[Frameworks] Ism, Ism, Ism: Urban Harmonies/Dissonant Cities

[Adam Hyman]

 
  October 2-4, Viewable from anywhere!
  
 
   

  View this email in your browser

   
   
  

  Ism, Ism, Ism:
Urban Harmonies / Dissonant Cities
Online October 2-4

   
  
 
  Constitución (Constitution), by Melisa Aller, online this week, Oct 2-4
   
   
   
  Hi all!

In addition to this week's online screening of Ism, Ism, Ism: Dark Matter:
Collective, Singular and Parodic Resistance through the Pacific Film
Archive, from Sept 29 - Oct 1, Filmforum is hosting Ism, Ism, Ism: Urban
Harmonies/Dissonant Cities from October 2-4 online!

In 2017-2018 we organized an unprecedented film series ‹the first in the
U.S.‹that surveys Latin America¹s vibrant experimental production from the
1930s through today: Ism, Ism, Ism: Experimental Cinema in Latin America
(Ismo, Ismo, Ismo: Cine Experimental en América Latina)  Revisiting classic
titles and introducing recent works by key figures and emerging artists,
Ism, Ism, Ism takes viewers on a journey through a wealth of materials
culled from unexpected corners of Latin American film archives.  Key
historical and contemporary works from Argentina, Brazil, Bolivia, Chile,
Colombia, Cuba, Ecuador, Mexico, Paraguay, Peru, Uruguay, Venezuela, Puerto
Rico and the United States are featured.

If you missed any then, or want to revisit some of the films, now is your
chance!

Since 2018, it has been touring to various venues.  To conclude the tour
this Fall, seven of the shows from Ism, Ism, Ism will be online, for your
viewing pleasure from anywhere in the world (with good wi-fi).  Berkeley Art
Museum / Pacific Film Archive is hosting three screening; Filmforum is
hosting three, and WNDX Festival of Experimental Film in Winnipeg is hosting
one.  All of them will have conversation with filmmakers - even easier now
than when we held the screenings originally, as artists from other countries
can be present.  Most will be up for 2-3 days, and the one at WNDX will be a
livestreaming event.  Two this week and two next week!

Ism, Ism, Ism is accompanied by a bilingual publication (from University of
California Press) placing Latino and Latin American experimental cinema
within a broader dialogue that explores different periods, cultural
contexts, image-making models, and considerations of these filmmakers within
international cinema.
Ism, Ism, Ism was originally part of Pacific Standard Time: LA/LA, a
far-reaching and ambitious exploration of Latin American and Latino art in
dialogue with Los Angeles that occurred in 2017-18. Explore more at
www.ismismism.org 

Full details on our website at www.lafilmforum.org


Friday-Sunday, October 2-4, 2020, All Day
Los Angeles Filmforum presents
Ism, Ism, Ism: Urban Harmonies/Dissonant Cities
Online
Q on Sunday Oct 4, 7:30 pm
More information: www.lafilmforum.org
 , (323) 377-7238
Tickets: Sliding scale, https://ismcitysymphonies.bpt.me

 
Promotional Support for these online screenings from Berkeley Art Museum /
Pacific Film Archive
 ; WNDX Festival of Experimental Film,
Winnipeg 
 ; Experiments in Cinema
 , Albuquerque; Lightbox Film Center,
University of the Arts
 , Philadelphia.
 
At the end of the silent era of cinema, there was an international cycle of
films that depicted the nature of the modern city. These films, known as
city symphonies or film symphonies, were edited as if following a musical
score. The rhythm and succession of the images were immensely important for
the filmmakers. In Latin America, some of the earliest experimental films
participated in this cycle of city symphonies. For example, São Paulo: a
Sinfonia da Metrópole (1929), by Rodolfo Rex Lustig and Adalberto Kemeny,
and Humberto Mauro¹s film-poem about his home town in Minas Gerais, Brazil,
Sinfonia de Cataguases (1929). Ever since those early efforts many
filmmakers have maintained a fascination with the city, as Latin American
cities were transformed by unfettered growth, industrialization, and massive
rural to urban migrations. This program offers a range of urban visions‹some
more celebratory, others more critical‹of the architecture, daily life,
public spaces, and transportation of cities 

[Frameworks] Ism, Ism, Ism: Urban Harmonies/Dissonant Cities

[Adam Hyman]

 
  October 2-4, Viewable from anywhere!
  
 
   

  View this email in your browser

   
   
  

  Ism, Ism, Ism:
Urban Harmonies / Dissonant Cities
Online October 2-4

   
  
 
  Constitución (Constitution), by Melisa Aller, online this week, Oct 2-4
   
   
   
  Hi all!

In addition to this week's online screening of Ism, Ism, Ism: Dark Matter:
Collective, Singular and Parodic Resistance through the Pacific Film
Archive, from Sept 29 - Oct 1, Filmforum is hosting Ism, Ism, Ism: Urban
Harmonies/Dissonant Cities from October 2-4 online!

In 2017-2018 we organized an unprecedented film series ‹the first in the
U.S.‹that surveys Latin America¹s vibrant experimental production from the
1930s through today: Ism, Ism, Ism: Experimental Cinema in Latin America
(Ismo, Ismo, Ismo: Cine Experimental en América Latina)  Revisiting classic
titles and introducing recent works by key figures and emerging artists,
Ism, Ism, Ism takes viewers on a journey through a wealth of materials
culled from unexpected corners of Latin American film archives.  Key
historical and contemporary works from Argentina, Brazil, Bolivia, Chile,
Colombia, Cuba, Ecuador, Mexico, Paraguay, Peru, Uruguay, Venezuela, Puerto
Rico and the United States are featured.

If you missed any then, or want to revisit some of the films, now is your
chance!

Since 2018, it has been touring to various venues.  To conclude the tour
this Fall, seven of the shows from Ism, Ism, Ism will be online, for your
viewing pleasure from anywhere in the world (with good wi-fi).  Berkeley Art
Museum / Pacific Film Archive is hosting three screening; Filmforum is
hosting three, and WNDX Festival of Experimental Film in Winnipeg is hosting
one.  All of them will have conversation with filmmakers - even easier now
than when we held the screenings originally, as artists from other countries
can be present.  Most will be up for 2-3 days, and the one at WNDX will be a
livestreaming event.  Two this week and two next week!

Ism, Ism, Ism is accompanied by a bilingual publication (from University of
California Press) placing Latino and Latin American experimental cinema
within a broader dialogue that explores different periods, cultural
contexts, image-making models, and considerations of these filmmakers within
international cinema.
Ism, Ism, Ism was originally part of Pacific Standard Time: LA/LA, a
far-reaching and ambitious exploration of Latin American and Latino art in
dialogue with Los Angeles that occurred in 2017-18. Explore more at
www.ismismism.org 

Full details on our website at www.lafilmforum.org


Friday-Sunday, October 2-4, 2020, All Day
Los Angeles Filmforum presents
Ism, Ism, Ism: Urban Harmonies/Dissonant Cities
Online
Q on Sunday Oct 4, 7:30 pm
More information: www.lafilmforum.org
 , (323) 377-7238
Tickets: Sliding scale, https://ismcitysymphonies.bpt.me

 
Promotional Support for these online screenings from Berkeley Art Museum /
Pacific Film Archive
 ; WNDX Festival of Experimental Film,
Winnipeg 
 ; Experiments in Cinema
 , Albuquerque; Lightbox Film Center,
University of the Arts
 , Philadelphia.
 
