Re: [Frameworks] Original soundtrack recordings of Avant-Garde films

[Steve Polta]

OK so it seems that this thread might be winding down but note that...
1) the label Global A released a number of Arthur Lipsett soundtracks on LP:
https://www.discogs.com/fr/Arthur-Lipsett-Soundtracks/release/792458
2) Zap Cassettes released the soundtrack of Jodie Mack's *Dusty Stacks of
Mom* on cassette:
https://www.discogs.com/fr/Arthur-Lipsett-Soundtracks/release/792458
3) Zap Cassettes also (re)released the aforementioned *Craig Baldwin:
Science in Action* and a few other quasi-cinematic releases including
Jeffrery Perkins *Movies for the Blind *and recordings emanating from the
Orgone Cinema Archives.

Best,

Steve Polta

On Sat, Dec 7, 2019 at 2:43 PM Petri Kuljuntausta 
wrote:

> This compilation CD contains soundtracks of experimental video works:
>
> V/A: MUU FOR EARS 4 (CD, 2010, 'soundtrack compilation')
>
> 1.Jakob Norgren – Music Box, 2:46. Video: Pasi Autio.
> 2.Juan Kasari – Gated Community 3, 5:29. Video: Juan Kasari.
> 3.Aleksi Keränen – Deconstruction, 3:03. Video: Mailis Saralehto Rekola.
> 4.Pauli Apollo Ahopelto – Lepo! 4:06. Video: Risto-Pekka Blom & Jouni
> Piiroinen.
> 5.Heidi Saramäki – Once upon a Time... 1:04. Video: Heidi Saramäki.
> 6.Petri Kuljuntausta – Water Cities, 5:02. Video: Jaana Puhakka.
> 7.Taito Kantomaa – Aircraft Blast, 1:28. Video: Marko Lampisuo.
> 8.Janne Jankeri – Grey, 3:57. Video: Minna Parkkinen.
> 9.Jussi Österman – The most Important Place, 2:13. Video: Tuomo Kangasmaa.
> 10.Jukka Rintamäki – Now There is only Heaven, 3:35. Video: Markus Åström.
> 11.Sebastian Lindberg – Platform, 4:16. Video: Sebastian Lindberg.
> 12.Pauli Apollo Ahopelto – The End (R.I.P) Ufo Charter, 6:04. Video:
> Pauli Apollo Ahopelto.
> 13.Sami Pennanen – Landscape no:2, 4:19. Video: Sami Pennanen.
>
> Producers: Rita Leppiniemi and Timo Soppela.
> Mastering by Petri Kuljuntausta.
> Released by Artist Association MUU, Helsinki.
> https://www.discogs.com/Various-Muu-For-Ears-4/release/2681531
>
> On Sun, Dec 8, 2019 at 12:17 AM Salah Hassanpour  wrote:
> >
> > Apologies if it’s been mentioned before (I took a quick glance at the
> reply thread) but Bobby Beausoleil made music for Kenneth Anger’s Lucifer
> Rising (1972). It’s quite compelling despite the musician’s, er, biography.
> >
> >
> >
> > Also, along the same “deep ambient” spectrum of music, Jefre
> Cantu-Ledesma used to work with late Paul Clipson and if I recall one of
> his more recent albums is a tribute to the latter.
> >
> >
> >
> > I would recommend using Discogs as a good database. Look at the labels
> associated with the soundtracks and try to see which version is available.
> Often, you might find unreleased cues/songs if you search for the most
> recent reissue.
> >
> >
> >
> > Salah Hassanpour
> >
> > From: mrktosc
> > Sent: December 7, 2019 17:09
> > To: Experimental Film Discussion List
> > Subject: Re: [Frameworks] Original soundtrack recordings of Avant-Garde
> films
> >
> >
> >
> > Gunvor Nelson made the My Name is Oona soundtrack herself with some
> input from Patrick Gleeson.  Steve Reich was not involved, but his work had
> inspired the piece and he was a friend of Gunvor’s at the time.
> >
> >
> >
> > I think a lot of this common misconception comes from the film’s end
> credit, “Tack Patrick Gleeson / Steve Reich”, but “tack” is “thanks” in
> Swedish.
> >
> >
> >
> > And I don’t believe it’s been released anywhere.
> >
> >
> >
> > Mark
> >
> >
> >
> >
> > On Dec 7, 2019, at 1:28 PM, Christine Downing <
> downing.christ...@gmail.com> wrote:
> >
> > Greetings,
> >
> > I don't know if this is on vinyl or CD, but Gunvor Nelson's film, "My
> Name is Oona," has a sound track by Steve Reich.
> >
> > Best regards,
> >
> > Chris Downing
> >
> >
> >
> > On Sat, Dec 7, 2019 at 3:51 PM Albert Alcoz 
> wrote:
> >
> > Thank you very much for all these valuable answers.
> >
> > It seems that the subject is very extensive.
> >
> > A list of splendid sound recordings has come out!
> >
> >
> >
> > All the best,
> >
> > Albert
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > On Fri, Dec 6, 2019 at 4:51 PM Petri Kuljuntausta 
> wrote:
> >
> > Erkki Kurenniemi's music Hyppy (Jump) for the film Hyppy (Jump, 1965),
> > directed by Eino Ruutsalo.
> >
> > Pan Sonic has composed several film soundtracks and these has been
> released.
> >
> > Petri Kuljuntausta's music Stagecoach for the film

[Frameworks] CROSSROADS 2020 — Call for Entries

[Steve Polta]

June 2020 at SFMOMA
Early Entry Deadline: November 30, 2019
View this email in your browser
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clockwise fr. top: *Lines of Force *(2018) by Dan Browne; *Pwdre Ser: the
rot of stars* (2018) by Charlotte Pryce; *Polly One* (2018) by Kevin Jerome
Everson


*San Francisco Cinematheque announces*
*CROSSROADS 2020*
presented at the

*San Francisco Museum of Modern Art June 2020*
*CALL FOR ENTRIES
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*CROSSROADS push[es] together the outer limits of narrative logic,
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Founded by filmmaker *Bruce Baillie* in 1961, *San Francisco Cinematheque*
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is the Bay Area’s premier venue for *avant-garde/experimental*,
*underground* and* personally expressive film, video and performance work.*
In its dedication to exhibiting works of aesthetically radical cinema from
all historical eras and geo-political locales, Cinematheque cultivates the
international field of artist-made cinema, inspiring aesthetic dialog and
critical discourse and encouraging appreciation across the broader cultural
landscape. Inaugurated in 2010, *CROSSROADS*
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*ENTRY GUIDELINES*


*Cinematheque seeks submissions* of recent films, videos and works of
performance cinema for *CROSSROADS 2020*, the *ELEVENTH* iteration of our
annual film festival — to be held June 2020 at the *San Francisco Museum of
Modern Art*.


*Full CROSSROADS entry guidelines available here
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Early Submission Deadline: *November 30, 2019
Preference is for works with a completion date of *January 1, 2017* or later
but all submitted works will be considered.


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*EXHIBITION FORMATS*
viable formats include
*8mm*, *Super-8mm*, *16mm*, *35mm*, *QuickTime ProRes,** Blu-ray *and* DCP*
We also seek submissions of multimedia performance, multi-projector
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*SUBMISSION FORMATS*
Entries are accepted as streaming online video (preferred) or on
DVD/Blu-ray.
Please contact *festi...@sfcinematheque.org  *to
inquire about additional submission formats.

*DEADLINES & ENTRY FEES*
*Early Submission Deadline:* November 30, 2019 ($20 per entry)
*Late Submission Deadline:* January 15, 2020 ($25 per entry)
*NOTE:* Entry fees are waived for Cinematheque members.
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*Oct. 24: **Something Between Us: Films of Jodie Mack
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Re: [Frameworks] identify experimental film

[Steve Polta]

Scott Stark: *Degrees of Limitation*
https://vimeo.com/222956359

On Fri, Apr 19, 2019 at 10:05 AM Philip Brubaker 
wrote:

> Hi listserv -
> I am trying to find the name of an experimental film and its
> filmmaker.  It was made in the 1970's-1980's I believe, in San
> Francisco.  It's a silent, color film.  A man films an empty street
> with his camera on a tripod.  He cranks the camera motor and then runs
> into the shot, far off into the distance.  He does this repeatedly,
> cranking the camera longer each time, so that he is recorded running
> further each time.  I saw it in a traveling Canyon Cinema show but
> can't remember the details.  Please help if you can!
>
> --
> --
> Philip Brubaker
> Filmmaker
> ___
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Re: [Frameworks] Expanded cinema and experimental music

[Steve Polta]

Dear Esperanza.

I'm sure you know about her work as an artist and likely you also know that
Sally Golding (Australia/UK) is an authority on this genre and knows the
historical and contemporary work inside and out. Your friend can obviously
contact her through her website—https://sallygolding.com/. San Francisco
Cinematheque also published an essay by her which you (or your friend or
anyone with internet access) can download for free here
<http://www.sfcinematheque.org/product/publications2/perpetual-motion-zine/>.
Best regards,

Steve Polta


On Wed, Feb 20, 2019 at 2:18 AM Esperanza Collado <
esperanzacolla...@gmail.com> wrote:

> Dear all,
>
> A colleague is considering organising a seminar on the subject of expanded
> cinema and experimental music. He is trying to find academics, scholars,
> writers and experts in the critical/historical field rather than artists to
> deliver lectures or talks as part of this seminar. Could you please
> recommend relevant names expert in this field *who are not American* (or
> are not based in America) please?
>
> I'm thinking of Steven Ball and (even though it may not be exactly their
> field of research) François Bovier/Adeena Mey, but who else is there beyond
> these? And if any of you think could fit here please let me know.
>
>
> Thank you.
>
> --
> Esperanza Collado
> www.esperanzacollado.net
> www.aaleve.grabacionesdecampo.com
>
>
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[Frameworks] Call for Submissions: CRAIG BALDWIN—Science in Action

[Steve Polta]

CALL FOR SUBMISSIONS

INCITE: Journal of Experimental and San Francisco Cinematheque

Craig Baldwin: Science in Action *(working title)*

Editors: Brett Kashmere and Steve Polta

Submission Deadline: August 1, 2019

Projected Publication Date: November 2020

INCITE: Journal of Experimental Media and San Francisco Cinematheque invite
proposals and submissions for the forthcoming publication, Craig Baldwin:
Science in Action, a compendium documenting the work of acclaimed filmmaker
and curator CRAIG BALDWIN (b. Oakland CA, 1952), an inspiring and
influential figure in contemporary media arts.

AS A FILMMAKER, Baldwin’s works represent a radical fusion of form and
content. Formally, his films are constructed largely (in the artistic
traditions of surrealism, dada and collage) from audiovisual material
appropriated from pre-existing films (including newsreels, science fiction
films and more). In this, they represent a radical stance toward media
culture as a participatory field. As an artist, Baldwin engages with
mainstream media as an adversary, using its languages in ironic opposition.
In this way he talks back to corporately produced media and creates
inspiring, wildly imaginative works which profoundly challenge the nature
of one-way media consumption.

AS A FILM CURATOR, Baldwin is known for “Other Cinema,” an extensive series
of film/video programs he has personally organized in San Francisco on a
schedule of 36 programs per year since the late 1980s. Like his films,
Baldwin’s Other Cinema represents a radically expanded approach to film
exhibition, media consumption and cultural engagement. Baldwin’s approach
questions the status of film as purely a fine art, going further to
include: ephemeral forms of film history (including industrial and
educational film), expanded cinema performance, and presentations on the
histories of obsolete media as well as frequent screenings of forgotten
“underground” films. Seeing the screening event as a place for the exchange
of ideas, Other Cinema often includes in-person guests presenting not only
cinematic artworks but expounding on ideas of media and cultural theory. As
a committed and highly imaginative curator, Baldwin has inspired countless
artists and kindred film programmers.

Craig Baldwin: Science in Action will elaborate the significance of this
work. In doing so, it will be the first critical text to examine the
artist’s films analytically as a coherent and meaningful body of work and
critical artist’s statement. Furthermore, Science in Action will be the
first extensive look at the cultural impact of Baldwin’s Other Cinema
curatorial project.

We invite writers and artists to propose contributions on various aspects
of Baldwin’s interdisciplinary work. Texts can be submitted for one of the
following sections:

— Essays between 5,000 and 10,000 words (please send 250 word
abstract/proposal for consideration by April 15)

— Personal responses between 500 and 1500 words

— We also encourage artistic interpretations, artwork, ephemera and
nontraditional texts.

Texts, proposals and queries can be emailed to i...@incite-online.net with
the subject line, “Science in Action.” For further details about our
editorial policy and submission guidelines, please consult the Information
section of our website: incite-online.net/informationweb.html
<http://www.incite-online.net/ncite-online.net/informationweb.html>

Deadlines:

— April 15, 2019: Deadline for 250-word essay proposals
— August 1, 2019: Deadline for draft submissions.
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[Frameworks] CROSSROADS Film Festival 2019 — Call for Entries

[Steve Polta]

June 2019 at SFMOMA
Early Entry Deadline: November 20, 2019
View this email in your browser

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clockwise fr. top: Colectivo Los ingrávidos: *Conflagration*; Michael
Robinson: *Onward Lossless Follows*; Jodie Mack: *Wasteland No. 1: Ardent,
Verdant*


*San Francisco Cinematheque announces*
*CROSSROADS 2019*
presented at the

*San Francisco Museum of Modern Art June 2018*
*CALL FOR ENTRIES
*

*CROSSROADS push[es] together the outer limits of narrative logic,
experimental abstraction, and documentary… an essential festival for
contemporary moving-image art.*
— James Hansen, The Brooklyn Rail

*…one of North America’s major showcases for avant-garde and experimental
film, video and multimedia work.*
— Michael Sicinski, UZAK 27



Founded by filmmaker *Bruce Baillie* in 1961, *San Francisco Cinematheque*
is the Bay Area’s premier venue for *avant-garde, experimental*,
*underground* and *personally expressive film, video and performance work*.
In its dedication to exhibiting works of aesthetically radical cinema from
all historical eras and geo-political locales, Cinematheque cultivates the
international field of artist-made cinema, inspiring aesthetic dialog and
critical discourse and encouraging appreciation across the broader cultural
landscape.

*Cinematheque seeks submissions* of recent films, videos and works of
performance cinema for *CROSSROADS 2019*, the *TENTH* iteration of our
annual film festival — to be held June 2019 at the *San Francisco Museum of
Modern Art*.



*Full CROSSROADS entry guidelines available here

Early Submission Deadline: *November 30, 2018
Preference is for works with a completion date of *January 1, 2016* or later
but all submitted works will be considered.




*EXHIBITION FORMATS*
viable formats include
*8mm*, *Super-8mm*, *16mm*, *35mm*, *QuickTime ProRes,** Blu-ray *and* DCP*
We also seek submissions of multimedia performance, multi-projector
works, moving-image art installations and other para-cinematic forms.

*SUBMISSION FORMATS*
Entries are accepted as streaming online video (preferred) or on
DVD/Blu-ray.
Please contact *festi...@sfcinematheque.org

*to
inquire about additional submission formats.

*DEADLINES & ENTRY FEES*
*Early Submission Deadline:* November 30, 2018 ($20 per entry)
*Late Submission Deadline:* January 15, 2019 ($25 per entry)
*NOTE:* Entry fees are waived for Cinematheque members.
*Become a member

and
save!*
Festival participants will be notified via email by *April 30,* *2018*.



*Upcoming Programs*



*Oct. 16: INFRARED program 2: Dislocation of Existence

Oct. 24: What Have We Here at Design Within Reach

Oct. 30: INFRARED program 3: Slow/Sheltering/Shattering
*


*Nov. 6: INFRARED program 4: Jeff Preiss' STOP

Nov. 13: form in the realm / language and abstraction

Nov. 29: Duke & Battersby: Shit Doesn't Have To Be Perfect
*

*…plus more screenings to be announced.*
DONATE TO SUPPORT CINEMATHEQUE

[Frameworks] CROSSROADS 2018: Early submission deadline is TODAY!

[Steve Polta]

[image: San Francisco Cinematheque]


Jamilah Sabur: *Playing Possum — *Diana Barrie: *Last Train —  *Greta
Snider: *Rendition*


*San Francisco Cinematheque announces*
*CROSSROADS 2018*
presented at the

*San Francisco Museum of Modern Art JUNE 2018*
*CALL FOR ENTRIES*

*No longer the young upstart, CROSSROADS has established itself as one of
North America’s major showcases for avant-garde and experimental film,
video and multimedia work.*

*— Michael Sicinski, UZAK 27
*

*CROSSROADS push[es] together the outer limits of narrative logic,
experimental abstraction, and documentary… an essential festival for
contemporary moving-image art.*

*— James Hansen, The Brooklyn Rail
*


Founded by filmmaker *Bruce Baillie *in 1961, *San Francisco Cinematheque *is
the Bay Area’s premier venue for *avant-garde/experimental*, *underground*
 and *personally expressive film and video work*. In its steadfast
dedication to exhibiting works of aesthetically radical cinema from all
historical eras and geo-political locales, Cinematheque celebrates the
breadth and depth of this vibrant art form in all its myriad expressivities.

*Cinematheque seeks submissions* of recent non-commercial, artist-made
films, videos and works of performance cinema for *CROSSROADS 2018*, the
*ninth* manifestation of our annual film festival to be held *May 2018* (date
to be determined) at the *San Francisco Museum of Modern Art*. Films
selected for CROSSROADS 2018 will be announced in early April, 2018.

*Full CROSSROADS entry guidelines available here
*
*Early Submission Deadline: *November 30, 2017



*EXHIBITION FORMATS*
viable formats include
*8mm*, *Super-8mm*, *16mm*, *35mm*, *QuickTime ProRes,** Blu-ray *and* DCP*
We also seek submissions of multimedia performance, multi-projector
works, moving-image art installations and other para-cinematic forms.

*SUBMISSION FORMATS*
Entries are accepted as streaming online video (preferred) or on
DVD/Blu-ray.
Please contact *festi...@sfcinematheque.org

*to
inquire about additional submission formats.

*DEADLINES & ENTRY FEES*
*Early Submission Deadline:* November 30, 2017 ($20 per entry)
*Late Submission Deadline:* December 31, 2017 ($25 per entry)
*NOTE:* Entry fees are waived for Cinematheque members.
*Become a member

and
save!*
Festival participants will be notified via email by *March 31,* *2018*.



photo: Bryan Boyce
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Re: [Frameworks] San Francisco Cinematheque: CROSSROADS 2018 — Call For Entries!

[Steve Polta]

Hey Esperanza! I'd love to see what you are working on and happy to waive
fees for you (assuming that's what you are asking). If it's easier, please
just send access info to me directly. Thanks! Really great to cross paths
with you over the summer...

