09/01/2013, at 2:59 PM, David Tetzlaff djte...@gmail.com wrote:

  There was an American Indie feature from the 90s (I think) set
 primarily in the Uptown Theater in Minneapolis. I can't remember the name
 of the film or the director (a woman who passed tragically at a relatively
 young age, IIRC). I don't recall if any of the characters were
 projectionists, they may only have been ushers, concessioners or other
 theater employees. Can anyone here recall this film, and help jog my
 failing memory?
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Re: [Frameworks] films featuring projectionists

[Sasha Janerus]

Goodbye Dragon Inn def., Variety and Serbis probably

On Tue, Jan 8, 2013 at 11:16 PM, Jack j...@jacktext.net wrote:

 Mary Jane isn't a virgin anymore, 96, Sarah Jacobson

 Jack

 Sent from my iPhone

 On 09/01/2013, at 2:59 PM, David Tetzlaff djte...@gmail.com wrote:

  There was an American Indie feature from the 90s (I think) set primarily
 in the Uptown Theater in Minneapolis. I can't remember the name of the film
 or the director (a woman who passed tragically at a relatively young age,
 IIRC). I don't recall if any of the characters were projectionists, they
 may only have been ushers, concessioners or other theater employees. Can
 anyone here recall this film, and help jog my failing memory?
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Re: [Frameworks] Production Code

[Sasha Janerus]

It's worth bearing in mind that the Code engendered indirect, de facto
censorship on the level of availability and reliability of lab services.
The legit labs would routinely destroy, confiscate or forward to law
enforcement materials they deemed prurient or deviant. Don't know what sort
precautions, if any, Markopoulos took, but would be interested.

On Mon, Oct 29, 2012 at 10:01 AM, Royce Marcus (Film) 
roycemarcusfi...@gmail.com wrote:

 I also can't answer your original question, but I'd like to reinforce what
 Johnathan has said and add some of my own findings.  My senior thesis was
 an investigation between the intersections of American Avant-Garde cinema
 and American Pornography, specifically in the '60s and '70s, and the
 filmmakers of the avant-garde really didn't care about censorship, be it
 from the Production Code, or more severe legal repercussions from obscenity
 laws.  Most avant-garde filmmakers were content presenting their films in
 microcinemas or film societies, right beside exploitation, sexploitation,
 and pornographic films.  It wasn't until Jack Smith's Flamming Creatures
 went in front Federal Court that the avant-garde had to defend itself.
 Even then, most avant-garde filmmakers were only looking to defend
 themselves (in the legal realm at least).  It was pornographic filmmakers
 that were much more aggressive when it terms of directly challenging and
 fighting things like the Production Code, obscenity laws, etc.

 I don't have access to the book, but while I'd say there were for fewer
 venues for Anger and other avant-grade filmmakers, gay or otherwise, to
 release there work in the '40s and '50s, they still clearly did and they
 had enough of an impact and relevance to be recognized throughout the
 decades.  Not sure if this helps.  Best of luck!

 Royce


 On Sun, Oct 28, 2012 at 9:13 PM, Jonathan Walley wall...@denison.eduwrote:

 Eleni,

 I'd be interested to hear other peoples' perspective on this, but the
 Production Code had little, if anything, to do with censorship
 problems encountered by experimental filmmakers like Anger or
 Markopoulos. The Code was developed by the film industry (i.e.
 Hollywood), and, to the best of my knowledge, only affected the
 production (and distribution) of industry films - that is, films made
 by the Hollywood studios. It was a mechanism the industry developed to
 self regulate, precisely so their films WOULDN'T be censored by
 outside law enforcement or other government authorities. The Code thus
 had no bearing on filmmakers working outside the industry, which would
 certainly include Anger and Markopoulos.

 This isn't to say that such filmmakers faced no censorship - they
 faced it from legal authorities and morality and decency groups -
 just that they didn't face it from within the industry, since they
 were not a part of that industry and thus were not bound by its
 internal strictures. The rules of the Code had no legal power, as
 they were voluntarily imposed from within the industry BY the industry
 itself. They were essentially company policy, not state or federal
 law. And a film released with the Production Code Administration's
 seal of approval could still be censored by local government
 authorities if those authorities believed the film contravened state
 or local laws governing film content.

 I read the relevant passages of Russo's book, and while he does
 mention the Code while also discussing the films of Anger and other
 experimental filmmakers, he seems only to be drawing a - rather vague
 - parallel. If I read him right he never actually claims that the
 Production Code had any direct impact on experimental films. And if he
 DOES say that somewhere, it's not accurate. Any censorship of
 experimental films came from the government, not the industry, and
 thus not the Code.

 I realize this doesn't answer your question about Markopoulos being
 censored, but I hope it helps a little.