At the end of the silent era of cinema, there was an international cycle of
films that depicted the nature of the modern city. These films, known as
city symphonies or film symphonies, were edited as if following a musical
score. The rhythm and succession of the images were immensely important for
the filmmakers. In Latin America, some of the earliest experimental films
participated in this cycle of city symphonies. For example, São Paulo: a
Sinfonia da Metrópole (1929), by Rodolfo Rex Lustig and Adalberto Kemeny,
and Humberto Mauro¹s film-poem about his home town in Minas Gerais, Brazil,
Sinfonia de Cataguases (1929). Ever since those early efforts many
filmmakers have maintained a fascination with the city, as Latin American
cities were transformed by unfettered growth, industrialization, and massive
rural to urban migrations. This program offers a range of urban visions‹some
more celebratory, others more critical‹of the architecture, daily life,
public spaces, and transportation of cities 

[Frameworks] Festival of (In)appropriation online this weekend; Other online events

[Adam Hyman]

   Festival of (In)appropriation; Other online events
  
  
 
   

  View this email in your browser
 
   
   
  

  The Festival of (In)Appropriation #9 Online
This Weekend, Q on Saturday

   
  
 
  Somebody was Trying to Kill Somebody Else by Benjamin Verhoeven
   
   
   
  Friday-Sunday, Aug 21-23, 2020
Northwest Film Forum and Los Angeles Filmforum present
The Festival of (In)appropriation #9
Online 
Q discussion on Saturday Aug 22, 6 pm PST online with Curators Jaimie
Baron, Lauren Berliner, and Greg Cohen with filmmakers Roger Beebe, LJ
Frezza, Tony Gault, Deborah Kelly, Kevin McCarthy, Ryan Murphy, Tasman
Richardson, Tina Takemoto, and Yunjin Woo !
 
Tickets: Sliding Scale, available at
https://nwfilmforum.org/films/festival-inappropriation-9-encore-online/

More info on our website at www.lafilmforum.org


Whether you call it collage, compilation, found footage, détournement, or
recycled cinema, the incorporation of already existing media into new
artworks is a practice that generates novel juxtapositions and new meanings
and ideas, often in ways entirely unrelated to the intentions of the
original makers. Such new works are, in other words, “inappropriate.” This
act of (in)appropriation may even produce revelations about the relationship
between past and present, here and there, intention and subversion, artist
and critic, not to mention the "producer" and "consumer" of visual culture
itself. Fortunately for our purposes, the past decade has witnessed the
emergence of a wealth of new audiovisual elements available for
appropriation into new works. In addition to official state and commercial
archives, resources like vernacular collections, home movie repositories,
and digital archives now also provide fascinating material to repurpose in
ways that lend it new meaning and resonance.
 
Founded in 2009 and curated by Jaimie Baron, Lauren Berliner, and Greg
Cohen, the Festival of (In)appropriation is a yearly showcase of
contemporary, short (20 minutes or less), audiovisual works that appropriate
existing film, video, or other media and repurpose it in “inappropriate” and
inventive ways. This year’s program features an astonishing variety and
complexity of moving-image appropriation art, including a riotous YouTube
reaction video mash-up, an exquisite found-footage ready-made, a
queer-Asian-American homage to Hollis Frampton, several sublime works of
cut-out animation, and a pseudo-documentary (or is it?) about the lost work
of an early-Soviet scientist dedicated to the exploration of “human mental
projection.”

Visit the Festival of (In)appropriation at
https://festivalofinappropriation.com/


Screening:
 
Lying Women by Deborah Kelly (Australia, digital video, color, sound 2016,
03:56)
“The stop motion animation Lying Women attends both to printed art’s
material qualities and its ideological freight. As a high school student in
70s Melbourne, my primary exposure to art history was through the pages of
books. I studied the western canon at a triple remove: as a girl, as an
antipodean girl, as an antipodean girl who had never seen the paintings
except as printed papers’ cheap approximations of European glory. Lying
Women imagines canonical reclining nudes’ escape from centuries of servitude
to a worldview in which decorative passivity is their whole purpose. The
work proposes a great gathering of queer female energy, a revolution, a
collective will to autonomy.” (Deborah Kelly)
 
Semiotics of Sab by Tina Takemoto (USA, digital video, b/w, sound, 05:35)
“An oblique portrait of gay Japanese American actor Sab Shimono, whose work
on stage and screen spans more than five decades. The grammatology of his
career attests to conflicting lexicons of race, representation, and
selfhood.” (Tina Takemoto)
 
Halimuhfack by Christopher Harris (USA, 16mm transferred to digital video,
color, sound, 2016, 4:00)
“A performer lip-synchs to archival audio featuring the voice of author and
anthropologist Zora Neale Hurston as she describes her method of documenting
African American folk songs in Florida. By design, nothing in this film is
authentic except the source audio. The flickering images were produced with
a hand-cranked Bolex so that the lip-synch is deliberately erratic and the
rear projected, grainy, looped images of Masai tribesmen and women recycled
from an educational film become increasingly abstract as the audio
transforms into an incantation.” (Christopher Harris)
 
Take Me to Pemberley by Daniela Zahlner (Austria, digital video, color,
sound, 2015, 02:00)
“Mr. 

Re: [Frameworks] Contact info for Kevin Jerome Everson

[Adam Hyman]

Madeleine is the way to go.
But KJE also teaches at Univ of Virginia
https://art.as.virginia.edu/people/profile/2626
And there¹s an email link there.

From:  FrameWorks  on behalf of
Rebecca Meyers 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Saturday, August 15, 2020 at 9:09 AM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Contact info for Kevin Jerome Everson

As of last year, I was able to inquire about showing his films with
Madeleine Molyneaux: picturepalaces...@yahoo.com.

On Sat, Aug 15, 2020 at 12:06 PM Mark Street  wrote:
> Hey Fwers,
> Anyone have an email address for this great artist?  I don't know who's being
> more uncooperative, Video Data Bank or Fordham Libraries, but all I want is
> for my students to see his work next sememester!
> 
> any leads much appreciated.
> 
> best,
> Mark Street
> www.markstreetfilms.com 
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
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[Frameworks] More Sad news - Robert Fenz

[Adam Hyman]

I assume many of you have already seen this on Twitter or Instagram or via
personal emails, but I haven¹t seen it on Frameworks.
Robert Fenz died in his sleep over the weekend.
Another great loss, far too young.  A good person, friend to many of us
here, and wonderful filmmaker.

-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org






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Re: [Frameworks] Sad news - Terry Cannon, founder of Filmforum, passes away

[Adam Hyman]

Thank you, and to Scott for his remembrance as well.  I forgot to include in
the text that it was written by Alison Kozberg, Filmforum Board president,
and myself.  My apologies for leaving off the writing credits when I posted.
Additional comments and links are being added to the Filmforum Facebook
page.  Terry’s willingness to provide opportunities to unheralded people was
really remarkable.  We already knew how Barbara Hammer always credited Terry
with her first show outside the lesbian Bay Area community, and the first
show for which she was paid.  It’s in her autobiobraphy Hammer!, along with
a photo of her holding her check from the Filmforum show.  Grahame Weinbren
has pointed out that Terry gave him and Roberta Friedman their first solo
show.  Jeff said that Terry arranged the first review of “Demon Lover Diary”
when it screened at Pasadena Filmforum.
And although his journal Spiral from the 1980s is more well-remembered, his
earlier journal GOSH was also pretty amazing.
https://www.artjobs.com/resources/bd/fashion-magazine/gosh#
<https://www.artjobs.com/resources/bd/fashion-magazine/gosh#>

We have images of the Pasadena Filmforum posters which were pretty great.  I
don’t believe I can send any to the list, but I’ll work on getting some
uploaded to one of our web pages.