Steve

On Tue, Oct 10, 2017 at 7:34 AM Esperanza Collado <
esperanzacolla...@gmail.com> wrote:

> Hola Steve!
>
> Is there any discount for Frameworkers?
>
> :)
>
>
> El El jue, 28 sept 2017 a las 23:37, Steve Polta <steve.po...@gmail.com>
> escribió:
>
>>
>> Submit Films Now!
>> Fall Season Begins September 14...!
>> View this email in your browser
>> <http://mailchi.mp/sfcinematheque/members-only-crossroads-2017-previews-now-online-2535281?e=7c9fa58b8c>
>> [image: San Francisco Cinematheque]
>> <http://sfcinematheque.us8.list-manage.com/track/click?u=e83cf6551de4c56a967b7aede=be38fb2516=7c9fa58b8c>
>>
>> Jamilah Sabur: *Playing Possum — *Diana Barrie: *Last Train —  *Greta
>> Snider: *Rendition*
>>
>>
>> *San Francisco Cinematheque announces*
>> *CROSSROADS 2018*
>> presented at the
>>
>> *San Francisco Museum of Modern Art May 2018*
>> *CALL FOR ENTRIES*
>>
>> *No longer the young upstart, CROSSROADS has established itself as one of
>> North America’s major showcases for avant-garde and experimental film,
>> video and multimedia work.*
>>
>> *— Michael Sicinski, UZAK 27
>> <http://sfcinematheque.us8.list-manage1.com/track/click?u=e83cf6551de4c56a967b7aede=60826c88ab=7c9fa58b8c>*
>>
>> *CROSSROADS push[es] together the outer limits of narrative logic,
>> experimental abstraction, and documentary… an essential festival for
>> contemporary moving-image art.*
>>
>> *— James Hansen, The Brooklyn Rail
>> <http://sfcinematheque.us8.list-manage1.com/track/click?u=e83cf6551de4c56a967b7aede=723c2207e5=7c9fa58b8c>*
>>
>>
>> Founded by filmmaker *Bruce Baillie *in 1961, *San Francisco
>> Cinematheque *is the Bay Area’s premier venue for
>> *avant-garde/experimental*, *underground* and *personally expressive
>> film and video work*. In its steadfast dedication to exhibiting works of
>> aesthetically radical cinema from all historical eras and geo-political
>> locales, Cinematheque celebrates the breadth and depth of this vibrant art
>> form in all its myriad expressivities.
>>
>> *Cinematheque seeks submissions* of recent non-commercial, artist-made
>> films, videos and works of performance cinema for *CROSSROADS 2018*, the
>> *ninth* manifestation of our annual film festival to be held *May 2018* (date
>> to be determined) at the *San Francisco Museum of Modern Art*. Films
>> selected for CROSSROADS 2018 will be announced in early April, 2018.
>>
>> *Full CROSSROADS entry guidelines available here
>> <http://sfcinematheque.us8.list-manage.com/track/click?u=e83cf6551de4c56a967b7aede=cca81a1abc=7c9fa58b8c>*
>> *Early Submission Deadline: *November 30, 2017
>>
>>
>> <http://sfcinematheque.us8.list-manage.com/track/click?u=e83cf6551de4c56a967b7aede=21cb77da36=7c9fa58b8c>
>>
>> *EXHIBITION FORMATS*
>> viable formats include
>> *8mm*, *Super-8mm*, *16mm*, *35mm*, *QuickTime ProRes,** Blu-ray *and
>> * DCP*
>> We also seek submissions of multimedia performance, multi-projector
>> works, moving-image art installations and other para-cinematic forms.
>>
>> *SUBMISSION FORMATS*
>> Entries are accepted as streaming online video (preferred) or on
>> DVD/Blu-ray.
>> Please contact *festi...@sfcinematheque.org
>> <http://sfcinematheque.us8.list-manage.com/track/click?u=e83cf6551de4c56a967b7aede=ecad88c74e=7c9fa58b8c>
>>  *to
>> inquire about additional submission formats.
>>
>> *DEADLINES & ENTRY FEES*
>> *Early Submission Deadline:* November 30, 2017 ($20 per entry)
>> *Late Submission Deadline:* December 31, 2017 ($25 per entry)
>> *NOTE:* Entry fees are waived for Cinematheque members.
>> *Become a member
>> <http://sfcinematheque.us8.list-manage.com/track/click?u=e83cf6551de4c56a967b7aede=05e123438d=7c9fa58b8c>
>>  and
>> save!*
>> Festival participants will be notified via email by *March 31,* *2018*.
>>
>>
>> <http://sfcinematheque.us8.list-manage2.com/track/click?u=e83cf6551de4c56a967b7aede=54a1def2ad=7c9fa58b8c>
>>
>> <http://sfcinematheque.us8.list-manage2.com/track/click?u=e83cf6551de4c56a967b7aede=ce2aad02c5=7c9fa58b8c>
>> photo: Bryan Boyce
>> *BECOME A MEMBER*
>>
>> *Did you know membership gives you discounted and even free admission to
>

[Frameworks] San Francisco Cinematheque: CROSSROADS 2018 — Call For Entries!

[Steve Polta]

Submit Films Now!
Fall Season Begins September 14...!
View this email in your browser

[image: San Francisco Cinematheque]


Jamilah Sabur: *Playing Possum — *Diana Barrie: *Last Train —  *Greta
Snider: *Rendition*


*San Francisco Cinematheque announces*
*CROSSROADS 2018*
presented at the

*San Francisco Museum of Modern Art May 2018*
*CALL FOR ENTRIES*

*No longer the young upstart, CROSSROADS has established itself as one of
North America’s major showcases for avant-garde and experimental film,
video and multimedia work.*

*— Michael Sicinski, UZAK 27
*

*CROSSROADS push[es] together the outer limits of narrative logic,
experimental abstraction, and documentary… an essential festival for
contemporary moving-image art.*

*— James Hansen, The Brooklyn Rail
*


Founded by filmmaker *Bruce Baillie *in 1961, *San Francisco Cinematheque *is
the Bay Area’s premier venue for *avant-garde/experimental*, *underground*
 and *personally expressive film and video work*. In its steadfast
dedication to exhibiting works of aesthetically radical cinema from all
historical eras and geo-political locales, Cinematheque celebrates the
breadth and depth of this vibrant art form in all its myriad expressivities.

*Cinematheque seeks submissions* of recent non-commercial, artist-made
films, videos and works of performance cinema for *CROSSROADS 2018*, the
*ninth* manifestation of our annual film festival to be held *May 2018* (date
to be determined) at the *San Francisco Museum of Modern Art*. Films
selected for CROSSROADS 2018 will be announced in early April, 2018.

*Full CROSSROADS entry guidelines available here
*
*Early Submission Deadline: *November 30, 2017



*EXHIBITION FORMATS*
viable formats include
*8mm*, *Super-8mm*, *16mm*, *35mm*, *QuickTime ProRes,** Blu-ray *and* DCP*
We also seek submissions of multimedia performance, multi-projector
works, moving-image art installations and other para-cinematic forms.

*SUBMISSION FORMATS*
Entries are accepted as streaming online video (preferred) or on
DVD/Blu-ray.
Please contact *festi...@sfcinematheque.org

*to
inquire about additional submission formats.

*DEADLINES & ENTRY FEES*
*Early Submission Deadline:* November 30, 2017 ($20 per entry)
*Late Submission Deadline:* December 31, 2017 ($25 per entry)
*NOTE:* Entry fees are waived for Cinematheque members.
*Become a member

and
save!*
Festival participants will be notified via email by *March 31,* *2018*.



photo: Bryan Boyce
*BECOME A MEMBER*

*Did you know membership gives you discounted and even free admission to
programs, in addition to publication discounts?* Also, members receive
exclusive online previews!


*BECOME A MEMBER* *HERE*

.
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Re: [Frameworks] Seeking Projector Manual (Eiki EX-2000A)

[Steve Polta]

Ok ok.
This is fun.
But I'm really looking for info on the lamp's focusing knobs. Specifically
on the white plastic cover that covers the knob that controls how close/far
the lamp is to/from the lens/screen. Even more specifically I'm wondering
if the loss of this plastic cap (like for example if it melted due to heat)
is a big deal.

Asking for a manual was sort of a bonus (to myself/Cinematheque) because
once we had one, lent it, and didn't get it back.

Anyone plastic cap folks out there?

Steve

On Sep 18, 2017 7:22 PM, "Scott Dorsey"  wrote:

> What's wrong with the xenon lamp circuitry?
>
> It should be a constant current source, combined with a little high voltage
> supply to strike the lamp.  When the high voltage pulse makes the thing arc
> over, the plasma between the contacts is conductive so all of a sudden the
> thing turns into a low resistance device and it only takes a couple hundred
> volts for the arc to be sustained.  The constant current source means that
> the thing remains at the correct operating point as the electrodes slowly
> burn away.
>
> I _think_ that the EX-2000A uses trick magnetics to do the job... it's a
> big saturable reactor that acts as an AC constant current source, then
> rectifiers to turn it into DC, and then a filter capacitor made with
> multiple capacitors and inductors in a chain to eliminate the ripple.
>
> You could talk to Steve Guttag, I know he has worked on those occasionally.
> There isn't much to fail non-catastrophically.
> --scott
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[Frameworks] San Francisco Cinematheque wants to hear from you!

[Steve Polta]

Dear Frameworkers,

*San Francisco Cinematheque* <http://www.sfcinematheque.org> is currently
undergoing an organizational assessment. With the intention of better
understanding our community and place in the local, national and
international arts and film "ecosystem," we want to hear from Frameworkers.
Parties interested in participated are encouraged to fill out our brief
(7-minute) assessment survey.

Your opinions on the work of Cinematheque will be highly valued. This
survey is (obviously) 100% voluntary and is also anonymous. If you care to,
you are encouraged to leave an email address in one of the comments field
of the survey if you are open to further follow-up. Your emailed inquiries
to me directly regarding this process would be welcome as well.

You can fill out our 7-minute survey here <http:///>:
https://www.surveymonkey.com/r/7WMRVH5

Thanks so much for your consideration and your time.

Best wished to all,

Steve Polta
Artistic Director/Archivist
San Francisco Cinematheque
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Re: [Frameworks] The Flicker

[Steve Polta]

I can confirm that in 2009, when Tony Conrad appeared in person at San
Francisco Cinematheque, *The Flicker *was screened with soundtrack from a
CD provided by Conrad. He specifically informed us that this was a *stereo*
version of the usual 16mm mono soundtrack. I do not recall his instructions
as to when to push "play" or whatever but obviously there is no way that
anything like frame-for-frame sync was achieved this way. I personally have
my doubts that the original (16mm optical) soundtrack is as closely synced
as others are claiming but I have no way of backing this up. By my
recollection, indeed the warning section of *The Flicker* has a different
soundtrack (old time movie music, right?). I do not recall how this was
dealt with during the in-person stero-soundtrack-from-CD presentation of
the film in 2009.

Info on *Tony Conrad: Flickering Jewel* April 3–5, 2009:
Program One <http://www.sfcinematheque.org/immersive_cinema_spring_2009/>
Program Two
<http://www.sfcinematheque.org/tony_conrad_flickering_jewel_program_two/>
Program Three
<http://www.sfcinematheque.org/tony_conrad_flickering_jewel_program_three/>

If anyone is interested, Cinematheque will present a two-part Conrad
tribute in San Francisco March 24–26, 2017, including a screening of *Tony
Conrad: Completely in the Present*
<http://www.sfcinematheque.org/screenings/tony-conrad-completely-in-the-present-program-1/>,
Tyler Hubby's recent documentary portrait of Conrad and a screening of films
by Conrad
<http://www.sfcinematheque.org/screenings/tony-conrad-completely-in-the-present-program-2-the-flicker-and-other-films/>,
including *The Flicker* (remains to be seen whether the sndtk will be
optical or CD).


Steve Polta

On Mon, Feb 27, 2017 at 9:32 AM, Esperanza Collado <
esperanzacolla...@gmail.com> wrote:

> Hi Jonathan,
>
> That is very strange. I have projected *The Flicker *2 or 3 times so far;
> print always came from LUX and the sound of course was optical and on the
> print. I believe the light patterns (the actual flick) are synchronized
> with sound in a very precise manner, as there is a crescendo in both image
> and sound, reaching a peak aproximately at the middle of the film, and then
> (optical and sonic) rhythm begins to decend. So, good luck! You may need to
> ask for an explanation though.
>
> The Warning also had a different soundtrack on it, if memory serves...
>
>
>
>
>
> 2017-02-27 18:21 GMT+01:00 Jonathan Walley <wall...@denison.edu>:
>
>> Hello everyone,
>>
>> I’m showing *The Flicker* tomorrow in a seminar, and the print arrived
>> from Filmmakers’ Coop with sound on CD (no optical track), which surprised
>> me. When I’ve rented the film in the past, the print came had an optical
>> track; to confirm my memory of this, I looked at images of the strip online
>> (http://anthologyfilmarchives.org/collections/reference-libr
>> ary/stills/494). I don’t remember showing it any other way.
>>
>> The instructions that came with the print simply indicate that the CD
>> should be started with the picture, but my understanding is that the rhythm
>> of the sound is supposed to be synchronized with the flicker patterns in
>> the image. Am I wrong?
>>
>> Anyone know something about this? I can contact MM at FMC (though I know
>> she’s also on this list), but I thought I’d also put the question to the
>> larger Frameworks community to see if anyone has projected *The Flicker*
>> this way, and if anyone has tips, ideas, experiences, etc., to share.
>>
>> Tony Conrad: continuing to baffle and challenge us from beyond.
>>
>> Best,
>> JW
>>
>> Dr. Jonathan Walley
>> Associate Professor and Chair
>> Department of Cinema
>> Denison University
>> wall...@denison.edu
>>
>>
>>
>>
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>>
>>
>
>
> --
> Esperanza Collado
> - - - - - - - - - - - - - -
> www.esperanzacollado.org
>
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Re: [Frameworks] experimental films with philosophical text?

[Steve Polta]

*Daniel Barnett's White Heart* "takes off from a series of Wittgensteinian
monologues."
http://canyoncinema.com/catalog/film/?i=152
*Daniel Eisenberg's Displaced Person* incorporates a radio lecture by
Claude Levi-Strauss.
http://canyoncinema.com/catalog/film/?i=823
*Barbara Sternberg's Like a Dream that Vanishes* features an on-screen
exegesis by philosopher (not the filmmaker) John Davis on Hume's
consideration of miracles.
http://www.barbarasternberg.com/Films/Like%20a%20Dream.htm

All are, in my opinion, very interesting films.

Steve Polta


On Thu, Jan 26, 2017 at 11:37 PM, Albert Alcoz <albertal...@gmail.com>
wrote:

> Hello,
>
> *Wittgenstein* (1993) by Derek Jarman could be useful. There are some
> texts by the philospopher recited by the characters.
> https://www.youtube.com/watch?v=IIu70Jo38eo
>
> *Dromosphäre* (2010) by Thorsten Fleisch begins with a quotation of Paul
> Virilio about speed:
> https://vimeo.com/8067013
>
> On another level, I recommend watching the beginning of this film by Peter
> Rose, named *Pressures of the Text* (1983):
> https://vimeo.com/48773390
>
> Would like to read more suggestions here!
>
> Albert
>
> On Fri, Jan 27, 2017 at 12:03 AM, Dave Tetzlaff <djte...@gmail.com> wrote:
>
>> i guess I’m the first to mention the obvious: Michael Snow, "Rameau's
>> Nephew by Diderot"
>> ___
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>>
>
>
>
> --
> http://visionaryfilm.net/ <http://www.visionaryfilm.net/>
> http://albertalcoz.com/ <http://www.albertalcoz.com/>
>
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Re: [Frameworks] Eiki EX-2000A power cords

[Steve Polta]

Nope. It's a round plug with two small round holes.

On Fri, Dec 30, 2016 at 11:12 AM, Scott Dorsey  wrote:

> Doesn't that just take an Edison cord?  A short extension cord should fit.
> --scott
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[Frameworks] CROSSROADS 2017: Submission Deadline is Nigh...

[Steve Polta]

*CROSSROADS 2017*
curated and presented by San Francisco Cinematheque
May 19–21
San Francisco

*San Francisco Cinematheque *seeks submissions of recent films and videos
for *CROSSROADS 2017*, the *eighth *manifestation of our annual film
festival to be held  *May 19–21,** 2017 *in San Francisco. *CROSSROADS
2017* will
showcase new film/video works by emerging and established filmmakers,
including performance and works of “live cinema.” Cinematheque seeks
submissions of compelling *non-commercial, artist-made* *work* of all
genres and durations.

*Final Submission Deadline*

*is Thursday, December 15!*
Full Details on Submissions here:
http://www.sfcinematheque.org/news-post/crossroads-call-for-entries/

Thank you!

Steve Polta
Artistic Director
San Francisco Cinematheque
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Re: [Frameworks] 40 years of VHS - short video recommendations?

[Steve Polta]

As a former Blockbuster Video store manager and warehouse employee of "
reel.com" during the epic VHS-to-DVD transition, the VHS format has always
been very dear to my heart and I've often thought of "works," "artists" and
"genres" that epitomized this wretched format. For generic VHS I like to
think about exercise/aerobics tapes, "Barney the Dinosaur" and mainstream
releases that saturated the "market" which were everywhere and haunt us in
thrift store junk shelves. "Home Alone" (which I recall having seen for
sale in gas stations and just about everywhere else) is the top of the heap
of this for me and I'm sure there is a monstrous landfill somewhere
overflowing with these horrid specimens.

In terms of "artist-made" work, *Animal Charm*
<http://www.vdb.org/artists/animal-charm> made a huge body of
single-channel tapes and performances derived from goodwill-harvested VHS
tapes (many these are from corporate training-type videos, weird forgotten
product promos etc). *Scott Stark
<http://www.scottstark.com/janefonda.html>'s **More Than Meets the Eye:
Remaking Jane Fonda * <https://vimeo.com/75539914>remakes what is possibly
*the* iconic VHS exercise tape. I would also second Stephen Broomer's
recommendation of Christine Lucy Lattimer's 21st Century VHS work. It was
fun screening *The Pool* in CROSSROADS 2012 (I think) as it allowed me to
purge a VHS deck from my "personal collection," after which it was just
placed outside the theater on the curb and vanished in ten minutes. Fun.

Steve Polta
<https://vimeo.com/75539914>




On Mon, Sep 12, 2016 at 1:03 PM, Stephen Broomer <
stephen_broo...@hotmail.com> wrote:

> Hi Richard,
>
> Christine Lucy Latimer has used VHS to make some very interesting work
> dealing with the format's aesthetic character.
>
> The Pool comes to mind -- https://vimeo.com/32115389
>
> I screened this work about three years ago and seem to remember her
> entrusting me with an exhibition copy on a shiny red VHS tape.
>
> Stephen
>
>
> On Sep 12, 2016, at 12:28 PM, Richard Ashrowan <rich...@ashrowan.com>
> wrote:
>
> 40 years of experimental VHS.
>
> We're working on a programme of shorts, aiming to celebrate the 40th
> anniversary of VHS. I would love to hear some recommendations for both
> early canonical and more recent works that deal in specific and contrasting
> ways with the experimental possibilities of the medium.
>
> I do appreciate that this question is too big, for a 90m screening, and a
> bit like asking if anyone knows any good experimental films...  but if
> anyone feels like suggesting a few starting points, it would be most
> appreciated.
>
> Very best,
>
> Richard Ashrowan
> Alchemy: www.alchemyfilmfestival.org.uk
> www.ashrowan.com
>
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[Frameworks] San Francisco Cinematheque Benefit Art Auction

[Steve Polta]

rt-thought-knot-1> |
Lisa Jonas Taylor
<https://www.artsy.net/artwork/lisa-jonas-taylor-dark-purple-half-moon-fixture>
| Rirkrit Tiravanija
<https://www.artsy.net/artwork/rirkrit-tiravanija-untitled-2016-day-for-night>
| Cate White
<https://www.artsy.net/artwork/cate-white-the-book-of-life-complete-set> |
Mark Wilson
<https://www.artsy.net/artwork/mark-wilson-cylindric-impression-le-musee-de-la-cinematheque-francaise-no-6>
| May Wilson <https://www.artsy.net/artwork/may-wilson-hung-coil-1> | Kit
Young
<https://www.artsy.net/artwork/kit-young-a-sunny-place-for-breakfast-self-portrait-with-white-privilege>*SF
Bay Area locals (and any others) please note that the auction goes
live on *Saturday,
September 10* with a reception
<http://www.sfcinematheque.org/news-post/the-sixth-annual-art-auction-benefit/>
at *Kadist
<http://www.sfcinematheque.org/news-post/the-sixth-annual-art-auction-benefit/>
SF. *Hope to see some of you there!

Thanks for your attention!

Steve Polta
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[Frameworks] Gottheim's "Your Television Traveler"

[Steve Polta]

I'm seeking writing on Larry Gottheim's 1991 film *Your Television Traveler*
.
This writing can be critical, descriptive, interprettive, whatever.
This writing can be substantial or also very brief.
I know there is a little cluster of words in FMC catalog on the film—I'm
looking for more.

Any leads?

Thanks.

Steve Polta
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Re: [Frameworks] question about a lens...

[Steve Polta]

Hi Dominic. This lens attachment is currently attached to a 50mm lens that
is attached to an Eiki EX-2000A projector.

Steve Polta

On Fri, Apr 22, 2016 at 10:48 AM, Dominic Angerame <
dominic.anger...@gmail.com> wrote:

> What projector lens does this item screw into.
>
>
> On Fri, Apr 22, 2016 at 5:26 AM, Scott Dorsey <klu...@panix.com> wrote:
>
>> > The question: can anyone tell me what the effective focal length(s) of
>> this
>> > combo provides.
>>
>> I can't, because I don't know the ratio of that varifocal gadget.
>>
>> But you can figure it out yourself... put the projector ten feet from a
>> screen, focus the image with the lens racked forward and with it racked
>> back, measuring the screen width each time.  Then you can use a screen
>> size chart to work from that back to the effective focal length.
>> --scott
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[Frameworks] question about a lens...

[Steve Polta]

Dear Gearheads,

San Francisco Cinematheque is in possession of a zoom lens
attachment—specifically a Buhl 16mm "Varazoom," Cat. No. 833-490. You can
see one just like it here
<http://www.terapeak.com/worth/new-buhl-833-490-f1-2-50mm-varazoom-for-viewlex-audio-video-2-projection-lens/400989585437/>
and here
<http://www.ebay.ca/sch/sis.html?_nkw=New%20Buhl%20833%20490%20f1%202%2050mm%20Varazoom%20Viewlex%20Audio%20Video%202%20Projection%20Lens&_itemId=18128444>.
I know it says "video" on those pages but we use it for 16mm (I also
realize that those two pages might be somehow clones of each other.)

The device is screwed on to a 50mm fixed lens and is obviously intended to
add zoomable variance to this fixed lens. And indeed it does—you can see it
"zooming."