 Best,
 Jonathan

 Jonathan Walley
 Associate Professor of Cinema
 Denison University
 wall...@denison.edu

 On Sun, Oct 28, 2012 at 7:48 PM, Eleni Philippou
 eleni_philip...@hotmail.com wrote:
  Hello everyone,
 
 
  I am reading Vito Russo's book The Celluloid Closet about the Production
  Code in order to control homosexual references in the movies in America
  during the '40s and '50s. As an example, he mentions Kenneth Anger's
 work
  and how difficult was for Anger to release Fireworks and Scorpio Rising
  because of this Production Code. Does anyone know if Gregory Markopoulos
  faced the same problem with the censorship?
  Thank you very much for your help.
 
 
  Best,
 
 
  Eleni Filippou
 
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Re: [Frameworks] nikkor 50mm lens

[Sasha Janerus]

Try asking the seller to measure the mount for you.

On Mon, Sep 10, 2012 at 12:03 AM, Julia julianimhu...@rocketmail.comwrote:

 The lens is for a JK optical printer. Do you know, by chance, if those on
 eBay ( identified as enlarger lenses) have the same thread mount for the
 typical JK bellows? (larger diameter than C mount). Thanks for the eBay
 link, too.

 much obliged,
 Julie
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Re: [Frameworks] Perfumed Nightmare

[Sasha Janerus]

Flower's print is in pretty much immaculate condition.

On Wed, Aug 29, 2012 at 2:10 PM, Steve Polta stevepo...@yahoo.com wrote:

 Jonathan M. Hall is correct in this recomendatio to Flower Films. They
 also hold exhibition prints if you ask nicely, although these are not
 listed anywhere on their website...

 Steve Polta
 San Francisco Cinematheque

 --- On *Tue, 8/28/12, Jonathan M. Hall jmh...@pomona.edu* wrote:


 From: Jonathan M. Hall jmh...@pomona.edu
 Subject: Re: [Frameworks] Perfumed Nightmare
 To: ghen zando-dennis ghe...@yahoo.com, Experimental Film Discussion
 List frameworks@jonasmekasfilms.com
 Date: Tuesday, August 28, 2012, 5:08 PM


  Dear Ghen Dennis,

  The film is distributed by Flower Films of El Cerrito, California.
 Scroll down to the bottom of this page:
 http://www.lesblank.com/films.html
 There should also be a contact there for public/academic screenings.
  I hope this helps.

  Jonathan M Hall


   *差出人:* frameworks-boun...@jonasmekasfilms.com [
 frameworks-boun...@jonasmekasfilms.com] が次の人の代理で送信しました: ghen zando-dennis
 [ghe...@yahoo.com]
 *送信日時:* 2012年8月28日 16:33
 *宛先:* frameworks@jonasmekasfilms.com
 *件名:* [Frameworks] Perfumed Nightmare

   Greetings...
  Does anyone have leads to a print or dvd version of *Perfumed Nightmare*(
 *Mababangong Bangungot*)
 by Kidlat Tahimik (16mm, 1977) for a college screening? I notice that is
 was screened at Light Industry in 2010.

  Much thanks.
  Ghen Dennis
  g...@ghendennis.com




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Re: [Frameworks] 8mm resources?

[Sasha Janerus]

John Schwind does:
http://www.zerelda.com/internationalfilm/internationalfilm.html

Kodak also, tri-x  ekta, but they have minimum orders. See their
catalogue. They'll probably perf Vision or hi-con for a big enough order
(I'm guessing at least ~8000ft).

On Thu, Aug 16, 2012 at 9:46 PM, ev petrol epetr...@yahoo.com wrote:

 hey folks
 have a friend in new orleans who's got his hands on an 8mm camera and is
 wondering where to get stock / get it developed - any leads?
 thanks! moira

 moiratierney.net
 vimeo.com/moiratierney


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Re: [Frameworks] Avant garde DVDs

[Sasha Janerus]

Millennium Film Workshop has VHSes, maybe also tapes, which we'll sell.
Call  ask.

On Mon, Apr 9, 2012 at 2:54 AM, Pip Chodorov framewo...@re-voir.com wrote:

 Kim's Video carries some of our DVDs, and there
 may soon be a new venue in Williamsburg.
 But the best way is still to order them on our blog, or on amazon.fr
 Pip Chodorov, Re:Voir


 At 9:45 +0100 9/04/12, ÁÔݘȕ·¯’ wrote:
 Does anybody know where can I buy re-voir DVDs
 or any other avant-garde DVDs in NY ?
 Thanks
 Chen
 
 

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Re: [Frameworks] Notice of Members Meeting Millennium Film Workshop April 15 Sunday

[Sasha Janerus]

I don't think a truly horizontal structure is feasible; it's hard enough to
get things done as it is. It may get easier, but I doubt it will get that
easy. People who make day to day decisions need to do so in an informed,
organic *and* accountable manner. New York is a hostile environment,
Millennium is a very complicated beast, it's hard enough to pull these
members meetings off, etc. The very few of us who clean the toilets, as
you put it, are pretty burnt out, and of course it would great if people
were more involved. At present it's pretty egalitarian, but people need to
show up to put in their two cents, and to have their two cents jibe with
conditions on the ground. Basically, this isn't a worker's council or
something: people have very different levels of investment, needs,
resources (time, competencies), agendas. We also have other obligations
than those to our members: to our landlord, our grantors, the general
public. I would like to see more accountability: the director appointed (or
fired) by the board, the membership able to vote no confidence at any time
(recallable delegates), and so forth. But even that is a steep logistical
hill. Arts institutions, at least ones that pay rent, aren't utopias.