Best regards,

Adam

From:  FrameWorks  on behalf of Jeff
Kreines 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Sunday, August 2, 2020 at 6:53 AM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Sad news - Terry Cannon, founder of Filmforum,
passes away

Beautifully put, Adam. Amazing how much Terry accomplished with no
institutional support.

Condolences to Mary and of course the birds. He’ll be missed.

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

Sent from iPhone. 

> On Aug 2, 2020, at 8:09 AM, Scott MacDonald  wrote:
> 
> 
> Thanks, Adam, for alerting us to the passing of Terry Cannon.
> 
> On the wall of the room where I keep my VHS/DVD/BluRays and watch films hangs
> a beautiful poster from Pasadena Filmforum, a souvenir of a visit to Pasadena
> to present a program of single-shot films in 1981. Patricia and I were on a
> cross-country trip, my first visit to the American West, to interview
> filmmakers (Morgan Fisher, George Kuchar, Robert Nelson, Bruce Conner) for
> what would become the first Critical Cinema collection of interviews
> (California Press, 1988). We stayed with Terry and Mary, sleeping on their
> floor, for several days--and talking well into the nights. As I remember, a
> hamster rolled round the little apartment in a plastic ball.
> 
> It would be impossible to overstate how lovely a man Terry was. His commitment
> to avant-garde cinema and his light-hearted labors in service of it were
> obvious and innovative. Pasadena Filmforum was a fun venue--though I think I
> bored the audience that night (Morgan Fisher came up after the show to tell
> me, "In LA, we don't talk so much before screenings")--though the audience had
> been attentive to the films: as I remember, Larry Gottheim's Fog Line, J. J.
> Murphy's Sky Blue Water Light Sign, Bob Huot's Snow, Hollis Frampton's Lemon,
> and one of Morgan's films--probably Production Stills.
> 
> Terry's SPIRAL was an unusual film journal--thoroughly non-academic, but
> valuable, high-spirited, and a pleasure to read. He and Willie Varela would
> edit an issue of The Cinemanews (née the Canyon Cinemanews), No. 81: 2-6,
> focusing on Super-8mm filmmaking, an early recognition/exploration of the
> achievements of small-gauge filmmaking--just one of Terry's collaborative
> projects. His curating and his editing and publishing were, for years,
> important for filmmakers, cineastes, and fledgling film scholars.
> 
> As Adam has said, Terry moved on to other pursuits; and after a time, I lost
> touch with him--but my interaction with Terry always was and always will be a
> deeply pleasurable memory. He was a beautiful soul. RIP.
> 
> Scott
> 
> On Sun, Aug 2, 2020 at 3:04 AM Adam Hyman  wrote:
>> Today we lost our friend and visionary founder Terry Cannon. Terry was a
>> writer, an editor, a curator, a librarian, an archivist, and incredible
>> advocate for his students, colleagues, and generations of filmmakers. He
>> believed in paying artists for their work, the importance of community
>> collaboration, and that arts spaces should be welcoming and risk-taking.
>> He founded Filmforum (née Pasadena Filmforum) in 1975 when he was 22 years
>> old and served as Executive Director for eight years. As Filmforum’s
>> Executive Director, Cannon curated programs including “Show for the Eyes,”
>> the first mail art film exhibition, “Films Found in a Box,” and “El Ojo
>> Apasionado: The Passionate Eye,” along with creating our 

[Frameworks] Sad news - Terry Cannon, founder of Filmforum, passes away

[Adam Hyman]

Today we lost our friend and visionary founder Terry Cannon. Terry was a
writer, an editor, a curator, a librarian, an archivist, and incredible
advocate for his students, colleagues, and generations of filmmakers. He
believed in paying artists for their work, the importance of community
collaboration, and that arts spaces should be welcoming and risk-taking.
He founded Filmforum (née Pasadena Filmforum) in 1975 when he was 22 years
old and served as Executive Director for eight years. As Filmforum¹s
Executive Director, Cannon curated programs including ³Show for the Eyes,²
the first mail art film exhibition, ³Films Found in a Box,² and ³El Ojo
Apasionado: The Passionate Eye,² along with creating our mission of
promoting a greater understanding of media art, and the role of the artists
and curators who create and present it, by providing a forum for
independently produced, noncommercial work which has little opportunity of
reaching the general public.

Cannon subsequently founded the arts publication Gosh! In 1978, and Spiral
in 1984, which featured writing and artwork by experimental film luminaries
including James Broughton, Willie Varela, Marjorie Keller, Pat O¹Neill,
Janis Lipzin, Kurt Kren, and Bruce Conner. He also edited the automotive
publication Skinned Knuckles for over 25 years until 2005.

In his time at Filmforum, he befriended the artist and filmmaker Sara
Kathryn Arledge, and eventually, after Arledge¹s death, he and his wife Mary
saved many of her paintings and painted slides when they were on the verge
of destruction. They formed the Sara Kathryn Arledge Memorial Trust, and
were instrumental in the exhibition of Arledge¹s work at the Armory Center
for the Arts in Pasadena in 2019, which brought Arledge's work to a new
generation.

In 1996 Cannon founded the Baseball Reliquary, a nonprofit organization
³dedicated to fostering an appreciation of American art and culture through
the context of baseball history² Beginning in 1999 the Reliquary began
honoring important figures from baseball¹s history by adding them to its
Shrine of the Eternals, designed to elect ³individuals on merits other than
statistics and playing ability...for a deeper understanding and appreciation
of baseball than has heretofore been provided by ³Halls of Fame² in the more
traditional and conservative institutions. Honorees have included Jim
Abbott, Dick Allen, Jim Bouton, Dizzy Dean, Curt Flood, Josh Gibson, Roger
Maris, Manny Mota, Don Newcombe, Satchel Paige, Luis Tiant, Bob Uecker,
Fernando Valenzuela, and Maury Wills. The lauded tribute to the intersection
of art and baseball functions as a traveling museum, bringing curiosities
and wonders to sites throughout Southern California. The Reliquary¹s
collections now serve as the foundation for the Institute for Baseball
Studies at Whittier College.

In 2010, Alhambra High School, where Cannon served as librarian for many
years, named him as Employee of the Year. That same year he helped the
student group Artists Anonymous organize the exhibition ³Kaleidoscope Eyes²
about the 1960s. Cannon subsequently worked at the Allendale Branch of the
Pasadena Public Library, where he hosted discussions with a wide variety of
guests during his tenure, including musicians, filmmakers, writers, and
curators, while being a charming and helpful librarian for the community.

As a lifelong creator of non-profit organizations, unusual magazines, and as
a librarian, Cannon was committed to the unheralded and idiosyncratic, and
to the regenerative and delightful possibilities of community and art that
continues to inspire the organizations he founded and the people he touched.
Cannon is survived by wife Mary Cannon and siblings Phil, Barbara, and
Nancy.


An oral history with Terry Cannon:
https://www.alternativeprojections.com/oral-histories/terry-cannon/



An article by him about the early years of Filmforum:
https://www.alternativeprojections.com/articles/filmforum-the-pasadena-years
-1975-1983/ 
 


http://www.baseballreliquary.org/ 


https://www.armoryarts.org/exhibitions/2019/arledge/



https://www.whittier.edu/news/baseballinstitute



https://www.nytimes.com/2007/03/01/sports/baseball/01reliquary.html



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Re: [Frameworks] Liberty: a curated show

[Adam Hyman]

Ken Jacobs, Star Spangled to Death

Joyce Wieland, Rat Life and Diet in North America

Jim FInn,  Encounters with Your inner Trotsky Child, perhaps

Some films included in these programs might be of interest:
https://www.lafilmforum.org/archive/summer-2018/1968-actions-and-reactions/

https://www.lafilmforum.org/archive/spring-2018/1968-visions-of-new-possibil
ities-part-1-black-panthers-and-black-power/

https://www.lafilmforum.org/archive/winter-2017/resistance-isn-t-futile-film
s-on-the-occasion-of-a-presidential-inauguration/

From:  FrameWorks  on behalf of
Cynthia Madansky 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Monday, July 6, 2020 at 10:48 AM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Liberty: a curated show

Hi Jodie,
Maybe show them Oh Say Can you See, part of the PSA Project 1-15
http://www.madansky.com/film-video/the-psa-project-1-15/
Cynthia


> On 06 Jul 2020, at 13:40, Bernard Roddy  wrote:
> 
> Jodie Mack:
> 
> It's a nice course title, "Curating and Microcinema: Make your own culture."
> 
> It raises many fine questions. For one, what is the role of "curating" in
> these microcinemas today? Does the term function in anything like the way it
> is intended to for budgeted, wall-hung exhibitions?
> 
> The word "liberty" is also a striking choice for an exhibition theme. If you
> read the news like I have, you'll likely bring to mind a president in front of
> the Mount Rushmore or a debate concerning a Lincoln monument that has the
> famous president standing with a nude black slave before him. (An 1876
> document was just unearthed by emancipation leader, Frederick Douglass,
> objecting to the sculpture's design: "The negro here, though rising, is still
> on his knees and nude. What I want to see before I die is a monument
> representing the negro, not couchant on his knees like a four-footed animal,
> but erect on his feet like a man." From the Wall Street Journal today)
> 
> I very much like the whole project - or task! - now before your students. What
> should be screened? And what can be said about the very procedures that go
> into deciding? Should there be a call for new work? What if you can't get
> permission to screen something?
> 
> Last year I responded to a call entitled What Remains that was held here in
> Chicago and organized by Joseph Ravens and ieke Trinks. It was a complicated
> concept, to use the term artists like to employ, a term for approaching new
> work. But isn't an exhibition, or the way in which it is conceived, also a
> creative work, and first off a concept?
> 
> Bernie
> ___
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Cynthia Madansky
madansky.com 

+001 917 885 8638





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Re: [Frameworks] movie scenes

[adam]

"Vagabond"

---
Adam Hyman
Executive Director
Los Angeles Filmforum
323-377-7238
www.lafilmforum.org
www.ismoismoismo.org 


On 2020-05-21 10:28, Gene Youngblood wrote:





I got a lot of great responses the last time I did this, so here we go again: 

I'm looking for scenes or sequences in which the protagonist is shown walking through the world. It could be a big city or a spectacular countryside. Could be a wayfarer on some kind of journey. Sometimes done with lap dissolves, sometimes just a series of shots. Anything approximatikng that will be appreciated and acknowledged. 


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[Frameworks] No Data Plan, by Miko Revereza, virtual screening!

[Adam Hyman]

 
   

  View this email in your browser

   
   
  

  Filmforum Hosts Virtual Screening of
No Data Plan, by Miko Revereza, May 7-9
Q with Revereza on Saturday May 9

   
  
 
  No Data Plan, by Miko Revereza
   
   
   
  Los Angeles Filmforum presents
No Data Plan, by Miko Revereza
Virtual Screening Access: Thursday May 7, 4:00 am - Saturday May 9, 11:30 pm
Virtual Post-Screening Conversation with Miko Revereza: Saturday TBD
On an internet connection near you!
 
Los Angeles Filmforum presents No Data Plan (Miko Revereza, 2018). The film
interrogates how to document oneself when the state marks you as a nonbeing.
Within the grey interior of a train, Revereza considers surveillance,
mobility, love, and the necessity of flight, employing the most ubiquitous
documenting tool - a phone.
 
³Revereza shoots passing landscapes and incidental details with equal
curiosity, intuitively capturing the rhythms and longueurs of long-distance
train travel, as well as the anxieties of anonymous immigrants‹anxieties
conveyed in overheard phone calls, encounters with ticket takers, and
eventually, the presence of Border Patrol officers. Quiet, contemplative,
and legitimately brave, No Data Plan is that rarest of things: a personal
film with real world consequences.² ­ Jordan Cronk, from Interview with Miko
Revereza in Film Comment, by Jordan Cronk
https://www.filmcomment.com/blog/interview-miko-revereza/

 
Vox Magazine article:
https://www.voxmagazine.com/news/features/miko-revereza-true-false-2019-no-d
ata-plan/article_af2adb02-2e43-11e9-a6bf-972214048dc0.html

 
Tickets: Sliding scale, as you can afford: $0 - $25 available through Brown
Paper Tickets at https://nodataplan.bpt.me
  only!
Your purchase will get you the web address & password to the film and the
log-in information to the Q
 
For more information: www.lafilmforum.org or 323-377-7238.
 
Screening:
No Data Plan 
Miko Revereza
2018, HD, color, 70 minutes
A voiceless narrator rehashes details about his mother¹s affair as he
crosses America by train. ³Mama has two phone numbers. We do not talk about
immigration on her Obama phone. For that we use the other number with no
data plan.² The linear train ride moving from Los Angeles to New York
diverges into unruly directions of consciousness. A multiplicity of voices
share thoughts, dreams and histories evoking images far away from the
enclosed spaces of this train's interior. While capturing these landscapes
and interiors through his lens, the moving images evidently illustrate an
undocumented subjectivity, a site of precarious movement, migration and
fugitivism in America.
 
Director¹s Statement
A giant, loud container full of people, luggage, sewage and microwavable
food. For 3 days I stared at moving light passing through the residue on its
windows like one long dolly shot from coast to coast. Los Angeles to New
York, the great American travelogue in reverse. From its rear window the
tracks look like film strips. 16:9 intermodal shipping containers passing
narrowly 5 or 8 feet from heads resting on windows sleeping. The Milky Way
galaxy seems so small compared to its far reaching tentacles. A spectre that
migrates mountains, trees, crude oil, plastics, glass, French fries and
footwear. Everything organized is in displacement. The AC puts me to sleep.
I close my eyes and the motion of passing scenery continues. I dream I am at
an airport in Manila. I wake up in another state. There are 2 white Border
Patrol vehicles pulled up at both ends of the next station +1 unmarked car.
The plainclothes officer with the walkie talkie commands the other 2. They
are right outside my window now. At this point my slow and steady camera
movements breaks down. The image stabilizer fails in my hands as if the
camera suddenly becomes self aware of it¹s immigration status.
 
Miko Revereza (b.1988 Manila, Philippines) is an experimental filmmaker and
undocumented immigrant. Since relocating from Manila as a child, he has
lived illegally in the United States for over 25 years. This life long
struggle with documentation, assimilation and statelessness informs his
films, DROGA! (2014), DISINTEGRATION 93-96 (2017) and his debut feature, No
data plan (2018). Miko¹s films have been widely screened and exhibited
internationally at festivals such as, International Film Festival Rotterdam,
Yamagata International Documentary Film Festival, International Short Film
Festival Oberhausen, True/False Film Festival, Images Festival, and Berwick
Film & Media Arts Festival. DISINTEGRATION 93-96 was featured and streamed
on MUBI.com. He is listed 

Re: [Frameworks] subscription

[Adam Hyman]

Look closely to see what list serve it is coming from.

From:  FrameWorks  on behalf of Gene
Youngblood 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Thursday, May 7, 2020 at 4:19 PM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] subscription

Almost every day for weeks I¹ve been getting notifications that my
subscription to Frameworks has been cancelled. I could renew by responding
to the notification. But now that doesn¹t work. Nothing in my inbox from
Frameworks today. Can this be fixed?



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Re: [Frameworks] film magazine

[Adam Hyman]

Cinema Scope, perhaps.  Depends on the length, but I suppose that is true
for any magazine.

Senses of Cinema is an online magazine.

Best

Adam

From:  FrameWorks  on behalf of Gene
Youngblood 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Saturday, May 2, 2020 at 10:23 AM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] film magazine

We want to publish the first article from our Kuchar study. It would have
been in Film Comment, but they¹re down, possibly never to return. Can anyone
recommend a publication of similar high visibility that is still alive? It¹s
a lengthy piece, heavily illustrated. Maybe there¹s a digital-only outlet
we¹re not aware of.



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Re: [Frameworks] Marilyn Times Five

[Adam Hyman]

The Connor estate is very fastidious at having online copies (especially
good ones) removed as copyright violations.
So its existence is unlikely, and if there is one and someone shared it to
this list, that would almost certainly lead to the estate having it taken
down immediately.


From:  FrameWorks  on behalf of
jaime cleeland 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, April 14, 2020 at 12:52 PM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] Marilyn Times Five

Hi,
I am looking for Bruce Connor’s ‘Marilyn Times Five’ online. Does anyone
know of a link to a reasonably good quality copy?


Stay safe

Jaime 


Sent from Yahoo Mail for iPad 
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Re: [Frameworks] NYTimes.com: Bruce Baillie, 똄ssential¹ Avant-Garde Filmmaker, Dies at 88

[Adam Hyman]

Of course it sent with a line break so it won¹t work.
Try this:
https://tinyurl.com/tndn8xu

On 4/11/20, 11:51 AM, "FrameWorks on behalf of Adam Hyman"

wrote:

>https://www.nytimes.com/2020/04/10/movies/bruce-baillie-essential-avant-ga
>r
>de-filmmaker-dies-at-88.html?smid=em-share
>
>
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>FrameWorks@jonasmekasfilms.com
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>


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[Frameworks] NYTimes.com: Bruce Baillie, ŒEssential¹ Avant-Garde Filmmaker, Dies at 88

[Adam Hyman]

https://www.nytimes.com/2020/04/10/movies/bruce-baillie-essential-avant-gar
de-filmmaker-dies-at-88.html?smid=em-share


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[Frameworks] FW: The Festival of (In)Appropriation #11 Online tonight!

[Adam Hyman]

From:  "lafilmfo...@gmail.com" 
Reply-To:  "lafilmfo...@gmail.com" 
Date:  Friday, April 10, 2020 at 2:44 PM
To:  Adam Hyman 
Subject:  The Festival of (In)Appropriation #11 Online tonight!

   The Festival of (In)Appropriation #11 Online tonight!
  Followed by a Q
  
 
   

  View this email in your browser
<https://mailchi.mp/lafilmforum/festival-11-tonight?e=a04be70c7a>
   
   
  

  Online Screenings This Week:
The Festival of (In)appropriation #11 tonight!
 and Ism, Ism, Ism: Umbrales: Women Experimental Filmmakers from Latin
America

  
 
  She Collage, by Kate Lain
Screening online in the Festival of (In)appropriation #11 on Friday April
10.
   
   
   
  Greetings all!
We hope that you are staying as safe and healthy as possible.

A couple of Filmforum-originated shows, the Festival of (In)Appropriation
and Ism, Ism, Ism: Experimental Cinema in Latin America, will have streaming
screenings organized by Northwest Film Forum in Seattle (no relation to us).
You could buy a ticket to attend either of those wherever you are!

Tonight at 8 pm Pacific time is the Festival of (In)appropriation #11!
https://nwfilmforum.org/films/festival-of-inappropriation-11-2020-online/
<https://lafilmforum.us16.list-manage.com/track/click?u=b9b114d2d0f9dc5e6729
1271e=1f60a6421c=a04be70c7a>

The Festival will play once at a preset time with discussion after.  We've
just decided to extend its online presence for some hours after the Q, so
that it can be viewed later tonight or tomorrow morning.
Tune in if you can!

Festival of (In)Appropriation #11 (2020)

Fri Apr 10: 8.00pm
Sliding scale admission: $0­25

Please pay what you can; proceeds support our move to a virtual platform!

Showtime listed is Pacific Daylight Time.

Northwest Film Forum is SCREENING ONLINE! NWFF¹s physical space is
temporarily closed in light of public health concerns around COVID-19, but
community, dialogue, and education through media arts WILL persist.

€ € HOW TO WATCH € €
Purchase a ticket through Brown Paper Tickets in advance of the listed
showtime (PDT).  
<https://lafilmforum.us16.list-manage.com/track/click?u=b9b114d2d0f9dc5e6729
1271e=1c891c168b=a04be70c7a>
Registration ends 1 hour before the start time.
30 minutes before the screening, NWFF will send a link and password to your
registered e-mail address! (Don¹t see it? Check your spam filter.) The
password will expire at the end of the film. No late seating!
If by showtime you do not receive an e-mail with details, please contact
lo...@nwfilmforum.org for a quick follow-up. (But please, check your spam!)

Discussion
** Co-curators Jaimie Baron and Lauren Berliner will host a Zoom Q
following the screening at 9:30pm PDT. We will send registrants a link to
join the Zoom at 6pm on Friday! **

About
Curators Jaimie Baron, Greg Cohen, and Lauren Berliner present their latest
edition of the Festival of (In)appropriation, with this invigorating
selection of cutting-edge, moving-image appropriation art. Sponsored by Los
Angeles Filmforum, the thrilling 11th edition of the Festival features all
the remarkable variety and complexity viewers have come to expect from this
pioneering international showcase of found-footage film and video. From
elegant exquisite corpses with dark political undertones, to jocular YouTube
mash-ups and music-video supercuts; from avant-documentary inquiries into
issues that resonate with our #MeToo moment, to masterly celebrations of the
craft of collage and hand-made cinema, this new program has something for
every experimental cinema sensibility.

The Program:

She Collage
by Kate Lain
(US, digital video, color, sound, 2015, 9:55 min)
She Collage is part response to the work of California-based collage artist
Terry Braunstein, part reflection on the practice of art-making. Like
Braunstein¹s art, the film is itself a collage‹in this case, frame-by-frame
hand-manipulated images of Braunstein, paper cutout stop motion animation,
archival footage, and an assemblage of sounds. (Kate Lain)

The Edge of Alchemy
by Stacey Steers
(US, 35mm transferred to HD video, color, sound, 2017, 19 min)
The actors Mary Pickford and Janet Gaynor are seamlessly appropriated from
their early silent features and cast into a surreal epic with an upending of
the Frankenstein story and an undercurrent of hive collapse. The third film
in a trilogy examining women¹s inner world, this handmade film is
constructed from over 6,500 collages. Music by Lech Jankowski of the
Brothers Quay. (Stacey Steers)

Lorde‹Supercut (Supercut)
by Duncan Robson
(US, HD video, color, sound, 2017, 03:44 min)
This unofficial music video for Lorde¹s ³Supercut² from the 2017 album
Melodrama is made from covers found on YouTube and Instagram, revealing the
diversity of Lorde¹s fans as they earnestly channel themselves through
Lorde¹s song and the internet. (Duncan Robson)

La Mesa
by Adrián García Gómez
(US, HD video, b/w, sound, 2018, 9:45 m

[Frameworks] Online shows: Ism Ism Ism- Umbrales: Experimental Women Filmmakers from Latin America, and The Festival of (In)appropriation #11

[Adam Hyman]

   Ism Ism Ism- Umbrales: Experimental Women Filmmakers from Latin
America   
  Online Screening Starting Thursday April 9!
  
 
   

  View this email in your browser

   
   
  

  Online Screenings This Week of
Ism, Ism, Ism: Umbrales: Women Experimental Filmmakers from Latin America,
and the Festival of (In)appropriation #11!

  
 
  From Copacabana Beach, by Vivian Ostrovsky
(1983, 10:08 min., b /color, sound, Super 8 transferred to digital))
Screening online via Northwest Film Forum, Thursday April 9 - Sat April 11.
See more 

   
   
   
   
  Greetings all!
We hope that you are staying as safe and healthy as possible.

A couple of Filmforum-originated shows, the Festival of (In)Appropriation
and Ism, Ism, Ism: Experimental Cinema in Latin America, will have streaming
screenings organized by Northwest Film Forum in Seattle (no relation to us).
You could buy a ticket to attend either of those wherever you are!

First, a screening from our series Ism, Ism, Ism: Experimental Cinema in
Latin America, Umbrales: Experimental Women Filmmakers from Latin America
will be available from Thurs Apr 09: 6.00pm ­ Sat Apr 11: 11.59pm, with a
Q at 2 pm on Saturday:
https://nwfilmforum.org/films/ismo-ismo-ismo-umbrales-experimental-women-fil
mmakers-from-latin-america-online/

Admission is on a sliding scale; money supports NWFF and goes to the
filmmakers.
 
** LA Filmforum friends will be joined by Cecilia Vicuña, Ximena Cuevas and
others for a Zoom Q at 2pm PDT on Saturday. We will send registrants a
link to join the Zoom at noon on Saturday! **

€ € HOW TO WATCH € €
Purchase a ticket through Brown Paper Tickets
 .
Your email receipt from Brown Paper Tickets will contain a link and password
for viewing, under ³Ticket Details². (Don¹t see it? Check your spam filter.)
The password will expire at midnight PST on the last date of the screening.

If you encounter any issues logging in, please contact lo...@nwfilmforum.org
for a quick follow-up. (But please, check your confirmation email!)

** Co-presented with Interbay Cinema Society! **

This program showcases female filmmakers who sought to carve out a place
within the male-dominated world of Latin American independent audiovisual
production. Key works, such as Argentine filmmaker Narcisa Hirsch¹s Come Out
(1971), exemplify the defiant position toward gendered and essentializing
aesthetics expected of Latin American women filmmakers. This program
includes pioneering Uruguayan filmmaker Lydia García Millán¹s Color (1955),
one of the first abstract experimental films from Latin America; the
politically charged Super 8 experiments by Puerto Rican underground artist
Poli Marichal; and a recent video essay by Mexican artist Ximena Cuevas.

Come Out (Narcisa Hirsch, Argentina, 1971, 11 min)
Color (Lydia Garcia, Uruguay, 1955, 4 min)
Desnudo con alcatraces (Silvia Gruner, Mexico, 1986, 2 min, silent, b)
Popsicles (Gloria Camiruaga, Chile/US, 1982-1984, 5 min, Spanish w/ English
subtitles)
Umbrales (Marie Louise Alemann, Argentina, 1967, 19 min)
Paracas (Cecilia Vicuña, Chile/US, 1983, 19 min, Spanish w/ English
subtitles)
Devil in the Flesh (Ximena Cuevas, Mexico, 2003, 5 min, Spanish w/ English
subtitles)
Copacabana (Vivian Ostrovsky, Brazil, 1983, 10 min)
Blues Tropical (Poli Marichal, Puerto Rico, 1982, 4 min)

Ism, Ism, Ism: Experimental Cinema in Latin America (Ismo, Ismo, Ismo: Cine
experimental en América Latina)
Ism Ism Ism: Experimental Cinema in Latin America is a research project and
film series conceived by Los Angeles Filmforum as part of the Pacific
Standard Time: LA/LA initiative.

Ism, Ism, Ism is the first comprehensive, U.S.-based film program and
publication to treat the full breadth of Latin America¹s vibrant
experimental film production. The screenings feature key historical and
contemporary works from Argentina, Brazil, Bolivia, Chile, Colombia, Cuba,
Ecuador, Mexico, Paraguay, Peru, Uruguay, Venezuela, Puerto Rico and the
United States. Revisiting classic names and forms from the experimental
canon, the film series daringly places them within a completely novel scope
and breadth. The film series takes both the aficionado and open-minded
viewer through a journey into a wealth of materials culled from the
forgotten corners of Latin American film archives integrated with recent
production from across the continent.
   
  
 
  Color by Lydia Garcia (Uruguay, 1955, 4 min)
Screening online via Northwest Film Forum, Thursday April 9 - Sat April 11.
See more 

Re: [Frameworks] Bruce Baillie

[Adam Hyman]

Done

From:  FrameWorks  on behalf of
Morgan Hoyle-Combs 
 
Doe. 

  
 
  
 On Wednesday, April 8, 2020, 3:33:58 PM EDT, Dominic Angerame
 wrote:
 

 

 
Hi Folks, sad news. Bruce Baillie is in the last days of care. Lorie Baillie
is in desperate need of funding. Currently Bruce is sleeping on the floor of
their house. Lorie wants his last days to be comfortable and to move him
into hospice care in her neighborhood because she can no long take care of
him and work at the same time.

The cost for this care is $6000. I know this is hard time for many people
but if you can send funds please send it via PayPal to

> tullylou...@gmail.co  m

Thank you so much. Bruce Baillie is one of the most important experimental
filmmakers of our time and deserves to be well taken care of in his dying
days.

Dominic


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Re: [Frameworks] copyright question

[Adam Hyman]

There¹s another issue, which is whether you can legally do business with
them, which means you might not be able to receive money from them.
But heck, ask for $100/sec, 30 sec minimum, or no minimum.
And ask to see the script translated for context, to make sure it is
factual.  :-)
Of course, they could have just used it, and it would have been unlikely
that you would have ever learned that it aired. So I sorta want to give them
the benefit of the doubt for even contacting you.

From:  FrameWorks  on behalf of
Myron Ort 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Thursday, March 12, 2020 at 11:00 AM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] copyright question

Believe it or not I was contacted by N. Korean TV who wanted to use 5
seconds from one  of my films. What might be a customary fee and is my
granting permission via email sufficient copyright authorization. I might
have to tell them that the music is not necessarily copyright free.
Just curious about this. I don¹t really mind letting them use it for free
but then again it is N. Korea.


Myron Ort
www.zeno-okeanos,com




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Re: [Frameworks] 50 Years of Super 16

[Adam Hyman]

Ben Rivers has filmed 1 or 2; I need to check titles.

From:  FrameWorks  on behalf of
Scooterboi's Dad 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Monday, February 24, 2020 at 2:25 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] 50 Years of Super 16

Chasing Amy.  D. Kevin Smith 1997

On Mon, Feb 24, 2020, 2:19 PM Julian Antos 
wrote:
> Hi all, 
> 
> As part of the unofficial 50th anniversary of Super 16, Chicago Film Society
> is attempting to create a list of all films shot on this great format. While I
> don't think it will be possible to list all of them, I'd like to get as
> comprehensive as possible. I'm pasting a list of titles below - if anyone has
> any to add, let me know and I can share you on our spreadsheet - we're also
> collecting data on labs, cameras, and filmstocks used. Not just interested in
> features, but also shorts and music videos, new and old.
> 
> We're also having a year long Super-16 sidebar as part of our programming. The
> next film will be UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (Screening on
> 35mm), preceded by Jodie Mack's ³Blanket Statement #2: It¹s All or Nothing² -
> Screening details here
>  .
> 
> Also: if anyone has Super 16 stories or information to share, please write to
> me!
> 
> Best, 
> 
> Julian 
> 
> List of Titles Shot in Super 16 (work in progress!!)
> 
> TitleDirectorRelease Date
> 84 Charlie Mopic Patrick Duncan1989
> A Bread FactoryPatrick Wang2018
> A Mighty WindChristopher Guest2003
> AdmissionsMelissa Painter2004
> Alambrista!Robert M. Young1977
> Ballad of Gregorio Cortez Robert M. Young1982
> Beasts of the Southern WildBenh Zeitlin2012
> BeeswaxAndrew Bujalski2009
> Best in ShowChristopher Guest2000
> Black SwanDarren Aronofsky2010
> Blue ValentineDerek Cianfrance2010
> Blushing Charlie Vilgot Sjöman1970
> CarolTodd Haynes2015
> Certain WomenKelly Reichardt2016
> Chained for LifeAaron Schimberg2018
> CIRCUSLear Levin1984
> City of God Fernando Mereille2002
> Coastlines Victor Nunez2008
> Combination PlatterTony Chan1993
> Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean Robert Altman1982
> "Distant Harmony" Pavarotti in ChinaDeWitt Sage
>  1987
> Dog SoldiersNeil Marshall2002
> Downtown 81Edo Bertoglio2000
> Flash of Green Victor Nunez1984
> For Us, The Living: The Medgar Evers Story Michael Schultz1983
> Force of CircumstanceLiza Bear1990
> FrownlandRonald Bronstein2007
> Fruitvale StationRyan Coogler2013
> Golden ExitsAlex Ross Perry2017
> Half NelsonRyan Fleck2006
> Happy ChristmasJoe Swanberg2014
> Harsh TimesDavid Ayer2005
> Hero Alexandre Rockwell1983
> Hustle and FlowCraig Brewer2005
> JackiePablo Larraín2016
> JunebugPhil Morrison2005
> Just Another Girl on the IRTLeslie Harris1992
> Leaving Las VegasMike Figgis1995
> Listen Up PhillipAlex Ross Perry2014
> Manhattan by NumbersAmir Naderi1993
> MetropolitanWhit Stillman1990
> Monsoon WeddingMira Nair2001
> Moonrise KingdomWes Anderson2012
> Mr. RooseveltNoël Wells2017
> Never Die AloneErnest Dickerson2004
> Old JoyKelly Reichardt2006
> Parting Glances Bill Sherwood1986
> Person to PersonDustin Guy Defa2017
> PrimerShane Carruth2004
> Queen of EarthAlex Ross Perry2015
> Ruby in ParadiseVictor Nunez1993
> Rum Diaries Bruce Robinson
>  2011
> She¹s Gotta Have it Spike Lee1986
> ShortbusJohn Cameron Mitchell2006
> Silver CityJohn Sayles2004
> Southern JusticeM.D. Selig2006
> Steve Jobs (Partial)Danny Boyle2015
> Surrender, DorothyCharles McDougall2006
> The Ballad of Jack and RoseRebecca Miller2005
> The Big Blue Andrew Horn1988
> The Color WheelAlex Ross Perry2011
> The Devil's RejectsRob Zombie2005
> The Draughtman¹s Contract Peter Greenaway1982
> The Grief of OthersPatrick Wang2015
> The Hurt Locker Kathryn Bigelow2008
> The Making of ³And God Spoke"Mark and Arthur Borman1993
> The Meyerowitz StoriesNoah Baumbach2017
> The Old Man and the GunDavid Lowery 2018
> The PaperboyLee Daniels2012
> The Squid and the WhaleNoah Baumbach2005
> The Woman in the MoonAriadne Kimberly
>  1996
> The WrestlerDarren Aronofsky2008
> Tommorrow Night Louis C.K.
>  1998
> Ulee¹s GoldVictor Nunez1997
> Uncle Boonmee Who Can Recall His Past LivesApichatpong Weerasethakul2010
> Vanya on 42nd StreetLouis Malle
>  1994
> Vera DrakeMike Leigh2004
> Waiting for GuffmanChristopher Guest1996
> Walk the WalkRobert Kramer1996
> Wendy and LucyKelly Reichardt2008
> Wigstock: The Movie 
> Barry Shils  1995
> Win it AllJoe Swanberg2017
> Working Girls Lizzie Borden1986
> 
> -- 
> Julian Antos
> Chicago Film Society
> www.chicagofilmsociety.org 

Re: [Frameworks] Books on Handmade Films

[Adam Hyman]

Experimental Filmmaking: Breaking the Frame
https://routledgetextbooks.com/textbooks/9780240823966/

From:  FrameWorks  on behalf of Jon
Behrens 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wednesday, January 15, 2020 at 6:10 AM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Books on Handmade Films

Hello all 
Kathryn Ramey has an outstanding book on
Handmade filmmaking called
Break the Machine that I think in my opinion beats all other books on the
topic hands down!

good luck on your quest

Jon

Sent from my iPhone

On Jan 15, 2020, at 5:58 AM, Karl Reinsalu  wrote:

> Here's one: http://www.filmlabs.org/docs/toboldlygo.pdf
> Here's another one: http://www.filmlabs.org/docs/recipes_for_disaster_hill.pdf
> 
> Happy photon capture and manipulation to you!
> K.
> 
> On Tue, Jan 14, 2020 at 3:10 PM Maruyama Tetsuya 
> wrote:
>> Dear all. 
>> 
>> I am planning a workshop on super 8 direct filmmaking in Port-au-Prince,
>> Haiti, and need some reference on books that talk about handmade films
>> without camera. 
>> It doesn't have to be technical since I would like a broad range of ideas and
>> notes, and ideally they can be pdf, so I can share with the fellow
>> participants. 
>> 
>> I saw a post by Gregory Zinman on his new book, and became curiousŠ.
>> 
>> Warm regards,
>> 
>> Tetsuya Maruyama
>> Rio de Janeiro, Brasil
>> 
>> -:-:-
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> -- 
> --
> Karl Reinsalu
> e.mail: kreins...@gmail.com
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
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Re: [Frameworks] Books on Handmade Films

[Adam Hyman]

One more: Kathryn Ramey¹s Experimental Filmmaking
https://routledgetextbooks.com/textbooks/9780240823966/
Which has things related to with camera and without.