The question: can anyone tell me what the effective focal length(s) of this
combo provides. I'd like to be able to communicate this info to someone but
cannot find this information anywhere.

Thanks for any useful feedback that can be provided.

Steve Polta
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Re: [Frameworks] out of date e6 chemicals

[Steve Polta]

I once lucked out and had some *amazing* results with expired E6: amazing
color solarization throughout the roles and this weird flat purple stuff
that took over all the dark areas. Can't guarantee your results but it
could be very exciting. Obviously if you are after something that appears
realistic you would be disappointed but otherwise it can be very
interesting...!

Steve Polta

On Tue, Jan 19, 2016 at 2:00 PM, Jason Halprin <jihalp...@gmail.com> wrote:

> Karen is definitley right. They may not be perfect*, but the unexpected
> errors can be very nice and very usable.
>
> Are you talking about a properly stored, unopened concentrate? Most
> likely, it will be just fine, with minimal shift from normal. If it was
> opened and has air in the container, it will be partially oxidized and
> weakened.
>
> -Jason Halprin
>
>
> jihalp...@gmail.com
>
>
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Steve Polta]

Herbert Jean deGrasse:* Film Watchers* (1974)
http://canyoncinema.com/catalog/film/?i=730

Back to Tony Conrad and spoilers...
Somewhere out there there are stories about a very short Conrad film which
involves a long, very elaborate, personal introduction by the filmmaker, in
which he goes on and on about how maximal the film is, how it is such
compacted and impactively overwhelming and immersive experience that words
cannot do it justice etc. Reports report that the introduction is easier
longer than the film itself. But when the film is screened (and I don't
know what film it is), the film—perhaps due to this hyperbolic set-up,
perhaps due to its own artistic merits—when the film is screened it
delivers on Conrad's promise. Always been curious about this.

In a way (somehow) this recalls (to me) the film-within-a-film in Kelly
Sears' *Once It Started It Could Not End Otherwise*
<http://www.kellysears.com/Video/OnceItStartedItCouldNotEndOtherwise>,
which (the film-within-the-film) is presented as "evidence" of a mysterious
disaster which is described but also not described...

Steve Polta



On Thu, Jan 14, 2016 at 8:56 AM, Andy Ditzler <a...@andyditzler.com> wrote:

> I'd recommend The Cut-Ups, film by Antony Balch in collaboration with
> William Burroughs and Brion Gysin. On two occasions (Documenta in 2007 and
> my own screening in Atlanta 2009), it drove the audience into active
> rebellion. (Since I had associated screening rebellions with past eras, I
> was quite surprised to see one take place!) It was the repetitive
> soundtrack: "Yes, hello," and a few other phrases, spoken in overlap by
> Burroughs and Gysin, unrelenting for twenty minutes. After awhile,
> impatient viewers started audibly throwing the phrases back at the screen
> ('HELLO!!"), while the rest of the audience nervously laughed or otherwise
> audibly squirmed. Among other things, the film - as screened publicly - is
> a great prank. In a long early-70s profile in Cinema Rising, Balch
> described similar discombobulation at the film's early London screenings.
> However, a more recent screening at MoMA (which placed the film in a much
> different historical and audience context) garnered no audible reaction at
> all.
>
> The other day reading P. Adams Sitney's book Eyes Upside Down (p. 174), I
> came across a reference to a film I haven't seen but mean to track down:
> "Herbert Jean deGrasse's hilarious Film Watchers (1974) hurls abuse at
> typical avant-garde film audiences."
>
> "Reactionary right-wingers" might have the majority of exactly the kind of
> protest you describe. What about thinking of this in larger terms too - the
> reactions in the U.S. to Last Temptation of Christ or, especially, Marlon
> Riggs' Tongues Untied, which most saw on public television - no screen to
> tear down, but plenty of invective, much of which I have always suspected
> was triggered by the film's form as much as its content.
>
> Andy Ditzler
> Founder and curator, Film Love: www.filmlove.org
> Co-founder, John Q collective: www.johnq.org
>
>
>
> On Tue, Jan 12, 2016 at 10:33 PM, Jesse Malmed <jesse.mal...@gmail.com>
> wrote:
>
>> Hello,
>>
>> I'm looking for texts and works that draw connections (and erase them
>> too, sure) between early cinema and the beginnings of video. And, for that
>> matter, with other nascent technologies and their shared tendencies. Camera
>> tricks, formal inventiveness, actualities, etc.
>>
>> Also, while I've got you — I was thinking about the (perhaps apocryphal,
>> cunningly Gunningly so) stories of genuine fears about the Lumière train's
>> first projection and the stories of the outraged audience at an early
>> showing of L'Age D'Or throwing ink at the screen in protest. Ink on the
>> screen is a pretty amazing gesture (it is about to not go without saying
>> that I am obviously staunchly in the camp of artists over reactionary
>> right-wingers) even/especially with its scale of potency to poetry. Are
>> there other related stories you'd like to share? Torn down screens? Shadow
>> puppets between the projector and the screen? Well-deployed spoilers?
>>
>> *JM*
>>
>> --
>> *// // // J E S S E  M A L M E D *
>> 505.690.7899 // jesse.mal...@gmail.com // live to tape
>> <http://livetotapefestival.tumblr.com/>
>> jessemalmed.net <http://www.jessemalmed.net> // deep leap
>> <http://www.deepleap.net> // nightingale <http://nightingalecinema.org/>
>> // trunk show <http://trunk--show.com> //
>> projective verse <http://urbanhonking.com/projectiveverse/> // bad at
>> sports <http://badatsports.com/tags/jesse-malmed/> // acre_tv
>> <ht

Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Steve Polta]

A 16mm print of Tony Conrad's *Film Feedback *is distributed in 16mm by
Canyon Cinema.
http://canyoncinema.com/catalog/film/?i=680
1974, 15 minutes.
Yeah I think it's a candle but it's basically "the" rectangle. White
screen, filmed in negative becomes black, re-projected & filmed, processed
again, re-projected/filmed pos/neg/pos/neg/etc. Becomes rectangles within
rectangles within rectangles, alternating black/white/black/white,
receding. At one point there is a little jam, a little frame line stutter,
this (presumable) accidental gesture is re-photographed in subsequent
iterations of the series and becomes a major event in this "minimalist"
film. Now that I've written this I'm not 100% certain of presence of the
on-screen the candle.

This film recalls (to me) a series of performance films by William Raban
titled *2'45* (1973), in which the filmmaker, standing in front of a
screen, speaks a short description of the *2'45* project and is
filmed—single take—in 16mm sync sound. The resultant married print is then
projected (with sound), say a day later, with the filmmaker making the same
speech (so he's on screen and in real life; get it?), this combo also being
sync filmed. The result is then projected (so there's two of him on screen,
rectangle within rectangle, receding) while he speaks, etc etc etc. 16mm
feedback loop but not instantaneous; there's about a day lag between
segments. No it's not endlessly ongoing; it's a different version on
different occasions.

Steve Polta




On Wed, Jan 13, 2016 at 3:47 PM, Pip Chodorov <framewo...@re-voir.com>
wrote:

> I can provide Lemaitre's film if you are interested.
> Isou's film ON VENOM AND ETERNITY is an earlier iteration, Lemaitre went
> farther into self-recursion (a film about itself).
> Pip
>
>
> At 22:47 -0800 13/01/16, Cinema Project wrote:
>
>> In regards to "well-deployed spoilers," I might look into Maurice
>> LeMaître's "Le film est déjà commencé?" from 1952. It was a Lettrist film
>> and supposed staged provocation. There's some accounts/ info on it in
>> Off-Screen Cinema by Kaira M Cabañas.
>>
>
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Re: [Frameworks] Full screening list for "Filmworks 78-79" at the Kitchen?

[Steve Polta]

Hi Courtney (and everyone else).

The Archives of San Francisco Cinematheque holds what I believe is the
Program Guide to this series. To clarify what I mean by saying "what I
believe," what we have is a Program Guide for The Kitchen's exhibition
"Filmworks 78-79" but with show dates listed as May 1, 2, 3 1979.

Let me know if you'd like to talk about swinging by to view this item.

Steve Polta
Archivist (and Artistic Director)
San Francisco Cinematheque

On Wed, Jan 13, 2016 at 4:01 PM, Courtney Fellion <fellion.co...@gmail.com>
wrote:

> Dear Frameworkers,
>
> I was wondering if anyone could direct me to the full screening list for a
> three day festival (?) in at the Kitchen in 1980 titled, "Filmworks
> '78-79." I'm specifically interested to learn if any video-based works were
> screened with the films (possibly as kinescopes).
>
> Any help is much appreciated!
>
> Best,
> Courtney
>
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[Frameworks] in the street...

[Steve Polta]

Regarding Helen Levitt's 1948 film *In the Street*, the question to the
group is simply...

Is the film properly/definitively a silent film or does the film have a
soundtrack?

I understand that the film was originally silent and then had a soundtrack
added at some point.
Is this added soundtrack considered (by those who know) to be "the
soundtrack" or is it just some tacked-on track that is better off
disregarded?

Thanks.

Steve Polta
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[Frameworks] CROSSROADS Film Festival—Deadline Extended...

[Steve Polta]

Dear Frameworkers,

Happy New Year to all. This note is to inform all interested parties that
San Francisco Cinematheque has extended the submission deadline for
CROSSROADS 2016, the seventh iteration of its annual film festival, to *January
15, 2016. *Please send your films! Details below. Direct submission link is
here .

*SAN FRANCISCO CINEMATHEQUE* announces
*CROSSROADS 2016*
*April 1–3* at San Francisco’s *Victoria Theater*


*CALL FOR ENTRIES—deadline extended to January 15, 2016!*
*San Francisco Cinematheque *seeks submissions of recent films and videos
for *CROSSROADS 2016*, the *seventh *manifestation of our annual film
festival to be held *April 1–3, 2016 *at San Francisco’s *Victoria Theatre*.
*CROSSROADS 2016* will showcase new film/video works by emerging and
established filmmakers, including performance and works of “live cinema.”
Cinematheque seeks submissions of compelling *non-commercial, artist-made*
*work* of all genres and durations.



*Entry form and complete info is available here
.**ENTRY
GUIDELINES*
— Access our* online submission form* *here
*.
— EXHIBITION FORMATS: *8mm*, *Super-8mm*, *16mm*, *35mm*, *QuickTime ProRes*
and *Blu-ray*. We also seek submissions of *film/video performance* *works*,*
multi-projector pieces* and other para-cinematic forms. Please contact
festi...@sfcinematheque.org

with inquiries concerning additional exhibition formats or for more
information.
— SUBMISSION FORMATS: Entries are accepted in the form of *streaming online
video*,* DVD* or *Blu-ray*. *Submission via streaming online video is
strongly preferred.*
*—  *Entry fee: $20 for these later submission for each individual film (
submitted by Jan. 15, 2016). Entry fee is waived for Cinematheque members
.


*RENTAL FEES ARE PAID FOR ALL WORKS SCREENED IN CROSSROADS.*

*Entry form and complete information on CROSSROADS 2016 is available here
.*Please
contact festi...@sfcinematheque.org

with inquiries.
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Re: [Frameworks] Patterns in a Mind's Eye: Seeing the Unnamable

[Steve Polta]

Hi Robert. I'd like more information on this screening. Is there a listing
somewhere (e.g. on a website) that lists the actual films to be screened?
Are these all films by you or are films by others included? It's hard (for
me) to tell from this posting...

On Fri, Nov 20, 2015 at 7:12 AM, Robert Schaller 
wrote:

> Patterns in a Mind's Eye: Seeing the Unnamable
>
> Please join experimental filmmaker and composer Robert Schaller as he
> presents a collection of short impressionistic  works for film and live
> music that explore the relationship of mind, body, and world.  The program
> ranges from the filmmaker's performance of Messiaen's foundational
> pianistic transcription of birdsong (here as the "Allouette Lulu," or
> Woodlark), to pieces that apply this formalistic nature-based thinking to
> works for film, film and cello,  and several handmade films created high in
> the Colorado backcountry during his annual Handmade Film Institute's
> Wilderness Film Expedition.
>
> The event takes place on Monday, November 23rd at the Boulder Public
> Library, 1001 Arapahoe Ave, Boulder, from 6 - 7:30 pm.  There is no
> admission charge.
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[Frameworks] CROSSROADS 2016: call for entries...

[Steve Polta]

*SAN FRANCISCO CINEMATHEQUE* announces
*CROSSROADS 2016*
*April 1–3* at San Francisco’s *Victoria Theater*


*CALL FOR ENTRIES*
*San Francisco Cinematheque *seeks submissions of recent films and videos
for *CROSSROADS 2016*, the *seventh *manifestation of our annual film
festival to be held *April 1–3, 2016 *at San Francisco’s *Victoria Theatre*.
*CROSSROADS 2016* will showcase new film/video works by emerging and
established filmmakers, including performance and works of “live cinema.”
Cinematheque seeks submissions of compelling *non-commercial, artist-made*
*work* of all genres and durations.



*Entry form and complete info is available here
.**ENTRY
GUIDELINES*
— Access our* online submission form* *here
*.
— Submitted works must have been completed after *January 1, 2014*.
— EXHIBITION FORMATS: *8mm*, *Super-8mm*, *16mm*, *35mm*, *QuickTime ProRes*
and *Blu-ray*. We also seek submissions of *performance*,* multi-projector
pieces*, *installations* and other para-cinematic forms. Please contact
festi...@sfcinematheque.org

with inquiries concerning additional exhibition formats or for more
information.
— SUBMISSION FORMATS: Entries are accepted in the form of *streaming online
video*,* DVD* or *Blu-ray*. *Submission via streaming online video is
preferred.*
*—  *Entry fee: $15 for each individual film (submitted by Nov. 30, 2015);
$20 for each individual film (submitted by Dec. 31, 2015). Entry fee is
waived for Cinematheque members
.


*RENTAL FEES ARE PAID FOR ALL WORKS SCREENED IN CROSSROADS.*

*Entry form and complete information on CROSSROADS 2016 is available here
.*Please
contact festi...@sfcinematheque.org

with inquiries.
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Re: [Frameworks] 16fps 16mm projectors?

[Steve Polta]

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] Announcement! CROSSROADS touring packages now available!

[Steve Polta]

Ladies and Gentlemen, citizens of the world...

San Francisco Cinematheque is extremely excited to announce that select
programs from CROSSROADS 2015—the most recent (and successful!) iteration
of our annual film festival—are now available for booking by interested
venues worldwide in easy-to-exhibit digital video packages...! Full details
are available *here*
http://www.sfcinematheque.org/festival/2015-touring-programs/ or via
email to t...@sfcinematheque.org.

*These programs (outlined below) include:*
  *— Complete exhibition program* in high-resolution digital video format:
provided to exhibition venues on hard drive, ready to play.
*— Program Notes,* including images, curatorial statement, CROSSROADS
information  statements on each artist’s work.
*— * *Press Packages, *including promotional copy, information on the
program(s) and works, links to complete online previews of work and hi-res
color images for publication in print and online.
*— * *Promotional Support* by Cinematheque via social media, weekly email
announcements and on Cinematheque's
http://www.sfcinematheque.org/festival/2015-touring-programs/schedule/
website
http://www.sfcinematheque.org/festival/2015-touring-programs/schedule/.
*— **In-Person Curatorial Introductions and in-person artist attendance*:
subject to availability and additional negotiation.

*Programs At A Glance (click links for full details):*
*tour program 1* *visitations, dreams of falls (watch them collapsing)*
http://www.sfcinematheque.org/festival/2015-touring-programs/crossroads-2015-program-1/:
*layover *(2014) by Vanessa Renwick; *Figure—Ground* (2013) by Jean-Paul
Kelly; *A Field Guide to the Ferns* (2015) by Basma Alsharif; *Song for Awe
 Dread* (2015) by Tommy Becker; *The Quilpo Dreams Waterfalls* (2012) by
Pablo Mazzolo; *a Beginning a Middle and an End* (2013) by Jon
Behrens; *Greetings
to the Ancestors* (2015) by Ben Russell (TRT: 76 minutes)

*tour program 2 **everything is real—everything is something*
http://www.sfcinematheque.org/festival/2015-touring-programs/crossroads-2015-program-2/:
*The HandEye (Bone Ghosts)* (2012) by OJOBOCA; *Sea of Vapors* (2014) by
Sylvia Schedelbauer; *Emulsion Electrons Imbued* (2014) by Karissa Hahn; *The
Somber Vault* (2014) by John Powers; *Things *(2014) by Ben Rivers;
*Wolkenschatten
(Cloud Shadow)* by OJOBOCA (TRT: 69 minutes)

*tour program 3 **haunted house: a catalog of the small and ecstatic*
http://www.sfcinematheque.org/festival/2015-touring-programs/crossroads-2015-program-3/:
*Meanwhile at the Moon Hotel* (2014) by Jessie Stead; *Frozen Giants*
(2013) by Christine Negus; *Simmer *(2013) by Karissa Hahn; *flower *(2012)
by Naoko Tasaka; *vis à vis* (2013) by Abigail Child; *Lunar Almanac*
(2013) by Malena Szlam (TRT: 67 minutes)

Full details of CROSSROADS touring programs available *here*
http://www.sfcinematheque.org/festival/2015-touring-programs/ or via
email to t...@sfcinematheque.org.
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Re: [Frameworks] Andrew Noren

[Steve Polta]

Yes Noren was indeed considered an expert on 20th Century news footage and
certainly knew his way around an archive. There is also a story however of
him dropping by Anthology Film Archives, sometime well into the 21st
century I think, to inspect his films—which were permanently archived
there—and, when the archivist was out of the room, physically removing
specific shots with scissors and pocketing this material. Noren's early
films (mid-'60s–mid-'70s, roughly)—the making of which were the direct
inspiration for the film *David Holzman's Diary*—were attempts to document
every aspect of the filmmaker's life, which, in his case, meant that they
documented Noren's quite active sex life. I don't know the reason—his own
privacy or his partners' perhaps?—but it was these scenes that Noren
reportedly liberated. Good story and yes I believe it's true...

Steve Polta



On Mon, May 25, 2015 at 12:18 PM, direc...@lift.on.ca wrote:

 The fact that Noren was an archivist by trade gives hope to the fact that
 his elements are probably thoughtfully stored somewhere (at least the ones
 that weren't destroyed in an early fire, if I remember correctly) and
 would be eventually available for preservation.

 C

  When I first walked into the Sherman Grinberg Film Library in the old
 Film
  Center Building at 630 9th Avenue in the fall of 1983, I was quite
  surprised when I was introduced to Andrew Noren, one of the librarians in
  that strange place. I couldn't quite put together my emerging life as a
  business-focused archival film researcher with my past watching
  ag/experimental films under semi-utopian conditions in California, but
  Andrew confirmed that he was indeed the filmmaker whose work had left
 such
  a strong impression before going into the vaults to pick out a few cans
 of
  nitrate neg for me to put on the Moviola flatbed. I recall that he pulled
  the Paramount newsreel neg for me showing Fiorello LaGuardia reading the
  comics over the radio during the 1945 newspaper strike. In retrospect I
  can see how working with nitrate in his day job may have influenced his
  sensibility.
 
  Rick
 
  Rick Prelinger / @footage
  Prelinger Archives, San Franciscohttp://www.prelinger.com
  foot...@panix.com
 
  Associate Professor, Film  Digital Media, UC Santa Cruz
  r...@ucsc.edu
 
  Prelinger Library (http://www.prelingerlibrary.org), a member of the
  Intersection Incubator, a program of Intersection for the Arts providing
  fiscal sponsorship, incubation and consulting to artists
  (http://www.theintersection.org).
 
 
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Re: [Frameworks] Andrew Noren

[Steve Polta]

Yes. Noren was an amazing filmmaker with an incredible body of work that
threw done some serious aesthetic challenges and expressed, in purely
visual terms, a very complex aesthetics-based philosophy that to me is
incredibly deep and profound and still shakes me up to think about. I
posted the following to facebook and paste it here too...

Today I learned that the great filmmaker Andrew Noren died a few weeks ago
from cancer, age 72 (I think). For those who don't know, Noren's films were
among the most visually intense and overwhelming films ever created. Noren
was a master 16mm photographer, a master of capturing motion and a master
of 16mm black  white (I never had the opportunity to see his color films
but I'm told they were amazing as well). Noren's films tended to be
long-form (30+ minutes) and were (the ones I've seen) relentless barrages
of imagery—very fast cutting, incredible single-framing and time lapse—that
only would pause for the briefest of moments. Generally (the films I've
seen) shot in cities during the course of daily life, the films emphasize
the passing of time and—in their speed and Noren's uncanny way of rendering
solid forms as fragile and ephemeral—seem to be constantly concerned with
not only passing time but the brevity of life. By the time I came to film,
Noren—a contemporary and filmmaker-in-dialog-with Brakhage, Dorsky, Gehr
and all those guys—had largely withdrawn his films from distribution and
had done the (probably deliberate, although I don't know) slow fade into
relative obscurity. Each rare screening of Noren's aggressive (if
overwhelming) films was an occasion for ones personal sense of visuality
(as well as filmmaking and film history) to be altered permanently, and for
the better, in that these films feel like wake-up call jolts to the senses
and made you feel exhileratingly alive (albeit in intense ways—given that
they stressed—to me—the brevity of life and the non-reality of the physical
world, they also really shook me up in ways that few other films have). His
earlier films (which I've not seen) were attempts to document all aspects
of his life on film and were—this is documented—the direct inspiration for
DAVID HOLZMAN'S DIARY. It's really too bad that his films didn't screen
more often but in later years Noren—a classic, intensely opinionated
curmudgeonly filmmaker—did not make it easy. I was really glad to have seen
him in person (and meet him briefly) at Pacific Film Archive in 2005 and to
have screened IMAGINARY LIGHT, via San Francisco Cinematheque
https://www.facebook.com/sanfranciscocinematheque, at SFMOMA in 2012...

On Mon, May 25, 2015 at 9:42 AM, direc...@lift.on.ca wrote:

 I can understand that. There was a moment in the early 2000s when Susan
 Oxtoby brought some of his films (and him) to Toronto over the course of a
 few years. I likely saw about 4 or 5 of his films over that period and
 still think of them often. A quick description --- rich high-contrast
 imagery, long point-of-view shots down pathways and evocative time lapses
 of domestic spaces -- doesn't do them justice; there was something
 especially stunning about the experience.

 Chris

  Those of us who were there at the time can recall the excitement when a
  new film by Andrew was released. We anticipated them almost like we did
  the next Brakhage or Godard.

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Re: [Frameworks] Andrew Noren

[Steve Polta]

This is a lot like what his films seem to aspired to be, and clearly
demonstrates Noren's sensitivity to these things.

P. Adams Sitney has described that Scott MacDonald interview with Noren
(which was conducted through mail I believe and subject to intense scrutiny
and amendment by Noren) as basically Noren's manifesto and seemed
astonished that, as a writer, Scott MacDonald would turn this over so
completely to Noren. To me that piece is indeed a very provocative piece
and, however it went down, it's really great that Scott was able to get all
that into print...

On Mon, May 25, 2015 at 11:02 AM, Carl E Bogner crlel...@uwm.edu wrote:


  The concluding -- and personal favorite -- passage from that Andrew
 Noren / Scott MacDonald interview (in Critical Cinema 2) that Mr.
 Youngblood referred to earlier:


  “The absolute best thing I’ve seen recently and certainly the most
 avant-garde was a lightning storm over southern New Jersey. It was so
 spectacular and sophisticated and surely one of the all-time great movies.
 It was incredibly powerful and intricate and intelligent and terrifying. It
 blasted us awake at two a.m. and we watched it through the black frame of
 the back door: vivid, intense, electric presentation of every last single
 detail of each bush, tree, leaf-of-grass. Vibrating out of absolute
 blackness in blinding, blue-white light, figure and ground switching places
 several times a second. Violent dimensional collisions, macroscopic
 magnification of the smallest things. Then everything vanishing into
 blackness so intense that the after-images were almost as strong as the
 original. And sound! Earth-shattering contrapuntal booms and blasts of such
 power I was sure the house would be blown away. I wish I could begin to
 describe it. It was wonderful, and as avant-garde is it gets. We were
 enchanted.”



  Carl

 Milwaukee


  --
 *From:* FrameWorks frameworks-boun...@jonasmekasfilms.com on behalf of
 Steve Polta steve.po...@gmail.com
 *Sent:* Monday, May 25, 2015 12:16 PM
 *To:* Experimental Film Discussion List
 *Subject:* Re: [Frameworks] Andrew Noren

  Yes. Noren was an amazing filmmaker with an incredible body of work that
 threw done some serious aesthetic challenges and expressed, in purely
 visual terms, a very complex aesthetics-based philosophy that to me is
 incredibly deep and profound and still shakes me up to think about. I
 posted the following to facebook and paste it here too...

 Today I learned that the great filmmaker Andrew Noren died a few weeks ago
 from cancer, age 72 (I think). For those who don't know, Noren's films were
 among the most visually intense and overwhelming films ever created. Noren
 was a master 16mm photographer, a master of capturing motion and a master
 of 16mm black  white (I never had the opportunity to see his color films
 but I'm told they were amazing as well). Noren's films tended to be
 long-form (30+ minutes) and were (the ones I've seen) relentless barrages
 of imagery—very fast cutting, incredible single-framing and time lapse—that
 only would pause for the briefest of moments. Generally (the films I've
 seen) shot in cities during the course of daily life, the films emphasize
 the passing of time and—in their speed and Noren's uncanny way of rendering
 solid forms as fragile and ephemeral—seem to be constantly concerned with
 not only passing time but the brevity of life. By the time I came to film,
 Noren—a contemporary and filmmaker-in-dialog-with Brakhage, Dorsky, Gehr
 and all those guys—had largely withdrawn his films from distribution and
 had done the (probably deliberate, although I don't know) slow fade into
 relative obscurity. Each rare screening of Noren's aggressive (if
 overwhelming) films was an occasion for ones personal sense of visuality
 (as well as filmmaking and film history) to be altered permanently, and for
 the better, in that these films feel like wake-up call jolts to the senses
 and made you feel exhileratingly alive (albeit in intense ways—given that
 they stressed—to me—the brevity of life and the non-reality of the physical
 world, they also really shook me up in ways that few other films have). His
 earlier films (which I've not seen) were attempts to document all aspects
 of his life on film and were—this is documented—the direct inspiration for
 DAVID HOLZMAN'S DIARY. It's really too bad that his films didn't screen
 more often but in later years Noren—a classic, intensely opinionated
 curmudgeonly filmmaker—did not make it easy. I was really glad to have seen
 him in person (and meet him briefly) at Pacific Film Archive in 2005 and to
 have screened IMAGINARY LIGHT, via San Francisco Cinematheque
 https://www.facebook.com/sanfranciscocinematheque, at SFMOMA in 2012...

 On Mon, May 25, 2015 at 9:42 AM, direc...@lift.on.ca wrote:

 I can understand that. There was a moment in the early 2000s when Susan
 Oxtoby brought some of his films (and him) to Toronto over

Re: [Frameworks] Women working in Expanded Cinema

[Steve Polta]

Contemporary female artists working significantly with expanded cinema
(read: film/celluloid/projector performance/installation) that I would
recommend include the following. I'm just doing this quick so feel bad in
advance for those I'm omitting; I'm sure there are zillions more. Hopefully
I'll be able to follow up later...

Amanda Dawn Christie
Esperanza Collado
Sandra Gibson (works with Luis Recoder)
Sally Golding/Unconscious Archives/Abject Leader
Kerry Laitala
Jeanne Liotta
Lynn Lu
Raha Raissnia
Klara Ravat
Jennifer Reeves
Mary Stark
Malena Szlam
Esther Urlus

mixed-gender collectives and collaborative groups include:
Beige (San Francisco)
Crater Collective (Barcelona)
Trenchera Ensamble (Mexico City)
OJOBOCA (Berlin)

bye for now...

Steve Polta


On Fri, Mar 20, 2015 at 10:04 AM, Alex Balkam blueswingingd...@gmail.com
wrote:

 Hello Frameworks,

 At the Atlantic Filmmakers Cooperative where I work we are interested in
 inviting women working in the Expanded Cinema realm to join us as Visiting
 Artists for an Expanded Cinema program we are hoping to develop.

 I was interested to know if anyone on the list would like to recommend
 practicing Expanded Cinema artists, ideally women who work in the practice.
 We are primarily interested in artists working with celluloid film, as
 opposed to video mapping, etc.

 Thank you,


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[Frameworks] Cinematheque's Art Auction—48 hours to go...!

[Steve Polta]

Last Frameworks post about this auction! Hang in there!

Dear Frameworkers,

Please note that there are less than 48 hours to bid on some great art in *San
Francisco Cinematheque*'s *4th Annual Auction and Benefit*
http://www.sfcinematheque.org/screenings/fourth-annual-art-auction-benefit/!
This year's auction includes over *50* works by some great artists
including *Lynn Hershman*
http://paddle8.com/work/lynn-hershman-leeson/40699-splat, *Jeremy Rourke*
http://paddle8.com/work/jeremy-rourke/40514-that-will-do, *Sandra Gibson
 Luis Recoder*
http://paddle8.com/work/sandra-gibson-and-luis-recoder/40601-color-transparency,
*Bill Daniel* http://paddle8.com/work/bill-daniel/39949-my-friend, *Nate
Boyce* http://paddle8.com/work/nate-boyce/39939-scroll-sequence-blue, *Kim
Anno* http://paddle8.com/work/kim-anno/40563-girls-at-the-tea-house, *Jeanne
C. Finley + John Muse*
http://paddle8.com/work/jeanne-c-finley-and-john-muse/40279-manhole,
*Nathaniel
Dorsky* http://paddle8.com/work/nathaniel-dorsky/40600-summer, *Alexander
Stewart* http://paddle8.com/work/alexander-stewart/40435-35-columbus, *Kevin
Killian
http://paddle8.com/work/kevin-killian/40374-george-kuchar-tagged-2011*,
*Jodie
Mack*
http://paddle8.com/work/jodie-mack/40386-animation-artwork-undertone-overture,
*Gwenaël Rattke* http://paddle8.com/work/gwenael-rattke/40400-untitled, *Mark
Wilson* http://paddle8.com/work/mark-wilson/40525-gs50, *Karen Yasinsky*
http://paddle8.com/work/karen-yasinsky/40537-onomatopoeia, *John Davis*
http://paddle8.com/work/john-davis/40545-the-big-sleep, *Michael Robinson*
http://paddle8.com/work/michael-robinson/40401-angeleyes, *Sarah Jane
Lapp* http://paddle8.com/auctions/sfcinematheque, *Anne McGuire*
http://paddle8.com/work/anne-mcguire/40388-chimera, *Kadet Kuhne*
https://paddle8.com/work/kadet-kuhne/40380-emerge, *Miranda July*
http://paddle8.com/work/miranda-july/41976-cry, *Tommy Becker*
http://paddle8.com/work/tommy-becker/39937-lemon-tree-with-glove, *Keith
Evans* http://paddle8.com/work/keith-evans/41928-mediam-strip-4 and *Janis
Crystal Lipzin*
http://paddle8.com/work/janis-crystal-lipzin/40381-side-view-petaluma
with an oddball donation of anonymous outsider art by *Craig Baldwin*
http://paddle8.com/work/anonymous/40598-iu.

Of special note, we are excited to offer actual 16mm prints of films by *Paul
Clipson* http://paddle8.com/work/paul-clipson/40599-another-void, *Lawrence
Jordan* http://paddle8.com/work/lawrence-jordan/40603-beyond-enchantment
and *Kerry Laitala*
http://paddle8.com/work/kerry-laitala/40953-retrospectroscope...!

Great works by non-filmmakers too (including an unbelievable portrait
of *George
Kuchar*
http://paddle8.com/work/kevin-killian/40374-george-kuchar-tagged-2011
by *Kevin
Killian*
http://paddle8.com/work/kevin-killian/40374-george-kuchar-tagged-2011)!
Please see the whole online auction here:
*http://paddle8.com/auctions/sfcinematheque*
http://paddle8.com/auctions/sfcinematheque

*Online bidding *for works has begun and will continue until *noon* (PST) on*
November 15*. The auction will then continue through a special exhibition
of the works in Cinematheque's home gallery within San Francisco's Center
for New Music, located at 55 Taylor Street. If you can make it, please join
us for a great evening of art, music, food, drink and friends. Full event
details *here*
http://www.sfcinematheque.org/screenings/fourth-annual-art-auction-benefit/.
Online bidders take heart! Proxy bidding on work is available, please
contact auct...@sfcinematheque.org for details. auct...@sfcinematheque.org
auct...@sfcinematheque.org

We hope to see you there, or else we'll see you online!

Best regards,

Steve Polta
Artistic Director
San Francisco Cinematheque
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[Frameworks] NOW! Benefit Art Auction for San Francisco Cinematheque...

[Steve Polta]

*Bidding now available online!*
*http://paddle8.com/auctions/sfcinematheque*
http://paddle8.com/auctions/sfcinematheque

Dear Fine and Friendly Frameworkers,

I'm excited to announce that *San Francisco Cinematheque*'s *4th Annual
Auction and Benefit*
http://www.sfcinematheque.org/screenings/fourth-annual-art-auction-benefit/
is currently underway and includes over *50* works by an exciting and
diverse array of artists. Participating film/video artists include *Lynn
Hershman* http://paddle8.com/work/lynn-hershman-leeson/40699-splat, *Jeremy
Rourke* http://paddle8.com/work/jeremy-rourke/40514-that-will-do, *Sandra
Gibson  Luis Recoder*
http://paddle8.com/work/sandra-gibson-and-luis-recoder/40601-color-transparency,
*Bill Daniel* http://paddle8.com/work/bill-daniel/39949-my-friend, *Nate
Boyce* http://paddle8.com/work/nate-boyce/39939-scroll-sequence-blue, *Kim
Anno* http://paddle8.com/work/kim-anno/40563-girls-at-the-tea-house, *Jeanne
C. Finley + John Muse*
http://paddle8.com/work/jeanne-c-finley-and-john-muse/40279-manhole,
*Nathaniel
Dorsky* http://paddle8.com/work/nathaniel-dorsky/40600-summer, *Alexander
Stewart* http://paddle8.com/work/alexander-stewart/40435-35-columbus, *Jodie
Mack*
http://paddle8.com/work/jodie-mack/40386-animation-artwork-undertone-overture,
*Gwenaël Rattke* http://paddle8.com/work/gwenael-rattke/40400-untitled, *Mark
Wilson* http://paddle8.com/work/mark-wilson/40525-gs50, *Karen Yasinsky*
http://paddle8.com/work/karen-yasinsky/40537-onomatopoeia, *John Davis*
http://paddle8.com/work/john-davis/40545-the-big-sleep, *Michael Robinson*
http://paddle8.com/work/michael-robinson/40401-angeleyes, *Sarah Jane
Lapp* http://paddle8.com/auctions/sfcinematheque, *Anne McGuire*
http://paddle8.com/work/anne-mcguire/40388-chimera, *Kadet Kuhne*
https://paddle8.com/work/kadet-kuhne/40380-emerge, *Miranda July*
http://paddle8.com/work/miranda-july/41976-cry, *Tommy Becker*
http://paddle8.com/work/tommy-becker/39937-lemon-tree-with-glove, *Keith
Evans* http://paddle8.com/work/keith-evans/41928-mediam-strip-4 and *Janis
Crystal Lipzin*
http://paddle8.com/work/janis-crystal-lipzin/40381-side-view-petaluma
with an oddball donation of anonymous outsider art by *Craig Baldwin*
http://paddle8.com/work/anonymous/40598-iu.

Of special note, we are excited to offer actual 16mm prints of films by *Paul
Clipson* http://paddle8.com/work/paul-clipson/40599-another-void, *Lawrence
Jordan* http://paddle8.com/work/lawrence-jordan/40603-beyond-enchantment
and *Kerry Laitala*
http://paddle8.com/work/kerry-laitala/40953-retrospectroscope...!

Great works by non-filmmakers too (including an unbelievable portrait
of *George
Kuchar*
http://paddle8.com/work/kevin-killian/40374-george-kuchar-tagged-2011
by *Kevin
Killian*
http://paddle8.com/work/kevin-killian/40374-george-kuchar-tagged-2011)!
Please see the whole online auction here:
*http://paddle8.com/auctions/sfcinematheque*
http://paddle8.com/auctions/sfcinematheque

*Online bidding *for works has begun and will continue until *noon* (PST) on*
November 15*. The auction will then continue through a special exhibition
of the works in Cinematheque's home gallery within San Francisco's Center
for New Music, located at 55 Taylor Street. If you can make it, please join
us for a great evening of art, music, food, drink and friends. Full event
details *here*
http://www.sfcinematheque.org/screenings/fourth-annual-art-auction-benefit/.
Online bidders take heart! Proxy bidding on work is available, please
contact auct...@sfcinematheque.org for details. auct...@sfcinematheque.org
auct...@sfcinematheque.org

We hope to see you there, or else we'll see you online!

Best regards,

Steve Polta
Artistic Director
San Francisco Cinematheque
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[Frameworks] CROSSROADS 2015: call for entries...

[Steve Polta]

SAN FRANCISCO CINEMATHEQUE
announces
CROSSROADS 2015
April 10–12 at San Francisco’s Victoria Theater

*CALL FOR ENTRIES*

San Francisco Cinematheque seeks submissions of recent films and videos for
CROSSROADS 2015, the sixth manifestation of our annual film festival to be
held April 10–12 at San Francisco's Victoria Theatre, CROSSROADS 2015 will
showcase new film/video works by emerging and established filmmakers,
including performance and works of “live cinema.” Cinematheque seeks
submissions of compelling non-commercial, artist-made work of all genres
and durations.

ENTRY GUIDELINES
*complete information and online submission form available at:
www.sfcinematheque.org/news-post/crossroads-2015/
http://www.sfcinematheque.org/news-post/crossroads-2015/*

— Submitted works must have been completed after January 1, 2013.
— Exhibition Formats: CROSSROADS 2015 will (potentially) screen work in the
following film/video formats: 8mm, Super-8mm, 16mm, 35mm, QuickTime ProRes
and Blu-Ray. We also seek submissions of performance, multi-projector
pieces, installations and other para-cinematic forms. Please contact
festi...@sfcinematheque.org with inquiries concerning additional exhibition
formats or for more information.
— Entries are accepted on DVD and Blu–Ray formats or in the form of
streaming online video. Please contact festi...@sfcinematheque.org with
inquiries concerning submission formats.
— Entries in the form of streaming online video must be provided via online
form. Entry via online submission form is strongly preferred for DVD
entries. Access online submission form at www.sfcinematheque.org.
— Include one submission form or online entry with each work submitted.
— DVD/Blue-Ray submissions must be clearly labeled with the film title,
filmmaker name(s) and contact email address.
— Please include a pre-paid, self-addressed package with your submission if
you would like items to be returned.
— Entry fee: $15 for each individual film (postmarked by Dec. 15, 2014) $20
for each individual film (postmarked by Jan. 15, 2015) Entry fee is waived
for Cinematheque members.
— Please make checks or money-orders payable in U.S. currency to: SAN
FRANCISCO CINEMATHEQUE; electronic payments can be sent via Paypal to
festi...@sfcinematheque.org or via the online entry form.
— All entrants will be notified on receipt of submission(s).
— Additional Information: Please contact Cinematheque at
festi...@sfcinematheque.org.

RENTAL FEES WILL BE PAID FOR ALL WORKS SCREENED IN THE FESTIVAL.

*complete information and online submission form available at:
www.sfcinematheque.org/news-post/crossroads-2015/
http://www.sfcinematheque.org/news-post/crossroads-2015/*
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Re: [Frameworks] Super 8 camera BROKE!!!!!

[Steve Polta]

To me this sounds like a problem with the individual film cartridge you are
using (like it is jammed somehow and the film can't move) and not the
camera. Have you tried using another cartridge?


On Wed, Aug 20, 2014 at 2:55 PM, ben.weinst...@mindspring.com wrote:

 Hey ive been shooting a lot film with my canon super 8 camera and it
 stopped working recently and i lost a bunch of good footage because of it.
 It appears to run fine but when I put film in, it just rips the sprocket
 holes and doesnt advance the film at all.  The wheel inside turns fine and
 the tooth that grabs the sprockethole seems to move fine when theres no
 film inside.  Anyway to get to the point i need to fix this thing or borrow
 someones camera before this weekend cause i need to get this film out.
 Anyone in the NYC area got anything thatll help?  Thanks

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Re: [Frameworks] cat films

[Steve Polta]

Burroughs' short book, The Cat Inside is a wondrous and touching
elaboration of his relationships with and to cats...

Steve Polta
On Aug 16, 2014 1:23 PM, Andy Ditzler a...@andyditzler.com wrote:

 George Kuchar's cat Blackie plays the crucial role of confessor in the
 video diary Rainy Season (1987). George's grief at losing his beloved cat
 is the subject of Season of Sorrow (1996).

 William Burroughs was quite fond of cats, and I believe he lived with many
 at his final home in Lawrence, Kansas. Perhaps there is a documentary with
 footage of this?

 Brakhage's film Pasht is quite striking.

 Andy Ditzler


 On Sat, Aug 16, 2014 at 4:00 PM, Gene Youngblood ato...@comcast.net
 wrote:

   Cats are featured prominently in 27 of George Kuchar’s diaries, some
 of them pretty surreal. My favorite is “Kitty Porn” (1996).

  *From:* Ronald Gregg ronald.gr...@yale.edu
 *Sent:* Saturday, August 16, 2014 11:44 AM
 *To:* Experimental Film Discussion List frameworks@jonasmekasfilms.com
 *Subject:* Re: [Frameworks] cat films

  And Felix the Cat as well:
 https://www.youtube.com/watch?v=sxailD4Ofq4



 On Sat, Aug 16, 2014 at 1:22 PM, nicky.ham...@talktalk.net wrote:

 Nice titles for 'Jonesy', like the ones for Pierrot le Fou.

 There are also hundreds of episodes of Top Cat to consider!

 Nicky.



 -Original Message-
 From: Francisco Torres fjtorre...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Sent: Sat, 16 Aug 2014 16:53
 Subject: Re: [Frameworks] cat films

  here kitty...

 https://www.youtube.com/watch?v=Bo0c8FnjW0k


 2014-08-16 5:19 GMT-04:00 nicky.ham...@talktalk.net:

 Bell Book and Candle,

 The Incredible Journey (Disney film abut three pets on a 200 mile
 journey. Includes a swimming siamese cat).

 Nicky.



  -Original Message-
 From: Benjamin Leon benj.l...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
  Sent: Sat, 16 Aug 2014 9:19
 Subject: Re: [Frameworks] cat films

  *Fuses* of course ! And* Plumb Line* (1968-1972) by Carolee
 Schneemann too.


 2014-08-16 9:49 GMT+02:00 nicky.ham...@talktalk.net:

 Gummo and Withnail and I have cats in them, albeit briefly.

 Nicky



  -Original Message-
 From: Peter Mudie peter.mu...@uwa.edu.au
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Sent: Sat, 16 Aug 2014 5:48
 Subject: Re: [Frameworks] cat films

  It's an odd question, really - looking for films with/about cats. If you
 get onto YouTube and type in a search for 'cats', 'wacky cats' and/or
 'awesome cats' you will find something around 2 billion choices to build
 your exhibition around - none of them worthwhile. Do a search (with the
 same criteria) for 'chipmunks' or 'hamsters' and you'll find less, but
 about as discerning as the 'wacky cats' list. Any exhibition that results
 from a deep curatorial insight about cats will probably leave you in the
 same zone as all the YouTube ones.

 If someone asked me what my favourite film was that had a cat within it -
 that is, different from 'a hard-boiled cheap detective getting away from
 the grips of a femme fatale' or 'a Joe-Bob Mr America saves the world from
 certain destruction' scope of subjects (which I guess isn't all that
 dissimilar to 'wacky chipmunk' or 'look what a hamster can fit in his
 mouth' videos) - I would have to say Nightcats (by Brakhage).

 Peter
 (Perth)

  What else could we shown in a Cat Film Fest?
 
 As Ekrem mentioned, there's Cat Cradle and Fuses. Dunno if the amount of
 kitteh-kontent is high enough for a feline fest, but the presence of the
 pussy... er, scratch that [Meow!] I mean the context of the cat, is the
 unraveling intertextual ball of string tying the two works together, or
 maybe being batted away from StanCat by CaroleeCat, or maybe the mirrored
 meowser is Schneeman's way of saying, 'my little furry pet is purring
 because she just pounced on some wee bit of pickle, and by the way, did
 you know that cats are independent creatures who do their own thing
 instead of licking their masters fantasy boots, and cats have really
 sharp claws they can dig into your untutored eye if you piss them off by
 mixing up which human is owned by which cat, and somehow indicate you
 think you own even one cat much less two, so go pine in the pines with
 your poor putrefying pooch and leave my kitty alone!
 
 
 
 You could show Marker's 'Case of the Grinning Cat' which also might be a
 little light on actual kitty-kontent, but again the cat-concept is pretty
 important, and any excuse to show Marker is always a good excuse.
 
 
 
 Or you could go conceptual rather than representational:
 
 I read somewhere that felines large and small are creatures who spend
 most of the time sleeping between brief bursts of activity.
 
 So I'm thinking you could show all 5 hours and 21 minutes of Sleep, in
 a room filled with sofa and actual cats, so after puzzling over what do
 do with themselves for awhile, instead

Re: [Frameworks] cat films

[Steve Polta]

I believe this intercat program has been withdrawn from distribution at
the Film-Makers' Cooperative. Sad I know.

Cat films that come to mind...

*by Brakhage:*
*Night Cats *(or is it *Nightcats*)

*Cat of the Worm's Green Realm*

*Max*
(probably there are others)
*Luther Price: **Kittens Grow Up*

Steve Polta


On Wed, Aug 13, 2014 at 5:04 PM, Patrick Friel patrick.fr...@att.net
wrote:

 In my one-month stint as Interim Program Director at Chicago Filmmakers
 earlier this summer, I programmed the INTERCAT '69 program for September.

 http://chicagofilmmakers.org/cf/content/intercat-69-part-1

 5 hours of 16mm cat films from the 1940s-60s.  Available from Film-makers'
 Coop.

 Last month, South Side Projections here in Chicago presented a 16mm cat
 screening, and last year SSP and CF co-presented a 16mm cat screening.

 pf


 On 8/13/14 6:41 PM, Chuck Kleinhans chuck...@northwestern.edu wrote:

  The Walker is having their third Internet Cat Video
  Festival

 http://www.walkerart.org/calendar/2014/internet-cat-video-festival-2
  014?mc_cid=70d62a9316mc_eid=770c6fb304

 Which reminds me of experimental cat
  films, like the Hammid and Deren Life of a Cat (remarkably politically
  correct: daddy cat is shown doing kitten care).  What else could we
 shown in a
  Cat Film Fest?




 Chuck
  Kleinhans
 chuck...@northwestern.edu



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Re: [Frameworks] Muybridge and moving image art

[Steve Polta]

In 2011, San Francisco Cinematheque and the San Francisco Museum of Modern
Art presented the event Muybridge in Three Movements that included film,
dance and a Muybridge-driven conversation on cinematic space and time.
The conversation was more of a reading by Rebecca Solnit from her book on
Muybridge, the dance piece turned out to be actually about the Lumiere
Brothers and the film selection (by Solnit and myself) was as off of a
grab-bag as a four-film program could be but two completely relevant films
screened were Motion Studies (1995) by Mark Wilson and *INGENIVM NOBIS
IPSA PVELLA FECIT *(1974, of which excerpts were screened) by Hollis
Frampton. This latter film—which to my knowledge is rarely discussed or
screened—directly addresses Muybridge's motion study work in that it
consists of endless variations on nude figures performing endless mundane
and pointless tasks (up a ladder/down a ladder; water a plant; etc) all in
the neutral black-background Muybridge-ian null space. See the program
description here:
http://www.sfcinematheque.org/muybridge_in_three_movements/

Wilson's film is available from Canyon Cinema: www.canyoncinema.com
Frampton's from the Film-Makers' Cooperative:
http://film-makerscoop.com/rentals-sales/search-results?fmc_author=250(looks
like an excerpt is on Criterion's Frampton DVD set as well...)



On Thu, May 15, 2014 at 2:59 PM, Angelica Cuevas Portilla 
angel...@cuevas.as wrote:

  You have the excellent film of the mexican experimental filmmaker Rafael
 Balboa:   *Très Muybridge*
 http://rafabal.blogspot.fr/

 Best regards,
 Angélica Cuevas Portilla


 Angélica Cuevas Portilla
 4, rue Mathis
 75019 Paris
 France
 +33-6-64 24 09 10
 http://mex-parismental.blogspot.com
 https://www.facebook.com/MexParismental
 ***
 -Festival des Cinémas Différents de Paris
 http://www.cjcinema.org



 May 15, 2014 10:13:46 PM, frameworks@jonasmekasfilms.com wrote:
 
 Hello, I'm looking for suggestions for films, videos and other moving
 image/time-based artworks (historical  contemporary) that are related to
 the work of Eadweard Muybridge (yes, I suppose it's all related to
 Muybridge, technically). Thom Andersen's doc is certainly a great start but
 also thinking about stuff like Gary Beydler's Pasadena Freeway Stills.
 Thanks in advance.

 
 -Jesse Pires

 
 --

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Re: [Frameworks] Looking for films about the radio and on air diffusion

[Steve Polta]

some of these have been mentioned but here are a few...

Ernie Gehr:
*Signal—Germany on the Air*
Steven Matheson:
*Apple Grown in Wind Tunnel*
Greta Snider:
*The Magic of Radio*
Craig Baldwin:
*Spectres of the Spectrum*
Josh Gibson:
*Kudzu Vine*
Peggy Ahwesh: *73 Suspect Words* (and her audio project with Barbara
Ess, *Radio
Guitar*)

*See Also:* various radio transmission projects of filmmaker Deborah
Stratman (http://www.pythagorasfilm.com/nonfilmwork.html) as well as her
film *Village, silenced*.


On Thu, May 8, 2014 at 9:59 AM, Julia Gouin ad...@cjcinema.org wrote:



 *Dear all, *

 *I am looking for films and videos that deal either thematically or
 technically with the idea of radio and radio diffusion. *
 *Any titles that come to your mind? *

 *Many thanks in advance for your thoughts*

 Julia Gouin
 Administratrice

 ATTENTION / / NOUVELLE ADRESSE / /




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Re: [Frameworks] banned films?

[Steve Polta]

I'm also not sure what it means for a film to be banned, at least in this
day and age but we certainly do know about continuing access problems with
such films as Titicut Follies, Cocksucker Blues and other films.
Apropos to this discussion (and in response to Abigail Severance), I
believe the film that got the Ann Arbor Film Festival in trouble a few
years ago (2006 I believe) with the Michigan State Government was Brooke
Keesling's Boobie Girl. I found an article here:
http://blog.mlive.com/extra_iddings/2007/03/film_festival_busted_for_boobi.html
And the film's website is here: http://www.boobiegirl.com/boobie.html

Ann Arbor FF followed this attack (after raising a ton of money from
supporters in a very sort time) with an extensive series of banned films.
I tried but cannot find this series listed online.

Another interesting banned film is David Wojnarowicz' A Fire in My
Belly, which, in 2010 was removed from video display at the National
Portrait Gallery after complaints (about supposed desecration of religious
imagery) by John Boehner, Eric Cantor and others. This actually led to (I
believe) the revocation of a huge ($100,000; that's huge right?) grant from
the Andy Warhold Foundation for the Visual Arts which had been granted in
support of the exhibition. Also in response, many other art museums and
orgs exhibited the work concurrent with the controversy.
https://en.wikipedia.org/wiki/David_Wojnarowicz#.22A_Fire_in_My_Belly.22_controversy
haha, if you can't make it to the National Gallery (in a time machine), you
can watch the film on youtube here:
https://www.youtube.com/watch?v=gHRCwQeKCuo

(As an aside, I'll say that I hold Wojnarowicz in the highest esteem
possible--I believe he was in fact a model American--and the ability this man
has to continue to provoke people from long beyond the grave is amazing.)

When it was a new film, there was talk of Luther Price's film Sodom
(1994?) being banned from some film festivals (particularly gay film
festivals). This accusation never quite made sense to me (since are all
films not selected for exhibition necessarily to be considered banned?),
even though I think (duh) that it's a great film.

There was this series presented in 1992-1993 at Pacific Film Archive:
http://www.bampfa.berkeley.edu/filmseries/FS4167

On November 1, 1998, San Francisco Cinematheque presented FILM UNDER FIRE:
AN EVENING OF OBJECTIONABLE ART which included Sodom, original poster
Scott Stark's Noema (1998) and works by Anne Severson, Lewis Klahr, Valie
Export, Kurt Kren and others. While this program's (curated by Steve Anker)
accompanying program notes reference Karen Finley and Canyon Cinema's
(independent) problems with the NEA, I'm not sure that any of the films in
the program (other than perhaps Near the Big Chakra) was banned. The
only online documentation I can find is in the Internet Archive's
electronic copy of Cinematheque's compiled 1998 Program Notes:
https://archive.org/stream/sanfranciscocine98sanfrich/sanfranciscocine98sanfrich_djvu.txt

There you go...

Steve Polta



On Sat, Mar 29, 2014 at 1:28 PM, Andy Ditzler a...@andyditzler.com wrote:

 Brakhage's Lovemaking was not banned; rather, Stan pulled it from
 distribution himself. (source: Scott MacDonald's Critical Cinema interview)

 I recently screened Jan Nemec's A Report on the Party and the Guests -
 one of a handful of Czech 60s films to receive the official designation
 banned forever from the government there. (Obviously, forever didn't
 last.) (Accounts differ on what the other films were, but some include
 Evald Schorm's Courage Everyday.)

 It can be tricky separating out (speaking about here in the U.S.)
 instances of outright banning from neglect and suppression for commercial
 reasons, from censorship by private as well as government agencies. My
 understanding is that L'Age D'Or was unavailable for decades because
 Bunuel's patron was scandalized by it, more than from any ban. (The
 effect, of course, is the same.) It also can be hard to find concrete
 evidence of banned films. For example, Fuses is the kind of film that seems
 like it would have run into problems, but I don't recall ever reading
 accounts of outright banning (as opposed to the many instances of audience
 outrage). Same with Christmas on Earth - intended to be destroyed by its
 author, yes, but actually banned?

 A few years ago, my collective presented a site-specific screening of
 Warhol's Lonesome Cowboys, near the site of its 1969 bust by Atlanta (and
 Georgia state) police. The film was seized, the projectionist arrested, and
 the audience was lined up and photographed (yes!). The film re-appeared
 later in the year, with cuts (according to Variety). I think that counts as
 censorship (of the whole film as well as the cut scenes).

 Un Chant D'Amour was according to historical accounts intentionally
 projected by Mekas together with Flaming Creatures to trigger a bust and
 court case which he thought could be won. Genet's

Re: [Frameworks] serene velocity

[Steve Polta]

I do believe there is a title card on the film. Serene Velocity written
in pen on a piece of paper and photographed, placed long before the images
start. Ernie Gehr was a professor of mine and once explained that he added
titles like this because, while he would prefer that they not be part of
the film (or the experience or whatever) he was sick of projectionists who
would cut off his films' leaders--thinking that the black parts before and
after the film parts didn't matter--and splice them too close to other films
that might be ganged onto a reel with his. So the title card (if there is
one) is a buffer. He also mentioned to me once that a four-frame rhythm was
the goal/score/script/whatever he used to structure *Serene Velocity* in
its shooting but also that he had made mistakes in its shooting, with the
result that not every shot in the film came out as exactly four frames.
Yes no kidding. I've never counted...

Steve



On Fri, Mar 21, 2014 at 10:10 AM, Jorge Lorenzo Flores Garza 
jorgelore...@hotmail.com wrote:

 The film has no titles.  Ernie Gehr said the film didn't need them.
 As to the frames, I think he has mentioned that every stage in the zoom
 lens was set to four frames, but I could be wrong.

 Cheers.

  Date: Fri, 21 Mar 2014 10:03:49 -0700
  From: ericthe...@gmail.com
  To: frameworks@jonasmekasfilms.com
  Subject: [Frameworks] serene velocity

 
  Hello frameworkers,
 
  Two questions re: Ernie Gehr's Serene Velocity.
 
  anyone out there--researchers/preservationists--undertaken the
  mundane task of doing frame counts?
  are there any titles or credits on the film?
 
  Thanks in advance. I haven't had the pleasure of seeing the film in
  the past decade.
 
  Eric
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[Frameworks] Cinematheque announces CROSSROADS!

[Steve Polta]

Citizens of the World!

San Francisco Cinematheque is proud to announce
CROSSROADS 2014
the fifth manifestation of its annual film festival
April 3-6 in San Francisco

This year the festival features 53 films by 48 artists, presented over
10 screenings/events at 3 distinct venues in San Francisco.

Full festival line-up is available for your perusal
herehttp://www.sfcinematheque.org/screenings/crossroads-2014/
!
Festival passes and advance tickets for individual screening available
Wednesday!
More information and individual screening pages soon to come!

FOR MORE INFORMATION...
Join our email list here http://www.sfcinematheque.org/!
Like us (please like us!) on
Facebookhttps://www.facebook.com/sanfranciscocinematheque
!
Follow us on Twitter https://twitter.com/SFCinematheque even!

We thank you.
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Re: [Frameworks] Films made with Canon Scoopic 16mm camera

[Steve Polta]

Mark LaPore was a stalwart advocate of the Canon Scoopic and sang its
praises to me one day long ago, describing it as basically a pumped up
Super-8 camera (specifically a pumped up Canon 814-XLS): basically the
thing is--unlike e.g. the Bolex and other 16mm cameras) a portable
self-contained unit--automatic in-the-camera light metering, permanently
attached zoom/macro lens and--best of all for LaPore (and for me) battery
powered and thereby capable of long takes, up to the length of the 16mm
roll (a little over three minutes). It's my understanding that most if not
all of Mark LaPore's 16mm films were shot using this camera including *A
Depression in the Bay of Bengal*, *The Five Bad Elements*, *The Glass
System*, *The Sleepers*, *Kolkata*. Many (well, three) of these are
available from Canyon Cinema:
http://canyoncinema.com/catalog/filmmaker/?i=188


On Wed, Feb 19, 2014 at 6:13 AM, adeena@unil.ch wrote:

 Hi everyone,

 I'm trying to find examples of important films, or considered seminal
 works in the history of experimental cinema, made using a Canon Scoopic
 16mm camera.
 Thanks for your help!
 Best,

 Adeena


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Re: [Frameworks] artist portraits

[Steve Polta]

A lesser-known Kubelka film, Pause, features Rainer himself on screen
doing performance/actionism...

Steve Polta
On Feb 7, 2014 8:27 AM, Bernard Roddy rodd...@yahoo.com wrote:

 Arnulf Rainer, the artist: All I have are a couple of awesome pages
 devoted to him in Vergine's Body Art and Performance.  How many years has
 it been that I knew that name only as a film by Kubelka, 8? 9?

 Bernie


   On Friday, February 7, 2014 8:59 AM, Gawthrop, Rob 
 rob.gawth...@falmouth.ac.uk wrote:
  Arnulf Rainer by Peter Kubelka
 (Nostalgia) by Hollis Frampton  includes: James Rosenquist, Carl Andre,
 Frank Stella, Larry Poons, Michael Snow etc.

 Rob


 On 05/02/2014 01:16, kate lain k...@katemakesfilms.com wrote:

  Hi, frameworkers.  I'm looking for examples of portraits of artists
 and/or
  their processes or their works -- sculptors, musicians, poets, other
  filmmakers, etc.  Really interested in hearing about non-standard,
  non-straight-doc, artistic/artist-made films and videos about other
  artists.  Particularly keen on short works.  Bonus points for ones
  available in some form online.  Thanks in advance for any suggestions you
  might have!
 
  All the best,
  Kate



 Falmouth University

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[Frameworks] the Frampton film...

[Steve Polta]

...to which  Tom Whiteside refers is *Ordinary Matter (Hapax Legomena V)*.
The soundtrack indeed consists of a booming male voice reciting a Chinese
language syllabary and is also double-system sound (i.e. sound on tape;
film is projected at 16/18fps btw). I believe that this soundtrack was
recorded by Frampton for this film and would likely not be considered
found sound.

Steve Polta


On Mon, Nov 25, 2013 at 5:38 AM, Tom Whiteside tom.whites...@duke.eduwrote:

  Which Frampton film uses some kind of a Chinese lectionary for
 soundtrack? Probably from the seventies. I believe it was double system,
 sound was on reel-to-reel tape. That was a found soundtrack.



 Tom

   Durham Cinematheque



 *From:* FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] *On
 Behalf Of *Albert Alcoz
 *Sent:* Sunday, November 24, 2013 3:56 PM
 *To:* frameworks@jonasmekasfilms.com
 *Subject:* [Frameworks] Found Soundtrack Films





 Hi,



 *Institutional Quality* by George Landow was created from a found
 soundtrack, in this case a tape recorder about an instructional test.



 Does anyone know other examples that uses found soundtracks for
 experimental films, especially from the sixties and seventies?



 Thanks,



 Albert

 http://www.visionaryfilm.net/

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Re: [Frameworks] Found Soundtrack Films

[Steve Polta]

Tom Whiteside's description of his own *Home Safe Badminton* actually
reminds me of a very early Luis Recoder piece, the title of which I do
not recall, which paired an un-edited and untreated sound-off found film
on bomb detection (scanning the underside of parked cars with a mirror on a
long pole etc) with the un-edited untreated soundtrack from a film on an
artist (perhaps Paul Klee of Gustav Klimpt but I could be way off on this)
with lines like He is looking for something unknown... as the mirror pole
scanned. Saw this at Artists' Television Access' Other Cinema series in
San Francisco probably in 1997. Recoder had a real knack for amazingly
creative re-presentation of unedited and un-treated films and sounds back
then and many of his works from this era (likely lost forever in the haxe
of life and now un-seeable probably) would have satisfied the original
poster's inquiry around found sound films.