On Mon, Mar 26, 2012 at 7:22 PM, Cari Machet carimac...@gmail.com wrote:

 yes i heard there are great things happening - it says on the invite you
 are selecting a board and president so i had some alarm and wanted to send
 info asap

 i know you are hard at work and do not want to add to your work load but i
 think non hierarchical co-ops are a serious matter on a lot of fronts

 i would like to connect you all with an organization that helps to set up
 co-ops lawyers et al - i am no expert i just know about it - maybe you can
 invite them to a meeting?

 i have been in some non for profits and these are serious issues
 (hierarchy) which i am sure you all are aware of

 thanks for all your hard work

 Cari Machet
 NYC 646-436-7795
 carimac...@gmail.com
 AIM carismachet
 Skype carimachet - 646-652-6434
 Syria +963-099 277 3243
 Amman +962 077 636 9407
 Twitter: @carimachet https://twitter.com/carimachet

 Ruh-roh, this is now necessary: This email is intended only for the
 addressee(s) and may contain confidential information. If you are not the
 intended recipient, you are hereby notified that any use of this
 information, dissimination, distribution, or copying of this email without
 permission is strictly prohibited.



 On Mon, Mar 26, 2012 at 7:00 PM, Jay Hudson jkh30...@gmail.com wrote:

 We are in the process of updating the Millennium's Bylaws.  These type
 of ideas need to be brought up in the following months.  Please feel
 free to contact me if you want to carry on the discussion.  That goes
 for anybody on the list as well.  Lets get the ideas going.  It is not
 as hopeless now as it seemed in the Fall.  There have been many
 positive moves at the Millennium as of late.

 On Mon, Mar 26, 2012 at 6:43 PM, Cari Machet carimac...@gmail.com
 wrote:
  i am wondering if it has been thought about to make it a co-op
  you can have a co-op that is a non for profit that has no board or
 president
  so it is non hierarchical - co-ops are models that make is so every
 worker
  gets the same say in matters - each person cleans the toilet each person
  makes giant decisions for the whole
 
  Cari Machet
  NYC 646-436-7795
  carimac...@gmail.com
  AIM carismachet
  Skype carimachet - 646-652-6434
  Syria +963-099 277 3243
  Amman +962 077 636 9407
  Twitter: @carimachet https://twitter.com/carimachet
 
  Ruh-roh, this is now necessary: This email is intended only for the
  addressee(s) and may contain confidential information. If you are not
 the
  intended recipient, you are hereby notified that any use of this
  information, dissimination, distribution, or copying of this email
 without
  permission is strictly prohibited.
 
 
 
 
  On Mon, Mar 26, 2012 at 5:39 PM, Jay Hudson jkh30...@gmail.com wrote:
 
  i think so too
 
  On Mon, Mar 26, 2012 at 5:32 PM, Lars Fuchs edi...@klipper.tv wrote:
   Hi Jay, this is great. I can be there. We should talk about procedure
   and
   rules-of-order to keep the meeting from going off track. We should
 also
   prepare a written agenda.
  
   Talk to you soon!
   -L
  
   On Mon, Mar 26, 2012 at 12:32 AM, Jay Hudson jkh30...@gmail.com
 wrote:
  
   The Millennium Film Workshop is having a members meeting to vote for
   the board of directors and the director.  Also on the agenda is to
   make a few changes in the bylaws to facilitate the development and
   enacting of new bylaws, which sorely need to be brought up to date.
  
   The Millennium has undergone fundamental changes in the past year.
   There has been restructing in the governance of the organization as
   well as a change in the space that we have.  However, the Millennium
   has definitely bottomed out and is on the way back to health, though
   these next few months will determine the future of the 

Re: [Frameworks] Optical Printer in NY

[Sasha Janerus]

Millennium, where I believe you're doing a gig, has the only public optical
in town.

On Sun, Mar 4, 2012 at 11:30 PM, luis ? mabaluf...@gmail.com wrote:

 Hi Frammworks,

 I'm going to be in N.Y from the 7th to the 14 march and would like to know
 info about where to do some work with an optical printer, I'd like to do
 some copies of not many minutes...Who can I contact in NY for this???

 Thanks!!

 Luis Macías
 mabaluf...@gmail.com

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Re: [Frameworks] Thundercrack! Distribution?

[Sasha Janerus]

canyon

On Tue, Feb 14, 2012 at 11:36 AM, lj frezza ljfre...@gmail.com wrote:

 Does anyone know who to contact about screening rights in the USA
 regarding the Curt McDowell film Thundercrack! (1975)?
 -LJ

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 https://mailman-mail5.webfaction.com/listinfo/frameworks

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FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks