Re: [Frameworks] looking for film about Walter Benjamin's suitcase

[Watter, Seth]

Hi Abigail,

I wonder if you are thinking of Barbara Hammer's *Resisting Paradise*? It
is a very good film.

http://barbarahammer.com/films/resisting-paradise/

I am not sure who is the current distributor--neither FMC nor Canyon
currently has it, I think.

Best,
Seth

On Sun, Aug 28, 2016 at 5:01 PM, Abigail Severance 
wrote:

> I’m searching for a documentary on Walter Benjamin’s infamous missing
> suitcase, the one he’s thought to have carried with him to Spain before his
> suicide.
>
> Does anyone know the title, maker and/or distribution source for this film?
>
> Thanks very much,
> Abigail Severance
>
>
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> bellec...@mac.com | abigailseverance.com | 310-508-0352
>
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[Frameworks] Articles/essays on the history of flatbed editors (Moviola, Steenbeck, etc)?

[Watter, Seth]

Hi all,

I'm wondering if people know of any texts that deal with the history of the
flatbed editor--more in its capacity as a viewing/analysis machine than as
an actual editing setup. I've found a few old articles on the Moviola in
journals like American Cinematographer, but they're strictly trade press
stuff, often just to advertise new product. I'm interested in how these
devices like Moviola and Steenbeck helped foster new forms of film analysis
(especially in the social sciences), and when they became
affordable/available beyond big studio production. Any suggestions would be
immensely helpful.

Thanks,

Seth Watter
PhD candidate, Modern Culture & Media
Brown University
Co-Director, Magic Lantern Cinema
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[Frameworks] Next week in Providence: FERN SILVA at Magic Lantern (Thursday, April 16)

[Watter, Seth]

​

Magic Lantern Presents



WAYWARD FRONDS

The Films of Fern Silva, 2010-2014



Artist in person!



Thursday, April 16, 2015 at 8:00pm

Cable Car Cinema  Café

204 S. Main St., Providence, RI

Admission $5



Fern Silva (b. 1982, USA/Portugal) makes what are ostensibly travelogues,
but these travelogues ain’t your grandparents’ travelogues. Often filming
throughout the Americas, Europe, North Africa and Western Asia, Silva
strings his footage together into poetic amalgams that are marked by a
formalist approach to landscape, a coloristic brilliance, a profound sense
of editing—rhythmic but never rigid—and, most importantly, a puckish wit
all too often lacking in this genre. A moment from *Concrete Parlay* (2012)
sums up Silva’s own practice, albeit negatively: in a darkened theater,
somewhere in the world, the opening montage of Woody Allen’s *Midnight in
Paris* (2011) flickers by, with its cliché, postcard images of tree-lined
avenues and cafes practically nailed together by the lilt of Sidney
Bechet’s saxophone. Silva’s films are entirely about place, but they never
stoop to such naked sightseeing. Rather, he gives us dead horseshoe crabs
on a dusky, garbage-strewn beach; an automated lawnmower outside a pyramid;
a monstrous, silo-like complex bearing the words WELCOME TO CONCRETE; or
the gestural dip of a whale’s tale merging seamlessly into that of a
woman’s arm, as she draws soap-sudded figure eights on the glass expanse of
an urban storefront. The “wayward fronds” with which Silva is obsessed are
not the product of some ahistorical, timeless time; they coexist uneasily
alongside the televisual landscape, the technology of modern travel, the
ecological and political struggles of our age.



Program: approx. 70 mins, followed by QA.



*In the Absence of Light, Darkness Prevails*, 2010, 13 mins, color/sound,
16mm to ProRes



*Peril of the Antilles*, 2011, 6 mins, color/sound, 16mm to ProRes



*Passage Upon the Plume*, 2011, 7 mins, bw/silent, 16mm



*Concrete Parlay*, 2012, 18 mins, color/sound, 16mm



*Tender Feet*, 2013, 10 mins, color/sound, 16mm



*Wayward Fronds*, 2014, 13 mins, color/sound, 16mm to ProRes



http://magiclanterncinema.com/

https://www.facebook.com/events/446074352223668/


Magic Lantern is supported by the Robert Rauschenberg Foundation and the
Malcolm S. Forbes Center for Culture and Media Studies at Brown University.
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Re: [Frameworks] Islands in experimental film and video

[Watter, Seth]

Jean Epstein, Finis Terrae

On Sunday, June 22, 2014, Jessie Stead jessiest...@gmail.com wrote:

 Charlemagne Palestine's Island Song

 http://www.vdb.org/titles/island-song


 On Sun, Jun 22, 2014 at 6:53 PM, chris bravo iamdir...@gmail.com
 javascript:_e(%7B%7D,'cvml','iamdir...@gmail.com'); wrote:

 Sohn Su-bum Island to Island is GREAT


 On Sun, Jun 22, 2014 at 6:39 PM, Mark Toscano fiddy...@gmail.com
 javascript:_e(%7B%7D,'cvml','fiddy...@gmail.com'); wrote:

 Peter Mays' indescribable DARK ISLAND.

 Mark


 On Jun 22, 2014, at 2:31 PM, Pigott, Michael m.g.pig...@warwick.ac.uk
 javascript:_e(%7B%7D,'cvml','m.g.pig...@warwick.ac.uk'); wrote:

  Dear Frameworkers,



 I'm putting together a piece about the use of islands as locations in
 recent experimental film and video. I'm focussing on Ben Rivers'* Slow
 Action* and Simon Faithfull's* Stromness*. I am building a list of
 other work that involves islands at the moment, and I would be very
 grateful for your suggestions of other experimental and artists' work
 (recent or historical) that are about islands or use islands as locations.



 Thanks in advance!



 Michael Pigott



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 --
 www.jessiestead.com

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Re: [Frameworks] Texts on appropriation, collage and ethics/fair use

[Watter, Seth]

'films beget films' by jay leyda is a classic, and might be the earliest
study of 'found footage' in film history.

seth


On Fri, May 24, 2013 at 12:50 PM, Adam R. Levine ada...@gmail.com wrote:

 Hello,

 I'm looking for any books or short texts that might offer a survey of the
 history and practice of the appropriation and collage in the field of
 moving images. In addition, if there is any such work that also address
 questions of copyright, ethics and fair use, that would be great.

 Thanks,
 Adam

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[Frameworks] Magic Lantern Presents: FROM THE CLOUD, curated by Faith Holland (March 13)

[Watter, Seth]

Magic Lantern Presents:



FROM THE CLOUD

Video in Cyberspace



Curated by Faith Holland



March 13th, 2013

9:30 PM

Cable Car Cinema  Café

Providence, RI

$5



In February 2005, YouTube was launched and forever changed our relationship
to moving images, both as viewers and producers.  But even well before
then, the web had made a large variety of new materials accessible to see
and to download, as well as upload. “From the Cloud” is a video program
that looks at found footage films in the Internet Age.  The proliferation
of archived photographs, digital images, and videos made available to
everyone online as well as an exponential increase in production has
changed the way artists interact with pre-existing material.  The artists
in this program both pull material from the cloud and implicitly comment on
the cloud by doing so.



FEATURING:



“Black Hole (Mutant Sequence),” Kari Altmann, 2009-ongoing, digital video,
color, silent, 54 sec.

“Cultivation (Mutant Sequence),” Kari Altmann, 2010-ongoing, digital video,
color, silent, 51 sec.

“Where is the Blood? (Mutant Sequence),” Kari Altmann, 2009-ongoing,
digital video, color, silent, 52 sec.

Employing a customized version of the vital logic behind memes, brands, and
algorithms that suggest similar search results, Altmann appropriates images
into new, mutant sequences with their own messages.



“Arnold Schoenberg, op. 11 - I - Cute Kittens,” Cory Arcangel, 2009,
digital video, color, sound, 4:21

Arnold Schoenberg's Drei Klavierstücke, op. 11-I played by cats on pianos.



“Only Girl,” Hilary Basing, 2011, digital video, color, sound, 3:53 min.

My performances on camera aim to equalize identities through the adoption
of their different characteristics and gestures. Only Girl explores the
gestures of femininity and the breakdown of information through mimicry as
I imitate drag queen Raja’s imitation of Rihanna’s Only Girl (In the World).



“Electric Sweat,” John Michael Boling, 2007, digital video, color, sound,
54 sec.

This video is a valentine to hardware that raises technolust to the level
of technoromance.



“A Total Jizzfest,” Jennifer Chan, 2012, digital video, color, sound, 3:22
min.

A sample of the richest and sexiest men in computer and Internet history.



“New American Classic,” Jennifer Chan, 2011, digital video, color, sound,
1:44 min.

Is it sculpture or furniture?



“Am I Evil?,” Jacob Ciocci, 2011, digital video, color, sound, 4:14 min.

In her essay, “Mirror Horror”, Trinie Dalton describes, “In early times,
since mirrors were rare commodities, only qualified shamans had mirrors.
But in 1438, when Guttenberg started a mirror-making business, anyone
untrained in magic could use and be tempted by one. This proliferation of
mirrors perpetuated myths of witchcraft, since some theorized that mirrors
were being used for maleficence by those corruptible, vain and immoral
enough to admire their own reflections.”

The good witch (Harry Potter?) tries to understand his reflection but the
mirror shatters as soon as he touches it. The evil witch (Wicked Witch of
the West?) tries the same thing but the mirror again shatters. The mirror
always shatters just before a fixed identity can be sustained.  A mirror is
magic in much the same way many newer image-making tools are magic: for a
brief moment you are put under a spell, you believe in it. But the longer
and the closer you look, everything begins to fall apart. That is the real
magic. This is the 3rd piece in Ciocci’s ongoing series “Trapped and Frozen
Forever,” an investigation into the relationships between online and
off-line images: images trapped (not tangible) on-screen and images frozen
(not moving) in the physical world. In this iteration Ciocci has scanned
section by section each of the 2 large collages on the wall, using them as
the basis for the animated projection.



“Apocalypse Now,” Jesse Darling, 2012, digital video, color, sound, 1:06
min.

A roundup of the year 2012, made especially for the end of the world.



“Too Many Dicks,” Feminist Frequency/Anita Sarkeesian, 2010, digital video,
color, sound, 1:19 min.

It is no secret that the majority of video games these days star overly
muscular men often carrying big swords, guns, baseball bats, chainsaws or
other phallic weaponry. Many games normalize this extremely macho form of
masculinity while uncritically glorifying war or military intervention.
Sadly too many games tend to celebrate grotesque displays of violence
instead of providing opportunities for creative, less violent, innovative
forms of conflict resolution. Today with the growing dominance of the first
person shooter genre players are encouraged to really participate in the
destruction, testosterone and gore up close and personal.

Not only are these games dominated by male characters but even the few
women characters who do get staring roles are often made to replicate
overly patriarchal, violent, macho behavior (but inside of a hyper
sexualized female 

Re: [Frameworks] drugged

[Watter, Seth]

Ken Russell's Altered States: William Hurt tripping in the desert with
natives.

Seth

On Sunday, February 10, 2013, Francisco Torres wrote:




 Back in the late 60s/ early 70s most TV cop shows included a trip
 sequence. The trend culminated with The French Connection 2 infamous heroin
 room. Most of those trips were more funny than scary
 Some TV series were a trip like Land of the Giants and Puff N Stuff (Which
 we 5th graders used to call Puffing stuff back in 72). Nixon TV press
 conferences were also quite trippy.

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[Frameworks] Frans Zwartjes

[Watter, Seth]

Does anyone know if the films of Frans Zwartjes, particularly the Home
Sweet Home series, particularly Living, are available for exhibition
rental anywhere?

Thanks!

All best,

Seth
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Re: [Frameworks] Frans Zwartjes

[Watter, Seth]

Thanks everyone--really appreciate the help! Sounds like a great series,
Max. I'm putting together a program on film and interiors for the fall and
someone pointed me in Zwartjes' direction.

All best,

Seth

On Tue, Jul 31, 2012 at 5:52 PM, Jason Halprin jihalp...@yahoo.com wrote:

 Yes, they are available from Film Institute Netherlands - www.filmbank.nl

 -Jason Halprin

   --
 *From:* Watter, Seth seth_wat...@brown.edu
 *To:* Experimental Film Discussion List frameworks@jonasmekasfilms.com
 *Sent:* Tuesday, July 31, 2012 1:41 PM
 *Subject:* [Frameworks] Frans Zwartjes

 Does anyone know if the films of Frans Zwartjes, particularly the Home
 Sweet Home series, particularly Living, are available for exhibition
 rental anywhere?

 Thanks!

 All best,

 Seth

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Re: [Frameworks] Please help

[Watter, Seth]

This is a hoax? Sugar. I just emptied my savings account under the
impression it would help fund the sequel to Lucifer Rising.

Seth

On Tuesday, July 24, 2012, David Tetzlaff wrote:

 Hello Frameworkers:

 Kennth Anger here. I recently took an extended trip to the Astral Plane to
 visit my dear friend Aleistair, but on my attempt to return to my corporeal
 body, I discovered that someone had stolen my macick sceptre and the bottle
 of Black Host needed for my ceremonial reawakening. I need your help to
 return to Earth. This is more than a matter of seeking your Luciferian
 grace on my personal account. I appeal to you in the name of The Cinema. I
 have been truly inspired on my latest astral travels, and I feel that a
 flood of new masterworks shall flow from my Steenbeck. Yes, that's right,
 they will all be made with the true magick of film, not that digital hocus
 pocus. And I'm talking about genuinely inspired pieces, not just
 documentation footage of exhibitions passed of as 'Films by Anger.' I
 realize some of you may be suspicious, but do note that am NOT in Nigeria,
 and i would never pull any kind of sham, scam or masquerade on my true
 devotees. So, send as much cash as you can in brown envelopes (no checks,
 credit cards, or PayPal) to this address:

 David Tetzlaff
 7 Sycamore Road
 Niantic, CT 06357

 Thank You. Thank You. Thank You. And know that I'll put in a good word for
 you with You Know Who.

 Love,

 KA

 What fools these mortals be!
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Re: [Frameworks] experimental film festival research

[Watter, Seth]

There's some reports on the fourth Knokke festival in Film Culture 46. Hope
it helps!

Best,
SW

On Sat, Jul 7, 2012 at 7:18 AM, Greg DeCuir gdec...@yahoo.com wrote:

 All:

 Hello.  I am preparing a new research project on the history of
 experimental/avant-garde film festivals and thought I might ask the list
 for advice.  I am primarily interested in the early history of these film
 festivals (pre-1980s) and would love to know about any throughout the world
 that should be included in this study.  I am particularly interested in the
 history of Knokke Experimental Film Festival and would also love to know if
 anyone has research materials on this festival, or possibly oral narratives
 they would be willing to share.  Thank you in advance for your ideas.

 Best regards,

 Greg de Cuir, Jr.
 Selector/Programmer, Alternative Film/Video Belgrade
 http://www.alternativefilmvideo.org/

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