See also Brian Frye's *Ozymandias* (circa 1996) and my own *Abbie Hoffman
in Chicago *(release date unknown).

Steve Polta



On Mon, Nov 25, 2013 at 5:05 PM, Fred Camper f...@fredcamper.com wrote:

 Quoting Albert Alcoz albertalc...@yahoo.es:



 Hi,

 Institutional Qualityby George Landow was created from a found
 soundtrack, in this case a tape recorder about an instructional test.


 Does anyone know other examples that uses found soundtracks for
 experimental films, especially from the sixties and seventies?


 There is this one by Ken Jacobs:

 GLOBE (1971, 22 mins, 16mm, color, sound on cassette)
 (Previously titled: EXCERPT FROM THE RUSSIAN REVOLUTION)
 “Flat image (of snowbound suburban housing tract) blossoms into 3D only
 when viewer places Eye Opener before the right eye. (Keeping both eyes
 open, of course. As with all stereo experiences, center seats are best.
 Space will deepen as one views further from the screen.) The found-sound is
 X-ratable (not for children or Nancy Reagan) but is important to the film’s
 perfect balance (GLOBE is symmetrical) of divine and profane.” (KJ)
  (pasted in from http://nightingalecinema.org/ken-jacobs-x-3-old-new/)

 I've seen it, and am not completely sure what I thought of it. It is at
 the least extremely interesting.

 Fred Camper
 Chicago


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Re: [Frameworks] films/videos using/made up of text

[Steve Polta]

About a month ago, San Francisco Cinematheque (in association with Litquake
[a literary arts festival] and the Canyon Cinema Foundation) presented a
screening (curated by me) of works on this very topic—Films on the
Visualization of Text. I paste the promo text below and also offer this
link to our website:
http://www.sfcinematheque.org/screenings/the-word-my-dear-is-piecemeal-films-on-the-visualization-of-text/

Notably, Stephanie Barber has done a lot a lot of film/video work using
visualized text, including many of the works in her series *Jhanna and the
Rats of James Olds*. Nearly the entire filmography of David Gatten deals
with text as image and with the process of reading. Joyce Weiland is also a
good call that has been made. Jesse Malmed's recent work is also (in a way)
very much about visualized language and concrete poetry. See the link
below; a lot of his work is online.

Best,
Steve Polta
San Francisco Cinematheque

Presented as part of Litquake
2013http://www.sfcinematheque.org/screenings/the-word-my-dear-is-piecemeal-films-on-the-visualization-of-text/www.liquake.org,
San Francisco Cinematheque presents a screening of film/video works in
which written text is visualized and plasticized, explored and displayed.
Battering, caressing and seducing viewers/readers while exploring
syntactical forms (including poetic lyric, introspective essay,, journal,
harangue, laundry list, love letter and song), the seven film/video works
on this program form a thumbnail catalog of the diverse expressive
potentialities of language’s graphic notation displayed as light moving in
time. Screening: Jeanne
Liottahttp://www.sfcinematheque.org/screenings/the-word-my-dear-is-piecemeal-films-on-the-visualization-of-text/www.jeanneliotta.net’s
*Dark Enough* (2011), a celestial contemplation, “a virtual proscenium
stage for the poetry to play itself upon,” a collaboration with poet Lisa
Gill; Stan Brakhage’s *I… Dreaming* (1988), a sound film visualizing the
lyrics of Stephen Foster; *Word Movie *(1966) by Paul
Sharitshttp://paulsharits.com/,
a radically flickering, optical/conceptual sound/text conflation, a
three-and-a-half minute word; Stephanie
Barberhttp://www.stephaniebarber.com/’s
*letters, notes* (2000) a melancholy compendium of lost correspondence and
found photography; David Gatten http://davidgattenfilm.com/’s silent love
letter *How to Conduct a Love Affair *(2007); Su
Friedrichhttp://www.sufriedrich.com/’s
harrowing dream journal *Gently Down the Stream*, Jesse
Malmedhttp://www.jessemalmed.net/’s
sound/image/data morass *Supernym *(2013) and a very rare screening of
Michael Snow’s 1982 epic monolithic film/text essay *So Is This*, a direct
confrontation/repudiation of the very notion of cinematic language itself*.*


On Thu, Nov 14, 2013 at 4:26 PM, Jacob waltmanja...@gmail.com wrote:

 This might be of some interest:
 http://making-light-of-it.blogspot.com/2010/02/text-of-sight.html (made
 several years ago, needs a major update)...



 Best,
 Jacob



 --
   ---
 Jacob Waltman
 SLC, UT
 http://making-light-of-it.blogspot.com/
   ---

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Re: [Frameworks] TONIGHT: Nicolas Rey's LES SOVIETS PLUS L’ÉLECTRICITÉ

[Steve Polta]

And a San Francisco screening on November 29!


On Mon, Nov 11, 2013 at 11:32 AM, Adam Hyman a...@lafilmforum.org wrote:

 It's touring to Boston, Portland, and Los Angeles after this. Where are
 you located?

 Adam Hyman
 Los Angeles Filmforum

 Dashed off on a mobile telephonic device.

 On Nov 11, 2013, at 11:21 AM, Mark Ostrowski most...@telefonica.net
 wrote:

 Does anyone know if Nicolas Rey's LES SOVIETS PLUS L’ÉLECTRICITÉ is
 available on VHS or DVD?

 Would love to see it!





 On 11/11/2013, at 16:18, Stephanie Wuertz wuertzstepha...@gmail.com
 wrote:


 Millennium Presents: LES SOVIETS PLUS L’ÉLECTRICITÉ

 @ Uniondocs 322 Union Ave

 Nov 11th, 6:30pm

 This special screening kicks off a US tour which continues on Tuesday,
 November 12 with a screening of his latest film, Differently Molussia, at
 the New School.

 The Soviets Plus Electricity (Les Soviets plus l’électricité)

 175 minutes |USA | Soviet Union | 2001 | 16 mm

 A cinetrip to a defunct country. Super-self-production in Sviemacolor.
 Wandering through Russia as if through someone else’s house. ” Day two is
 the worst. It was the same in the train: on the second day, I stamped my
 feet impatiently. Then, from the third day on, it gets better. You get used
 to the slowness, to the monotonous landscape, to a life made up of short
 sleep-eat-wait cycles having absolutely nothing to do with the usual timing
 of a day. ” Advertisements for linoleum as if it were some precious stone,
 and entire cities – built on gold mines – left abandoned. There is no such
 thing as Russian chaos. Just “Europe” stretching all the way to the Pacific
 Ocean, and no longer merely to the ghostly Oural Mountains.

 Since 1993 Nicolas Rey has been making films that hover between
 photography, documentaries and the avant-garde. He is one of the founders
 of the Paris-based artist film lab L’Abominable.

 This event is supported by a grant from the New York State Council on the
 Arts. “The Nicholas Rey touring exhibition is supported in part by a grant
 from Cine2000, a program of FACE”.




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Re: [Frameworks] Xenon Arc Conversion for Super 8

[Steve Polta]

Not to confuse the matter by introducing infor=mation that goes nowhere
but...

Brodsky  Treadway (BT), in another century, published a guide for
conversion of the Elmo GS-1200 to xenon projection using what was called a
MARC-300 Power Supply. Their instructions included info on how to do
this, how to drill extra holes for mounting screws and everything. The
joint I work for—San Francisco Cinematheque—had one of these units that
worked great until someone stole the power supply (but not the projector)
from someone's car and that was the end of that. At one point (long ago) I
wrote to BT about their conversion guide and was told that the info was
out of date. I didn't (and still don't) know what that means. Sorry this
isn't more helpful...

Steve Polta


On Sun, Oct 13, 2013 at 2:35 AM, Cherry Kino cherrykinocin...@yahoo.comwrote:

 Hi all,

 Does anyone perform, or know of someone who performs, a xenon arc
 conversion on Super 8 projectors? Specifically, I have an Elmo ST-1800 I
 would like this doing to, so I can show Super 8 reels in big spaces.

 I would be really grateful for any help!

 Cheers,


 Martha Jurksaitis
 Analogue Film and Photography Artist

 M: 07935 916 560


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Re: [Frameworks] Cinema Siblings

[Steve Polta]

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


On Wed, Oct 9, 2013 at 10:53 AM, Jesse Malmed jesse.mal...@gmail.comwrote:

 Frameworkers—

 While assembling a mental list I remembered that the internet is great at
 conjuring mentalists. For a screening or a class or just to have and know,
 who are some other sibling pairs (or more— - —) in the world of artist-made
 moving images?
 I have:

 George and Mike Kuchar,
 Jonas and Adolfas Mekas,
 James and John Whitney,
 Paul and Greg Sharits,

 All brothers. Surely there are sisters and other sibling formations. I'm
 interested in both those groupings that collaborate(d) and those that
 don't/haven't/didn't.

 Jesse
 --
 // // // J E S S E  M A L M E D
 505.690.7899 // jesse.mal...@gmail.com
 www.jessemalmed.net // www.deepleap.net
 projective verse http://urbanhonking.com/projectiveverse/ // bad at
 sports http://badatsports.com/tags/jesse-malmed/


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Re: [Frameworks] Literature and experimental film

[Steve Polta]

And actually Konrad Steiner just presented a new film of his own (could
have been world premiere but I'm not sure; I'd never heard of its existence
prior), titled way in San Francisco at Yerba Buena Center for the Arts, a
68-minute film based on a reading by Leslie Scalapino of her long poem also
titled way. I don't know if this is literary enough for the original
inquirer but it's a very interesting film. FYI...

Steve Polta




On Sat, Sep 28, 2013 at 2:12 PM, Adam Hyman a...@lafilmforum.org wrote:

  This is moving slightly away, perhaps, but I think is related to the
 concern with literature and cinema.

 Konrad Steiner in the Bay Area was doing work in poetry and cinema several
 years ago, which has also led to a neo-Benshi movement, which is relevant
 as well.  Two of the neo-benshi shows have been done at REDCAT in Los
 Angeles, and more in the Bay Area, and I’m sure elsewhere, all with current
 contemporary authors writing new pieces that
 accompany/explain/describe/expand upon a film that is playing as they read.

 Some links:
 http://viz.ucsc.edu/wp/vizArchive/vizEventP92.pdf

 http://paulhooverpoetry.blogspot.com/2009/09/new-talkies-neo-benshi-at-deyoung.html
 http://www.bampfa.berkeley.edu/exhibition/late032610
 http://blog.sfmoma.org/2009/06/neo-benshi/
 http://www.kqed.org/arts/multimedia/article.jsp?essid=23107
 http://bhjournal.com/?p=206
 http://artpredator.wordpress.com/2009/04/26/live-film-narration/

 Adam


 On 9/28/13 1:44 PM, Jon Dieringer jon.dierin...@gmail.com wrote:

 Also in video you might be interested in some of these short pieces by
 Cynthia Maughan, which recall Edgar Allan Poe and Flannery O'Connor:
 http://www.eai.org/artistTitles.htm?id=13111

 I'm thinking specifically of Frozen  Buried Alive and Trailer Life.


 On Sat, Sep 28, 2013 at 4:31 PM, Warren Cockerham 
 warrencocker...@gmail.com wrote:

 How about Experimental Video or Video Art? If so.. Gary Hill's 1984
 videotape WHY DO THINGS GET IN A MUDDLE? (COME ON PETUNIA). A loose
 adaptation of Alice in Wonderland and Gregory Bateson's metalogue 'Why do
 Things Get in a Muddle?' from 'Steps to an Ecology of the Mind.'  Most of
 the tape is performed backwards -- camera movement, blocking, performance,
 spoken language, etc.. -- a la The Black Lodge sequences in Twin Peaks.. of
 course, several years before Frost and Lynch went all TV with this
 approach. It's happening again...

 Hill
 http://vimeo.com/45472623

 Frost  Lynch
 http://www.youtube.com/watch?v=q1CuX0Ix33I


 best regards,
 Warren Cockerham
 Bennington Vermont


 On Fri, Sep 27, 2013 at 2:06 PM, Esperanza Collado 
 esperanzacolla...@gmail.com wrote:

 Dear friends,

 Im currently lecturing a course on literature and visual arts and i would
 like to approach/show the students experimental films based in/inspired by
 literary pieces, only I need your help to do so. Any recommendations will
 be very welcome.

 Thanks very much,

 Esperanza.



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[Frameworks] San Francisco Cinematheque: new website/new season

[Steve Polta]

Ladies and Gentlemen of Frameworks!

I am pleased to inform the world that San Francisco Cinematheque has a
brand new website that I would love for you to look at:*
www.sfcinematheque.org*
(same old popular URL so don't worry about those book marks!)

of note, the website features a *NEW!* online bookstore: *
www.sfcinematheque.org/shop/*
and a *blog* of writings on past screenings (and future ones to come): *
www.sfcinematheque.org/blog/*

finally our new exhibition season begins this week so please check it out:
*www.sfcinematheque.org/calendar/*
(please note that we are not doing print calendars this time around.
sorry...)

and even though I'm trying to talk up the new website let us not forget...
*facebook: www.facebook.com/sanfranciscocinematheque* (please like us.
please!)
twitter: *twitter.com/SFCinematheque/* or should I say
*@SFCinematheque*(please follow. why not?)

And by the way, Cinematheque has relocated its offices. Address is provided
below. Please keep the physical media heading our way! Online previews are
fine too!

That's all for now but thanks!

Steve Polta
Artistic Director/Archivist
San Francisco Cinematheque
s...@sfcinematheque.org

San Francisco Cinematheque
55 Taylor Street
San Francisco CA 94102
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[Frameworks] the fate of Em Gee...

[Steve Polta]

Hi. I certainly don't have any knowledge but I'm hereby seconding Roger
Beebe's inquiry as to the resolution and disposition of the lauded and
mysterious Em Gee Film Library. I assume that the guy just retired or
finally decided to shut the business down but very curious to hear any
anecdotes or learn the fate of the collection. Any leads...

Steve Polta
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Re: [Frameworks] FREE 'Release Print' Magazines from Film Arts Foundation

[Steve Polta]

Following up on Ken Paul Rosenthal's posting about the disposition of these
Release Print magazines...

San Francisco Cinematheque, in addition to presenting film screenings and
running an annual film festival maintains a publicly accessible research
archive of books, peridicals, artist/clippings files, images and ephemera
relating to the history and culture of avant-garde/experimental film (with
a strong Bay Area focus). Cinematheque accepts donations of such materials
for this archive with donations being tax-deductible. Anyone looking to
divest themselves of materials and contribute to this archive is encouraged
to be in touch—s...@sfcinematheque.org. Inquiries regarding use of and
access to this collection are also encouraged.

Thanks!

Steve Polta
San Francisco Cinematheque



On Mon, May 20, 2013 at 8:41 PM, Ken Paul Rosenthal 
kenpaulrosent...@hotmail.com wrote:

 I have a heap of 'Release Print' magazine back issues from the former San
 Franciso-based film non-profit, Film Arts Foundation. Lots of wonderful
 articles. Dates: February 1998 to April 2007. Twenty issues in all, some
 dates missing. Plus a couple odds and ends such as the Rotterdam
 International Film Festival Catalogue from 2000. FREE for pickup in San
 Francisco, first come first served. Please email me off list...Ken
 www.kenpaulrosenthal.com
 www.crookedbeauty.com
 www.maddancementalhealthfilmtrilogy.com

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Re: [Frameworks] Film Remakes/Covers

[Steve Polta]

Many, if not all, works by Karen Yasinsky—including *Audition*; *Life is an
Opinion, Fire a Fact* and many others—consist of mediated quotations of
segments from films by John Cassavetes, Tarkovsky, Bresson, et al.
www.karenyasinsky.com/


Steve Polta

On Mon, May 6, 2013 at 6:40 PM, David Sherman
davidgatessher...@gmail.comwrote:

 Michael Snow also did WVLNT as a remake of Wavelength



 David Sherman
 646 E 5th Street
 Tucson, AZ 85705
 520-366-1573
 www.davidshermanfilms.com

 On May 6, 2013, at 5:32 PM, jb.mabe jb.m...@gmail.com wrote:

  Hey Gang,
 
  I'm trying to work up a list of films that are direct remakes (like
  What Farocki Taught), or riffs/covers (Ceibas: Epilogue - The Well of
  Representation), or, hell, just films that are mainly sourced with
  recognizable images (Alone. Life Wastes Andy Hardy  Outer Space).
 
  Thoughts?
 
  Best,
  Josh
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Re: [Frameworks] Dizziness and Disorientation

[Steve Polta]

*Ponce de León* (2012) by Jim Drain and Ben Russell is a slow moving work
with a constantly moving and complexly rotating camera that is dizzying and
disorienting and does some very interesting things with the experience of
time and the representation of space.

screening in San Francisco this weekend on Sunday by the way:
http://www.sfcinematheque.org/#/calendar/201304050/

Steve Polta


On Fri, Apr 5, 2013 at 1:32 AM, Anderwald + Grond 
cont...@anderwald-grond.at wrote:

 Frameworkers, Thank you all very much for your advise on Dizziness! Helped
 us a lot.
 All best from Vienna, ruth+leo

 -
 Ruth Anderwald + Leonhard Grond

 ++43 699 10984551
 Schüttelstr. 21/14
 1020 Vienna

 cont...@anderwald-grond.at

 http://www.anderwald-grond.at

 follow on twitter @anderwaldgrond https://twitter.com/anderwaldgrond

 http://www.hasenherz.at



 Am 03.04.2013 um 16:59 schrieb Brandon Walley brand...@gmail.com:

 I think Bruce McClure's live 16mm performances have been some of the more
 disorienting cinematic experiences I have had. It could also said that the
 texts that he often hands out at his screenings could also have a dizzying
 mental effect on the reader.


 On Wed, Apr 3, 2013 at 10:11 AM, dan browne safety...@gmail.com wrote:

 Feel free to check out my recent project memento mori -- it offers up
 over 100,000 images in less than 30 minutes... www.mementomorifilm.comor
 https://vimeo.com/54265266

 Other works of possible interest:

 Seven Days, Windmill II - Chris Welsby
 Visions in Meditation II: Mesa Verde, Black Ice - Stan Brakhage
 Sydney Harbour Bridge - Paul Winkler
 Castro St. - Bruce Baillie
 Faux Mouvements - Pip Chodorov

 db


  On Mon, Apr 1, 2013 at 7:01 AM, Anderwald + Grond
  cont...@anderwald-grond.at wrote:
 
  Dear frameworkers,
  We are currently conceiving a research project, including film
 screenings,
  on the phenomenon of Dizziness/Disorientation seen as a resource for
 thought
  and artistic practice.
  Could you please recommend theory writings or artists' films and
 videos?
  Thank you!
  Ruth + Leo
 
  -
  Ruth Anderwald + Leonhard Grond

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 --
 Brandon Walley

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Re: [Frameworks] Al Wong?

[Steve Polta]

Al Wong retired from SFAI maybe six or seven years ago and hasn't been in
Canyon in forever. SFMOMA is screening his 1977 video piece *Twin Peaks* on
May 7...

Steve Polta



On Thu, Apr 4, 2013 at 7:02 AM, Jonathan Walley wall...@denison.edu wrote:

 Hello Frameworkers,

 Does anyone know the whereabouts of Al Wong? He was at the SF Art
 Institute but the current faculty directory doesn't list him. He made
 several experimental films in the 60s and 70s, which were apparently
 available at one time from Canyon, though they do not appear on
 Canyon's online catalog as far as I can see. He also made a series of
 paracinematic performances, including SHADOW AND CHAIR, which I am
 especially interested in finding out about.

 Contact me off list if you have any leads. Thanks in advance!
 Best,
 Jonathan

 --
 Jonathan Walley
 Associate Professor
 Department of Cinema
 Denison University
 wall...@denison.edu
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[Frameworks] Cinematheque announces CROSSROADS 2013...

[Steve Polta]

[image: 
sfc_BannerLogo]http://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/b35d67a001
   *SAN FRANCISCO CINEMATHEQUE* announces
*CROSSROADS 2013*
*April 5-7* at* *San Francisco's  *Victoria
Theatre*http://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/c95057e44c
*2961 16th Street (at Mission)*
curated by Steve Polta
sponsored by *Ninkasi
Brewinghttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/8e6d6e2218
* and *Cole 
Hardwarehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/c72e2530aa
*

 *CROSSROADS:* Cinematheque’s annual *film festival* celebrating recent and
rediscovered avant-garde film/video work. Established in 2010, *CROSSROADS
2013* is this festival’s *fourth* manifestation.

*program details available
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/2f1b64e505(with
details to follow)
festival pass available
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/d22432c7b4
*

*FESTIVAL at a GLANCE*
**denotes world premiere*

*Friday, April 5—7pm*
*Program 1: **they invented machines…*
*Nomadic Flesh* *(2007) by Luther Price; *SAMHAIN* (2012) by Eric Stewart; *
Absteigend** (2012) by Paul
Clipsonhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/5b1380d845;
*Tropical Depression* (2012) by Kelly
Searshttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/f5e401cd33;
*Pinball* (2012) by Suzan
Pitthttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/f755d50fd3;
*Fe* by Eric Stewart; *Manhole 452 *(2011) by Jeanne C. Finley and
John 
Musehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/779aa3a184;
*One Role in the Blackness* (2011) by Chris
Kennedyhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/0c378ed25b;
*[2012] *(2012) by Makino
Takashihttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/97629cc2a7
.
*Order advance tickets
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/f7a9a2462c
*

*Friday, April 5—9:15pm*
*Program 2: **Gigs in the Sky: Let There Be More
Light!http://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/54e0e9e002
*
*Audition *(2012) by *Karen
Yasinksyhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/b9e1cae5b4
*; *The Room Called Heaven *(2012) by *Laida
Lertxundihttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/cf5cd5e54b
*; *Them Oracles *(2012) by *Alee
Peopleshttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/3dc369fdec
*; *Double Eagle* by Sarah Grace Nesin; *How to Quit Smoking at the Moon
Hotel* (2012) by *Jessie
Steadhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/f743bdfd8c
*; *Dusty Stacks of Mom** (2013) by *Jodie
Mackhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/56919bef4e
**.*
*Order advance tickets
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/c02675008a
*

*Saturday, April 6—2pm*
*Program 
3*http://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/16dd7f4dd1
*HEALING* (2012) by *Stephanie
Barberhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/d788f8068f
*; *Phantoms of a Libertine* (2012) by *Ben
Rivershttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/22f21b4f59
*; *In Reps of Long-Play* (2012) by *Olivia
Ciummohttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/d7959eadfd
*; *Micro-Celluloid Incidents in Four Santas* (2012) by Janis Crystal
Lipzin; *Prelude *(2011) by *Roger
Deutschhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/029fe0c147
*; *Animals Moving to the Sound of Drums*** *(2013) by Jonathan Schwartz; *The
Plant* (2012) by Mary Helena Clark; *Corn Mother *(2012) by Taylor
Dunne; *Sticks
and BirthStones* (2012) by *April
Simmonshttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/0a735fa6ba
*
*Order advance tickets
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/53f0b48b73
*

*Saturday, April 6—4:30pm*
*Program 4: within you/without you**/with me/not me*
*Within** *(2012) by *Robert
Toddhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/24ccb9ff19
*; *Kudzu Vine *(2011) by Josh Gibson; *Light Streaming* (2012) by *Kathleen
Rughhttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/aa495cb21d
*; *Dew** (2012) by Robert Todd; *Crystal Gaze** (2012) by Robert Todd; *Jan
Villa *(2010) by Natasha Mendonca; *True-Life Adventure *(2012) by *Erin
Espeliehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/7a1648602e
*; *Victoria* (2012) by *Olivia
Ciummohttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/01354f0abe
*
*Order advance tickets
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/eaa87055a6
*

*Saturday, April 6—8:30pm*
*Program 5**:* *Apparent
Motion*http://cts.vresp.com/c/?SanFranciscoCinemath/48e2f76b49/a9c803a026/d3ef790653

Re: [Frameworks] voyeurism / street photography in exp cinema

[Steve Polta]

Actually a number of Ernie Gehr's films do this, including the
afore-mentioned *Untitled: Part 1 (1981)*, *This Side of Paradise*,
*City*(digital video) and his recently released digital video
translations of
street scenes filmed in the 1970s (or '60s?). Or even his *Eureka* if you
want to go there.

Also recommended:
—Scott Stark's *Acceleration *and *posers* (which observes people posing or
photographs) and others*—*Starks' *Angel Beach* anyone?
—the late Stom Sogo's *PS: When You Think You Are Going to Die* observes
muggings and drug dealing from a San Francisco apartment. Paranoid.
—John Smith's *The Girl Chewing Gum* and it's follow up *The Man Phoning Mum
*. —Gibbs Chapman  Catherine Lam narrativize surveillance footage in *I
know something is going on back there*
—*Open *by Katherin McInnis

etc etc

Steve Polta


On Sat, Jan 26, 2013 at 4:17 PM, David Tetzlaff djte...@gmail.com wrote:

 So I'm assuming you're limiting your definition of 'street photography
 films' to those that feature images of people? Interesting then that you
 cite Dorsky in light of his (I thought bizarre) remarks after his screening
 at Views that the human figure was inherently un-poetic...

 Anyway, there's the Frampton walk-through-NYC film (forget the name), and
 if memory serves me correctly Nightspring Daystar may also fit the
 bill... Also parts of The End.


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[Frameworks] This week in San Francisco: Luther Price, John Smith, A. LeTourneau P. Minty

[Steve Polta]

Hello world. I understand that it's somewhat bad form to post screening
announcements here but Cinematheque is running four screenings this
week—including late additions—and we missed the weekly screenings thingy.
Promise not to do this too often. Hope to see some people...

THIS WEEK: LUTHER PRICE (twice), JOHN SMITH, ALAIN LETOURNEAU  PAM MINTY.
read on...

WEDNESDAY  THURSDAY*...*
*Bruised Jewels: Films and Slide Works by Luther Price** *
*Two programs—Luther Price In Person at each*
presented in association with the California College of the Arts*
*http://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/8cf04aee8a
*Bruised Jewels, program 1:*
*WED 7 NOV . 7PM . CCA*
 Eighth Street (near 16th) in San Francisco
[admission is *FREE*—Wednesday night only]
*Bruised Jewels, **program 2:*
*THURS 8 NOV . 7:30PM .
ATAhttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/90d23e6533
*
992 Valencia Street (at 21st) in San Francisco
 members: $5 / non-members: $10]
 Order advance tickets
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/7c7b1f86f3
.
*Details: *In pre-millennial times filmmaker Luther Price was infamous for
deeply personal and aggressively visceral super-8 films (*Sodom*, *Meat,
Eruption Errection*,* Bottle Can*) which enacted primal domestic
psychodramas and/or probed the psychosexual extremes of physical
experience. Moving ever onward, the 21st century 16mm films and dazzling
hand-made slide work of the stridently defiant filmstrip fetishist
continues to confront. Based on abjected found footage—variously looped
(hideously), attacked (viciously), and over-painted (gloriously) to the
point of delirium—Price’s works are dazzling bruised jewels, overwhelming
to viewers in their brutal physicality, their profane beauty and their
disjointed, almost limbic, narrative fragmentations. Following major
screenings in 2012 at the Whitney Biennial and the New York Film Festival,
CCA and Cinematheque are proud to host Luther Price for two screenings—his
first in-person appearance in the Bay Area in over a decade. (Steve Polta)*NOTE:
* Each screening in this two-part series will feature Luther Price in
person presenting a different selection of films each night, *slides will
be exhibited on Wednesday night only.*
 --
 then FRIDAY...
*FRI 9 NOV . 7:30PM .
YBCAhttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/588aba8c48
*
*701 Mission Street (at Third) in San Francisco*
 *Constancy of Change: Films of John Smith*
 presented in association with the Pacific Film
Archivehttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/1d0fe15497
 [members: $6 / non-members: $10]
Order advance tickets
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/7a7c3ac453/p=16054
.
*John Smith In Person*
 Inspired by conceptual art and British “structural materialist”
filmmaking, but also fascinated by the power of narrative and the spoken
word, the films of London-based artist John
Smithhttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/07d910cdc9deftly
subvert the perceived boundaries between documentary and
fiction, representation and abstraction. Drawing upon the raw material of
everyday life, Smith’s meticulously crafted films rework
and transform reality, playfully exploring and exposing the language
of cinema. A highly prolific filmmaker since 1972, we welcome John Smith in
his first-ever San Francisco appearance to present a sampler of his works
created between 1975–2012, including: *Associations*, a complexly humorous
send-up of visualized linguistic theory; *Gargantuan*, a quick riff on
pictorial framing and verbal description, starring an amphibian; *Slow Glass
*, a rambling, wise and witty examination of memory, perception and change,
of life in East London and the art of glass- making; two entries in Smith’s
multi-part *Hotel Diaries* series—*Frozen War* and *Throwing Stones*—which
find the filmmaker delivering late night monologues in response to Western
media coverage of the ongoing conflicts in the Middle East; and two recent
HD video works—*Flag Mountain*, a view across the border of the divided
city of Nicosia, Cyprus; and *Dad’s Stick*, an oblique portrait of
the filmmaker’s father. (Steve Polta  John Smith)* NOTE:* John Smith will
appear at Pacific Film Archive on Wednesday, November 7 for a completely
different screening of his works. For details see
www.bampfa.berkeley.eduhttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/8b105f6b0d
.
 --
 and then on SUNDAY...
*SUN 11 NOV . 7:30PM .
ATAhttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/517ccc1f07
*
*992 Valencia (at 21st) in San Francisco*
*Alain LeTourneau  Pam Minty: **Empty Quarter*
[members: $5 / non-members: $10]
Order advance tickets
herehttp://cts.vresp.com/c/?SanFranciscoCinemath/bbc50d8c44/bc7ad48e97/e134c24c77
.
*Alain

Re: [Frameworks] Rock Ross retired (title work)

[Steve Polta]

Wow. The first I've heard of this. Seriously the end of an era. This guy did 
title work for everyone! Seriously like everyone who ever made a 16mm film  in 
the Bay Area (and likely beyond) for like the last thirty years would have 
dealt with Rock. Big news...

Steve Polta



--- On Tue, 10/2/12, 40 Frames i...@40frames.org wrote:

From: 40 Frames i...@40frames.org
Subject: [Frameworks] Rock Ross retired (title work)
To: Frameworks frameworks@jonasmekasfilms.com
Date: Tuesday, October 2, 2012, 8:35 PM


Apparently Rock Ross is retired from titling work. 
Anyone know affordable west coast title makers? 

Thanks,Alain


-- 
40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.org

www.16mmdirectory.org
www.emptyquarterfilm.org



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Re: [Frameworks] Perfumed Nightmare

[Steve Polta]

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] Super 8 camera recommendations?

[Steve Polta]

The Canon 814 XL-S and the Canon 1014 XL-S are great cameras, although the S 
(for sound) is superfluous at this moment in history. Note that these are 
completely different (and superior) machines from the Canons 814 and 1014 that 
do not bear the XL-S tag. The Nikon R-10 is also a really interesting camera 
that has a lot of really cool options for super-impositions. I think it's the 
camera Paul Clipson uses if that holds any significance...

Steve Polta

--- On Sun, 7/29/12, David Tetzlaff djte...@gmail.com wrote:

From: David Tetzlaff djte...@gmail.com
Subject: Re: [Frameworks] Super 8 camera recommendations?
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Sunday, July 29, 2012, 4:55 PM

Since you want cost to come together with features and reliability, I'll assume 
Beaulieus, stock or rebuilt, are out. I'd say it hard to do better than the 
various iterations of Canon 814 and 1014. For something cheaper than that, you 
might look at a Sankyo, but I think they're not quite as reliable as the 
Canons. Minoltas don't have much in the way of features, but they should work 
pretty well...

My thoughts are largely based on now distant recollections, I'm sure other 
folks will have recs about cameras they're using right now, which means they've 
held up quite some time past their dates of manufacture and expected life of 
service.

Good luck.
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Re: [Frameworks] Hand-cranking 16mm projector?

[Steve Polta]

It would actually be very easy to modify a 16mm projector to be hand-cranked. 
The inching knob found on many projectors (e.g the ubiquitous Bell  Howells) 
would be the obvious place to attach your drive mechanism. Reverse it and the 
projector can drive other devices. Kim Miskowicz' recent film Saving the Next 
to Last is a super-8 hand-cranked film (which also draws lamp power from a 
hand-crank—i.e. it's a post-apocalypse Gilligan's Island projector which does 
not plus into the wall). Sorry I don't have more info on this but here is her 
website: http://kimmiskowicz.com/news.html

Steve Polta

--- On Wed, 6/13/12, Kevin Obsatz ke...@videohaiku.com wrote:

From: Kevin Obsatz ke...@videohaiku.com
Subject: [Frameworks] Hand-cranking 16mm projector?
To: frameworks@jonasmekasfilms.com
Date: Wednesday, June 13, 2012, 10:22 AM

Hello!

I'm working on an installation project, and wondering if there's such a thing 
as a basic hand-cranking 16mm projector, available for sale, or as something I 
could strip down from an existing projector.

I'm mostly interested in the frame-advance mechanism - I don't need it to have 
any kind of bulb or motor.

Any information / leads / ideas would be very much appreciated!

Thanks,

Kevin Obsatz
www.videohaiku.com
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Re: [Frameworks] Flicker Films

[Steve Polta]

Also relevant to this is Brakhage's Passage Through: A Ritual (1990) a rare 
(for Brakhage) sound film and for my money one of the very most interesting 
uses of sound around. Fairly long—50 minutes and split onto two reels—the film 
is synced to a score by Phillip Corner—a piano improvisation with long 
portions of minimal repetition. Against this the film presents single frames 
and short passages of solid color and occasional imagery that sometimes sync 
with the punctuation of the image and sometimes precede or follow this 
punctuation in a completely unpredictable way, creating a very interesting 
experience in viewing of anticipation and surprise. It is very tempting  to see 
this amazing work as created in dialog with the works of the flicker 
filmmakers, notably Sharits and Kubelka, each with their strong ideas 
regarding sound/image synchrony.

Steve Polta

--- On Tue, 4/24/12, Fred Camper f...@fredcamper.com wrote:

From: Fred Camper f...@fredcamper.com
Subject: Re: [Frameworks] Flicker Films
To: Mark Toscano fiddy...@yahoo.com, Experimental Film Discussion List 
frameworks@jonasmekasfilms.com
Date: Tuesday, April 24, 2012, 11:18 AM

Oh, and Stan Brakhage's The Process, combining fragments of photographed
images with solid-color frames that are rapidly edited.

Fred Camper
Chicago

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[Frameworks] cinematheque presents CROSSROADS...

[Steve Polta]

Ladies and Gentelmen!
San Francisco Cinematheque is proud to present
CROSSROADS 2012.
May 18–20 at San Francisco's Victoria Theater.

3 days—8 programs—52 works (film, video, performance) by 47 artists

Announcement here:
http://www.sfcinematheque.org/#/news/201204180/
More or less full details here:
http://www.sfcinematheque.org/#/calendar/

thanks!
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Re: [Frameworks] experimental film in the art world

[Steve Polta]

My understanding of this situation with Conner and the 2000 B.C. exhibit(s) 
(which I saw at the DeYoung Museum in San Francisco) is that Conner *insisted* 
that the film work be displayed in this way and was intimately involved in the 
design of all aspects of the exhibit. It was pretty common knowledge that 
Conner was extremely controlling of the way his work was exhibited and (I 
believe) he had actually nixed previous career retrospectives offered by 
museums when he felt the quality of display not up to his standards. I agree 
that this show really set the bar high for the gallery exhibition of film and I 
credit Bruce Conner, in his unique Bruce Conner-ness, for forcing it to happen. 
Could other artists do this? Do they have his juice, his mojo? It would be nice 
if they would try, to try and force the issue, but I get the sense that to many 
it's generally just enough to get in the door, you know?

Steve Polta



--- On Sun, 3/4/12, marilyn brakhage v...@shaw.ca wrote:

From: marilyn brakhage v...@shaw.ca
Subject: Re: [Frameworks] experimental film in the art world
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Sunday, March 4, 2012, 11:30 PM

I didn't see that exhibition, unfortunately.  But Bruce Conner also had a 
gallery/art world history and connections for his work in other media, aside 
from film.  It's the people who are only filmmakers who sometimes have more 
of a struggle with getting their work shown as it should be.
Marilyn
On 4-Mar-12, at 6:31 PM, Myron Ort wrote:
 all I know is how impressed I was with the Bruce Conner retrospective  in Los 
Angeles at MOCA  a many few years ago. All of his modes of working were well 
presented.Bruce Conner!
Myron Ort


On Mar 4, 2012, at 6:19 PM, marilyn brakhage wrote:
Thanks for the feedback.  It would be interesting to hear more on the subject 
from people around at the time -- as well as the latest experiences other 
people are having.
Marilyn
On 4-Mar-12, at 2:45 PM, Chuck Kleinhans wrote:
 I thought Marilyn Brakhage's response to the Erika Balsom essay was 
outstanding, and I hope it will be reprinted in Moving Image Arts Journal so it 
circulates more directly where historians and scholars might find it in the 
future. 
  Greybeards like me on the Frameworks listserv can easily add to the main 
points Marilyn makes about Stan Brakhage per se and about the commercial and 
gallery and museum art world of the time. 
  I vividly remember a dinner with Stan Brakhage (and others) at the University 
of Oregon perhaps 20 years ago when he was screening some of his films.  The 
discussion got into the matter of Turner's paintings and light, and Brakhage 
was quite passionate about which museums had which paintings and had displayed 
them to best advantage.  The next morning I ran into him on the main campus 
quadrangle, camera in hand, filming what interested him, while he was waiting 
for the University Art Museum to open. 
  Two points that others might be able to develop more in dialogue with 
Balsom's thesis: 
  a. animation, particularly drawn animation, has always had a more ambiguous 
relation to the traditional format/materials art world, perhaps mostly because 
almost all its artists have drawing skills and craft, which is more easily 
understood.  Most art schools (used to) have first year drawing course 
requirements. 
  b. there was a discussion c. 1970, and I think in Canyon Cinemanews, about 
establishing the rare value of film and its collectability, by making things 
such as unique editions of films (such as S8mm copies that collectors could buy 
and presumably view at home) or by making single unique films which would then 
be sold to collectors or museums.  Of course this was also part of an art world 
discussion/quandary at the time when another mass reproduceable 
art--photography--was entering the art market (and museum collections). 
  
  Chuck Kleinhans 
  
  
  
  
  
  
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Re: [Frameworks] Kuchar on the Oscars

[Steve Polta]

Well it certainly would have been interesting to hear George Kuchar's take on 
WAVELENGTH. In my experience he always had these funny contrarian takes on 
avant-garde films. I never sat down and had discussions with him about this 
but he would often throw out these one-liners that were hilarious. For example, 
about Rose Lowder's Bouquet films, Oh. Really nice color in those movies. 
About a Nathaniel Dorsky film with lots of very dark shots, I'll have to bring 
my night vision goggles next time. About Jeffrey Skoller's The Malady of 
Death (relayed by Skoller): Whatever it is you did, Jeff, it couldn't have 
been that bad. Say these lines to yourself in your best G. Kuchar voice and 
you'll see what I'm talking.

No doubt that George knew this stuff as well as anyone. But it is really his 
irreverence and his refusal to take anything in life too seriously that I find 
to be the most inspiring about this amazing man...

Steve Polta



--- On Sun, 3/4/12, gregg biermann mubba...@optonline.net wrote:

From: gregg biermann mubba...@optonline.net
Subject: Re: [Frameworks] Kuchar on the Oscars
To: Gene Youngblood ato...@comcast.net, Experimental Film Discussion List 
frameworks@jonasmekasfilms.com
Date: Sunday, March 4, 2012, 5:28 AM


  

  
  
Yes, Yes. That was it. Thanks Gene.



On 3/3/2012 3:06 PM, Gene Youngblood wrote:

  
  

  Gregg, the diary you’re thinking of is “Low Light Life”
(1988). George walks into a room at SFAI where Ken Jacobs is
conducting a seminar, looking for food. Ken is extremely
rude to George, insulting him in front of the students, and
George walks out. It’s an embarrassing scene, not unusual
for Ken, but it’s nevertheless interesting since it was at
Ken’s loft in NYC that the Kuchar brothers first showed
their films to the New York underground crowd. Yes, George
loved the films he caricatured, and his stance is never
condescending (the same cannot be said for his pal John
Waters, by way of comparison). George’s knowledge of
Hollywood film history was amazing, and his film and
soundtrack collections were legendary, but he loved all
kinds of movies. A few years ago Film Comment asked some
well known filmmakers to list their top ten favorite movies.
On George’s list were titles you would expect, but he also
included “Wavelength” and Antonioni’s “Eclipse.”
  

   
  
From: gregg biermann

Sent: Saturday, March 03, 2012 8:32 AM
To: Experimental
Film Discussion List 
Subject: Re: [Frameworks] Kuchar on the
  Oscars
  

 
  
  The other thing here is that
George's position on the mainstream commercial cinema was
not purely oppositional -- that there is also some sense of
homage to it in his work.  You could even argue that he was
alienated to some degree when it came to the avant-garde
film community -- even as it embraced him. I remember in one
of his diary pieces he documents a little lecture by Ken
Jacobs at SFAI that he attended and he ends up walking out
with Ken yelling after him George, Come back here!  Then
he ends up at some party in Hollywood sitting on a couch
with Nicolas Cage (or some star like that)  and he ends up
feeling uncomfortably out of place there as well. Cannot
remember the title -- sometime around 1991.

G





On 2/29/2012 8:43 AM, sc...@financialcleansing.com
wrote:

Sorry, Fred, here I disagree with you.


  
I'm sure the Hollywood folks could have added
many other people (many of them worthy) to the list
of those recognized in that memorial moment, too.
But that three of those recognized--George Kuchar,
Tim Hetherington, and Ricky Leacock--are makers who
worked outside Hollywood, as independents, is
certainly cause for celebration. It means that, in a
however limited way, independent filmmakers are
being recognized more broadly, as they so rightly
deserve. That Saint Mark Toscano, working at the
Academy, has seen to the preservation not only of
Brakhage's films but Robert Nelson's, and the work
of so many other independents is part of that same
recognition

Re: [Frameworks] more on the Academy

[Steve Polta]

For the record, the Academy Foundation actually does have an Institutional 
Grants program which provides financial support to small avant-garde film 
organizations (among other orgs) and another grant which supports film 
festivals.
Info here: http://www.oscars.org/education-outreach/grants/index.html
list of institutional recipients here: 
http://www.oscars.org/education-outreach/grants/institutional/recipients.html

There are dozens of recipients on that list, including Millennium Film 
Workshop, San Francisco Cinematheque and, notably, San Francisco's Ninth Street 
Center for Independent Film, which received $5000 [the average grant award] in 
support of its Canyon Cinema screening program. (This is all public 
information, via the link above.)

Whether a $5,000 grant from this organization is considered significant is I 
guess debatable but as Director of San Francisco Cinematheque (a recipient)—and 
I certainly wouldn't say no to more—I sure ain't complaining...

Steve Polta



--- On Wed, 2/29/12, Tom Whiteside tom.whites...@duke.edu wrote:

From: Tom Whiteside tom.whites...@duke.edu
Subject: [Frameworks] more on the Academy
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Wednesday, February 29, 2012, 5:28 AM



 
 




I started this yesterday but shelved it; now that others have posted I am a bit 
more confident and will send --- 
   
This is such an interesting statement. I know what you mean, but still…
There are avant-garde sympathetic folks at the Academy...  Could we 
possibly hope for “supportive” or even aim for “enthusiastic?”  OK, how about 
substantial funding for Canyon Cinema and the other 20 or so (100?) small 
avant-garde film organizations
 that need it right now? Take a tiny fraction of what you spend on regular old 
Lavish Hollywood Lifestyle and show some respect for experimental film. 
   
It is very nice, it really is, that both Brakhage and Kuchar got their memorial 
moments at the Oscars, but why not something for them while they were still 
alive?
 
   
I know the Academy is doing very important work in film preservation and that’s 
really all I know about their connection to experimental film. But taken as an 
industry, taken as American Culture #1, taken as a commercial art form that has
 learned and benefitted from the work created by experimental film pioneers for 
decades, why not show some respect and take 0.5% of the Movie Star Champagne 
Budget and fund art in this country?  Painting had an Academy once, but some 
painters broke away from
 it. 
   
Tom 




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Re: [Frameworks] more on projector speeds

[Steve Polta]

I've actually noticed that on the Pageant 250S this spring-loaded Kodak 
Super-40 behaves differently if it is activated with the projector running or 
not. To explain, on this projector, unlike some, it is proper to pull/push that 
little speed-change switch while the motor is running. The catch is that when 
you just do it, lamp on, and let it run, the flicker is more pronounced than if 
you switch it, turn the machine of, then on again. When I was teaching I used 
to do an intro rap—based on Frampton—about the qualities of the rectangle, 
who it was our job to fill it somehow etc and talked about the flicker 
(projector was throwing a beam at 24fps) and ask students to try to perceive 
not only the light but also the flicker and the dark moments. At some point I 
would pull the speed back to 18fps and the students would always gasp.

There are certainly filmmakers who insist on certain kinds of 
projection—Nathaniel Dorsky again is famous for his xenon-balanced prints and 
insisting on this projector or that, or this venue and that for his films. Some 
(not I) feel he is being precious. In my experience with exhibition it is best 
not to throw out too many of these options.

David's ad-absurdum scenario is not so far off the mark when we move into the 
realm of installation works. Bruce Conner, for example, was famous for the 
outrageous degree of control he brought to the gallery exhibition of his 
films and film installations. But it paid off—the quality of the display of his 
works (which I saw at San Francisco's DeYoung museum in 2000) really set a high 
bar for this sort of display and it's really a shame that more artists—even 
those with more even more caché than the mighty Conner—do not insist on the 
sort of control that David (jokingly) describes...

Steve Polta

Steve Polta


--- On Mon, 2/13/12, David Tetzlaff djte...@gmail.com wrote:

From: David Tetzlaff djte...@gmail.com
Subject: [Frameworks] more on projector speeds
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Monday, February 13, 2012, 9:49 PM

That graphic I was sending to Josh Guilford notes an interesting feature of the 
Pageant 250S, which relates to the whole discussion of how projection affects 
the 'look' of a film, not just the duration. 

Almost all projectors have a 3-blade shutter, so at 16fps they flicker 48 
time-per-second, at 18 fps they flicker at 54 times-per-second, and at 24fps 
they flicker at 72 times-per-second. Now, I can definitely see 48 pulse 
projector flicker, and find it annoying (and I have trouble watching PAL TV, 
because I can see the 50Hz flicker and it bugs me). But those specs, 50Hz TV 
and 48 pulse film projection were set because MOST people supposedly cannot 
perceive flicker at those rates. I think it's safe to say, though, that 
24fps/72 pulse flicker, and good old NTSC (59.97 field pulses/sec) look the 
same to pretty much everyone.

Anyway, not ALL projectors have 3 blades. Telecine projectors have five-blade 
shutters, with narrow openings at that (too dim to use for public projection). 
And some projectors have 2-blade shutters. The 250S has a Kodak Super-40 
shutter, which has spring-loaded movable blades. At the silent speed (18fps) 
the springs keep the blades in a three blade configuration, yielding 54 pulses 
per second. At 24fps though, the centrifugal force on the blades overcome the 
spring tension and the blades move into a two blade configuration, yielding 40 
percent more screen illumination' and a 48 pulse flicker. However, depending on 
whether you change the speed before or after the projector is in forward 
motion, you can get the other shutter configuration with either sound or silent 
speed. That is, you can get 18fps in 2 blade mode (yielding 36 pulse flicker) 
or 24fps in 3 blade mode (yielding 72 pulse flicker).

--

So if we really wanted to get anal retentive about how filmmakers intend their 
work to be shown, we'd have to know not just the frame rate, but the number of 
shutter blades. And the shutter-angle of however many opening there are...

And, really, 2fps one way or the other is one of the smaller variables between 
different instances of projection. Are the projectors in a booth so their 
mechanical noise is muffled, or out in the open where the projector noise is 
audible? How big is the image on screen relative to the audience-screen 
distance. How bright is the image? What's the color temperature of the lamp? 

(warning: irony ahead)

So if Warhol showed 'Sleep' with a 16mm projector running at 16fps, with a 
three 60-degree blade shutter, in an open room, 25 feet away from the screen, 
burning a 1000W incandescent lamp, through a 38mm f.1.8 lens, then that's the 
way to screen it, damnit. No messing with the flicker, no hiding the projector 
noise, no Xenon lamps that produce a cooler monochrome, or put out more light 
(unless you compensate the f-stop of lens to keep the lumens on screen 
constant, natch), no 25mm or 50mm

Re: [Frameworks] Andy Warhol's SLEEP / Providence, RI / Feb 18 / Magic Lantern + RK Projects

[Steve Polta]

Of course, Gehr's extension of A Trip Down Market Street into his EUREKA (by 
step-printing each frame in original eight times (I believe)) is separate from 
projection speed; Gehr's EUKEKA is properly run, for the record at 24fps.

Notably, this sound/speed silent speed results in other effects than merely 
slowing down motion or extending time. For example, I can recall Hollis 
Frampton's ORDINARY MATTER projected at 16fps and noting a very strange clarity 
and stillness to each frame, which I recognized as possibly the result of a 
pixilated shooting technique slowed way down. Notably this is a sound film, 
with sound played double system (i.e. not on a mag track). Similarly, in a 
film like Ken Jacobs' TOM TOM...—created, it is worth noting by filming a film 
as it is projected (i.e. not optically or contact printed—am I wrong about 
this?) the pulsing projection (at 16fps, or 18 if you must) places the pulsing 
projection as a subject of the film.

Another well-known proponent of silent speed is of course Nathaniel Dorsky, 
who shoots his own films at a variety of camera speeds but almost always 
dictates a projection speed of 18fps. Hearing him speak in the late '90s when 
presenting selections from Stan Brakhage's ARABIC NUMERAL series (which, until 
Dorsky convinced him otherwise were always screened at 24fps), Dorsky discussed 
how 18fps placed the films at the threshold of flicker and introduced 
intimation of instability into the visual experience. He has since said as much 
about his own decision to present his films at this speed. Note well that the 
perceptual/physiological experience of viewing a film projected in this manner 
is completely different from viewing a step-printed film projected at 24fps.

Steve Polta

--- On Mon, 2/13/12, John Matturri jmatt...@earthlink.net wrote:

From: John Matturri jmatt...@earthlink.net
Subject: Re: [Frameworks] Andy Warhol's SLEEP / Providence, RI / Feb 18 / Magic 
Lantern + RK Projects
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Monday, February 13, 2012, 11:24 AM

Not impossible that there was an offhand, perhaps even sarcastically 
intended, remark that Mekas repeated or wrote down in his column and 
which Brakhage just forgot making. Print has an odd power to take slight 
anecdotes and give them a status beyond their initial intent. (My own 
remembering, which may be accurate or not, is that Brakhage said that he 
now saw the point of the film but still was largely unimpressed.)

But of course the real issue is whether the shift in projection speed 
really does have the affect that the anecdote attributes to it. Neither 
the authority of SB's statement nor his disavowal has all that much 
relevance to that. Certainly there are instances where such shifts are 
transformative -- Ernie Gehr's step-printing of the source of Eureka 
--but it needs to be taken on a case by case basis. I've only seen 
excerpts of Sleep, so can't judge.

j

On 2/13/12 2:05 PM, Pierce, Greg wrote:
 The essay with the apocryphal story is in Notes After Reseeing the Films of 
 Andy Warhol by Jonas Mekas. First published in Andy Warhol by John Coplans in 
 1970. Reprinted in Andy Warhol Film Factory by Michael O'Pray in 1989. ~ Greg

 ps: More later.

 :
 the warhol:
 Greg Pierce
 Assistant Curator of Film and Video
 117 Sandusky Street
 Pittsburgh, PA  15212
 T  412.237.8332
 F  412.237.8340
 E  pier...@warhol.org
 W www.warhol.org
 W http://members.carnegiemuseums.org
 The Andy Warhol Museum
 One of the four Carnegie Museums of Pittsburgh
 :




 -Original Message-
 From: frameworks-boun...@jonasmekasfilms.com 
 [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of Adam Hyman
 Sent: Monday, February 13, 2012 1:43 PM
 To: Experimental Film Discussion List
 Subject: Re: [Frameworks] Andy Warhol's SLEEP / Providence, RI / Feb 18 / 
 Magic Lantern + RK Projects

 Only you can answer that...


 On 2/13/12 10:35 AM, Myron Ortz...@sonic.net  wrote:

 In which of the many books scattered around my house did I surely
 encounter that story?

 Myron Ort


 On Feb 13, 2012, at 10:30 AM, Eric Theise wrote:

 On Mon, Feb 13, 2012 at 10:21 AM, Myron Ortz...@sonic.net  wrote:
 How and why do stories like that get started anyway?
 That particular story got started because Jonas Mekas told it.  It
 continues to be told because it's a good story, and it's lodged in
 the collective memory due to the problematic but always cited early
 literature on Warhol's filmmaking.

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Re: [Frameworks] {Disarmed} Re: Andy Warhol's SLEEP / Providence, RI / Feb 18 / Magic Lantern + RK Projects

[Steve Polta]

Damon has said as much but in response to Tony Conrad, on Warhol's use of 1200' 
reels, it is notable that SLEEP, unlike many well-known films by Andy Warhol 
(CHELSEA GIRLS, VINYL, EMPIRE) is specifically *not* composed of long 
uninterrupted static shots (which is often assumed by those who have not seen 
the film—not referring to Tony here) but actually consists of a suprisingly 
small number of relatively brief shots (perhaps 30 seconds at the longest) 
which repeat many many times, suggesting in fact that a spring would Bolex had 
been used. Furthermore, some shots actually demonstrate erratic camera movement 
and the use of extreme close-up (the camera right up against the sleeper's face 
for example), each of which is indicative of a hand-held camera (presumably not 
with a 1200' magazine attached). Again, I'm not saying that Tony's post was 
based on hearsay but it is notable that there is a large body of writing and 
commentary about this film that is
 based solely on the its reputation, infamy and/or on erroneous 
reports/descriptions (a six-hour single take of a man sleeping) and *not* 
based on the actual real-time viewing of this work...

Steve Polta

--- On Sun, 2/12/12, Tony Conrad con...@buffalo.edu wrote:

From: Tony Conrad con...@buffalo.edu
Subject: Re: [Frameworks] {Disarmed} Re: Andy Warhol's SLEEP / Providence, RI / 
Feb 18 / Magic Lantern + RK Projects
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Sunday, February 12, 2012, 8:46 PM

John Cale performed in the Vexations concert, among others of course, but that
was well before the VU, as I recall. However, Andy was in contact with La Monte
Young about sound for his films when they were shown at Lincoln Center. 

I can't accept the idea that Andy got the idea for repetition, or editing
together long films, from Satie. First, it's far more probable that he got the
idea from our group with La Monte; we even gave a concert at Henry Geldzahler's
place. Second, Andy generally used a magazine with 1200 foot reels so he 
wouldn't
have to splice or do any editing.

--t0ny



On Sun 02/12/12  6:11 PM , Eric Theise ericthe...@gmail.com sent:
 Hi Fred,
 
 In Edie (Stein w/Plimpton, pp 234-235), George Plimpton
 recountsriding in a freight elevator with Warhol and mentioning the Carnegie
 Hall concert organized by Cage.
 
 I mentioned it to Andy only because I thought he might be vaguely
 interested--he was doing these eight-hour films of people sleeping.
 It never occurred to me that he knew of this concert, or of Satie,
 since it wouldn't have surprised me a bit if he'd never heard of
 Satie.  His reaction startled me.  He said, Ohhh, ohhh, ohhh! 
 I'dnever seen his face so animated.  It made a distinct impression.
 Between ohhh's he told me that he'd actually gone to the concert and
 sat through the whole thing.  He couldn't have been more delighted to
 be telling me about it.
 
 My reading of the announcement is that the Vexations concert in
 Providence is 45 minutes long, and that it precedes the screening.
 
 --Eric
 
 On Sun, Feb 12, 2012 at 2:52 PM, Fred Camper  .com wrote: Quoting Damon  
 @gmail.com:
  While this presentation of Sleep certainly
 differs from the original  screenings of the film, it is
 also far from a Youtube hommage. Vexations played an important role in
 Warhol's conception of the film, and he took from Satie a working
 method making possible the editing of his short reels into a lengthy
 film.
  Sorry I don't have time at the moment to
 unpack this point as I'm running out the door, but here is a link to
 some supporting literature to this position:
  http://www.warholstars.org/news/johncage.html
 
  Is there some aspect of the text on this link
 that actually supports your claim that Vexations
 specifically influenced Sleep? It's not even clear that Warhol ever heard
 Vexations.
  But even if the answer is yes, that doesn't
 support playing one during a sceening of the other. Would you have
 Pound's Cantos recited during a screening of Dog Star
 Man? Excerpts from the Tibetan Book of the Dead read during
 George Landow's Bardo Follies?
  Fred Camper
  Chicago
 
 
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Re: [Frameworks] JK optical printer for Sale (K-105)

[Steve Polta]

May I inquire of the location of this item?

--- On Mon, 1/30/12, Marcelle Pecot marcellepe...@yahoo.com wrote:

From: Marcelle Pecot marcellepe...@yahoo.com
Subject: [Frameworks] JK optical printer for Sale (K-105)
To: frameworks@jonasmekasfilms.com
Date: Monday, January 30, 2012, 9:39 AM

For Sale JK Optical Printer K-105; Excellent condition; $3,500 B/O
- --
Includes:-
Bolex Rex-5 w/magazine capacity; 75mm 1:4 Nikon lens,  bellows mount, close-up 
attachment, -
Projector:16 mm gate,;
360 degree rotational mount (adaptable for rotoscoping, aerial image projection;
light house with fan cooled 300 watt quartz-halogen 0-150 volts with condenser 
lens.-
- --
Sequencer: Interval-Timer Stop-motion camera motor controller- Capable to 
execute virtually any stop-motion operation
- --
Includes:-
Filters, many different kinds, 90 degree prism-
Heat resistant lens;
adjustable table.-


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[Frameworks] CROSSROADS 2012: call for entries...

[Steve Polta]

SAN FRANCISCO CINEMATHEQUE

announces

CROSSROADS 2012

May 17–20

at San Francisco’s Victoria Theater and
the San Francisco Museum of Modern Art

CALL
FOR ENTRIES

 

San Francisco Cinematheque seeks
submissions of recent films and videos for its third annual festival of moving 
image art—CROSSROADS 2012. Occurring May 17-20, 2012, at the San Francisco’s 
Victoria Theatre and the
San Francisco Museum of Modern Art, the festival will showcase new works of
emerging and established filmmakers in the avant-garde along with a number of
special presentations and events. Cinematheque is seeking submissions of
compelling non-commercial, artist-made work of all genres and durations.
For complete entry details, including a downloadable entry form, please see:
http://www.sfcinematheque.org/#/news/201205170/


 

ENTRY GUIDELINES

— 
Submitted works must have been completed
after January 1st, 2010.

—  Include one submission form with each
entry.

—  All submissions must be on DVD—clearly
labeled with the film title, filmmaker name(s), contact telephone number and
email. (Please email
inquiries regarding non-DVD submission formats.)



— 
Entry fee:  $10 for each individual film
(postmarked by Jan. 10, 2012)

  $15 for each individual film (postmarked
by Feb. 10, 2012)

 (walk-in submissions accepted)

  Entry
fee is waived for Cinematheque members. 

—
Please make checks or money-orders payable
in U.S. currency to: SAN FRANCISCO
CINEMATHEQUE or send payment via PayPal to: cash...@sfcinematheque.org

—
All entrants will be notified on receipt
of submission(s). Cinematheque would prefer to keep all submitted preview
materials for future programming consideration. If you would like your entries
returned, please include a pre-paid, SASE with your submission as well as a
note to this effect.

— For inquiries about CROSSROADS 2012,
please email festi...@sfcinematheque.org

 CINEMATHEQUE WILL PAY RENTAL FEES FOR ALL WORKS SCREENED AT THE FESTIVAL.

For complete entry details, including a downloadable entry form, please 
see:http://www.sfcinematheque.org/#/news/201205170/___
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Re: [Frameworks] cinematheque has a blog...

[Steve Polta]

YES! It was an error! Thank you Brenda!

sfcinematheque.wordpress.com

PLEASE VISIT!

(that is all)


--- On Tue, 11/1/11, Brenda Contreras bren_contre...@yahoo.com wrote:

From: Brenda Contreras bren_contre...@yahoo.com
Subject: Re: [Frameworks] cinematheque has a blog...
To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com
Date: Tuesday, November 1, 2011, 9:50 AM

Steve Polta,

Thanks for the link but fyi, it looks like your transposed the r and o on 
wordpress.

-Brenda Contreras

Message: 5
Date: Mon, 31 Oct 2011 17:25:40 -0700 (PDT)
From: Steve Polta stevepo...@yahoo.com
Subject: [Frameworks] cinematheque has a blog...
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Message-ID:
    1320107140.8877.yahoomailclas...@web161701.mail.bf1.yahoo.com
Content-Type: text/plain; charset=utf-8

sfcinematheque.wrodpress.com

Ladies and gentlemen!
We
 may be stuck in the sixties but earlier this month, San Francisco 
Cinematheque launched an online blog as a venue for writings on our 
programming. So far this month we've had writings by Max Goldberg (on 
films by Stephanie Barber and Xav Leplae, Douglas Katelus, Alee Peoples 
and Ching Yi Tsing) and Federico Windhausen (an examination of Ken 
Jacobs' Opening the 19th Century: 1896). Today we published a short 
piece by Jeffrey Skoller on Daniel Eisenberg (from the former's book on 
the latter).

All citizens of the world (and elsewhere) are invited to view this blog at 
sfcinematheque.wordpress.com.
Subscriptions are encouraged.
Linkages are likewise.
Comments on postings are enabled and welcome.

Thanks for caring.
Sincerely,

Steve Polta
Artistic Director
San Francisco Cinematheque
po...@sfcinematheque.org



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