From:  FrameWorks  on behalf of
Gregory Zinman 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, January 14, 2020 at 12:42 PM
To:  "Experimental Film Discussion List "

Cc:  
Subject:  Re: [Frameworks] Books on Handmade Films

Filmmaker Steven Woloshen¹s books are also excellent for artists and
students:
https://scratchatopia.wordpress.com/
https://re-voir.com/shop/en/steven-woloshen/990-scratch-crackle-pop-the-whol
e-grains-approach-to-making-films-without-a-camera.html
https://scratchatopia.wordpress.com/recipes-for-reconstruction-my-1st-book/

Best,

Greg
--
Gregory Zinman, Ph.D.
Assistant Professor
School of Literature, Media, and Communication
Georgia Institute of Technology

pronouns: he/him/his

Making Images Move: Handmade Cinema and the Other Arts
  (University
of California Press, 2020)
We Are in Open Circuits: Writings by Nam June Paik
  (The MIT Press, 2019)


> On Jan 14, 2020, at 3:40 PM, Anna Briggs  wrote:
> 
> Dear Tetsuya, 
> 
> I recommend Helen Hill's 'Recipes for Disaster: A Handcrafted Film
> Cookbooklet'. Here is a pdf copy:
> http://www.filmlabs.org/docs/recipes_for_disaster_hill.pdf. You can watch some
> of her films on Vimeo at: https://vimeo.com/helenhill. 'Madame Winger Makes a
> Film' (https://vimeo.com/197137362) is wonderful.
> 
> Kind regards, 
> 
> Anna Briggs
> https://www.mipops.org/aboutus/
> 
> On Tue, 14 Jan 2020 at 21:10, Maruyama Tetsuya  wrote:
>> Dear all. 
>> 
>> I am planning a workshop on super 8 direct filmmaking in Port-au-Prince,
>> Haiti, and need some reference on books that talk about handmade films
>> without camera. 
>> It doesn't have to be technical since I would like a broad range of ideas and
>> notes, and ideally they can be pdf, so I can share with the fellow
>> participants. 
>> 
>> I saw a post by Gregory Zinman on his new book, and became curiousŠ.
>> 
>> Warm regards,
>> 
>> Tetsuya Maruyama
>> Rio de Janeiro, Brasil
>> 
>> -:-:-
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[Frameworks] Woody Vasulka R.I.P.

[Adam Hyman]

Hi all,
I didn¹t see that anyone had mentioned this yet, but Woody Vasulka passed
away just before Christmas.  One more major loss in 2019.  My deepest
condolences to Steina and their family and friends.
https://www.artnews.com/art-news/news/woody-vasulka-dead-1202673647/

Some references to them and their work from an old thread below.

Best regards,

Adam

From:  FrameWorks  on behalf of
lagonaboba 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wednesday, April 1, 2015 at 4:12 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Vasulkas research

Matthew,

The Vasulkas are a vast and worthy subject unto themselves, each
individually and the two as collaborators.
The Kitchen is another story, the origins of which are inseparable from the
narrative surrounding the Vasulkas.
The long story of the Kitchen is, no doubt like so many art politic stories,
complex and conflicted.
To learn more about the early kitchen you must contact Dimitri Devyatkin
http://www.devyatkin.org.
and Rhys Chatham   http://www.rhyschatham.net,  in addition to the Vasulkas.
You should also read about Shridhar Bapat.
http://www.bidoun.org/magazine/27-diaspora/aleph-null-by-alexander-keefe/

Bob Harris

On Apr 1, 2015, at 2:58 PM, Maat Galindo  wrote:

> I appreciate the links everyone, I will dive into their site !
> 
> Mathew Galindo
> 
> On Tue, Mar 31, 2015 at 1:21 PM, Gene Youngblood  wrote:
>> It¹s all here http://www.vasulka.org/index.html . Go to ³Site Map,² then
>> ³Kitchen.²
>> 
>>> On Mar 31, 2015, at 10:10 AM, Elizabeth McMahon 
>>> wrote:
>>> 
>>> I'd start with this. It is the definition of a tome.
>>> http://www.amazon.com/Buffalo-Heads-Practice-Pioneers-1973--1990/dp/02627205
>>> 07/ref=sr_1_1?ie=UTF8=1427818203=8-1=buffalo+media+vasulka
>>> 
>>> Elizabeth McMahon
>>> 
>>> On Tue, Mar 31, 2015 at 12:06 PM, Maat Galindo  wrote:
>>>> Hi all,
>>>> 
>>>> I am conducting a research paper on  the history of The Kitchen, the role
>>>> of the Vasulkas and their contributions to experimental media.
>>>> 
>>>> Does anyone have any readings on these subjects that they can link me to?
>>>> 
>>>> Thanks,
>>>> 
>>>> Mathew Galindo


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Re: [Frameworks] Mac OS Catalina

[Adam Hyman]

Good suggestions, but if one can¹t afford two computers, the rule here is

Never Change Operating Systems in the Middle of Editing a Project.  Try
not to change the editing software either.

Wait until it is done, really really done.  After all the fixes after the
sound mix.  Or never update the OS.

On 1/10/20, 12:27 PM, "FrameWorks on behalf of Scott Dorsey"

wrote:

>Don't blame Apple for this.
>
>If you want a stable system, take it off the internet and lock it down.
>Don't install updates, don't make any system changes.  Backup your work
>daily and every six months or so use clonezilla or something similar to
>take an image of it.
>
>Once you put the system on the internet you are dealing with the internet
>environment, which includes lots of bad people who are constantly
>searching
>for the latest vulnerability in your system, and lots of people who are
>good but severely misguided who are constantly updating websites and web
>applications to require the latest browser and other updates on your
>desktop
>computer.
>
>You don't want to deal with this with an editing workstation.  If you want
>to edit, don't do it on the computer you surf the web with, don't do it on
>a machine that you do anything else with.
>--scott
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Re: [Frameworks] Mac OS Catalina

[Adam Hyman]

two, then to a useful place on your computer.  But you may wish to uninstall
Catalina and reinstall Mojave, which is probably difficult.

Another question leads to this:
"Try restarting in Safe Mode. Can you open the documents in Safe Mode?
If you can open in Safe Mode, Restart normally again. See if it got fixed.
If not, please run the diagnostic tool Etrecheck and post its full report
here.
If you can't open the documents even in Safe Mode, there is either a problem
with the drive or with permissions.
Select the Documents folder, press Command-I and post a screenshot of the
permissions part at the bottom of the window.²

Best of luck!

Adam


On 1/10/20, 6:58 AM, "FrameWorks on behalf of Dominic Angerame"
 wrote:

> Ty, for some reason Premier 2020 opened one fileŠwe have no control over what
> these software folks do to us. It is almost criminal if not unethical and no
> regard for medium itself and those that use it for creativity.
> 
> 
> d
> 
>>  On Jan 10, 2020, at 6:56 AM, Joan Hawkins  wrote:
>>  
>>  what a drag!  I¹m sorry I can¹t help but wanted to send sympathy. Joan
>>  
>>  
>>>  On Jan 10, 2020, at 7:32 AM, Dominic Angerame 
>>> wrote:
>>>  
>>>  Hi I lost all my media and quick time files with this upgrade to Catalina.
>>> Anyone have any idea how I can retrieve them.
>>>  
>>>  Thanks much
>>>  
>>>  Dominic
>>>  ___
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>>  
>>  ___
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Re: [Frameworks] Original soundtrack recordings of Avant-Garde films

[Adam Hyman]

I think that cassette was ³re-printed² in a limited number with an issue
of INCITE Media.  
LA Filmforum also has a couple of those cassettes; Terry issued Spiral
when he was running Pasadena Filmforum - same organization.

Best regards,

Adam Hyman
Los Angeles Filmforum

On 12/4/19, 4:55 PM, "FrameWorks on behalf of Janis Crystal Lipzin"

wrote:

>The sound track to my film, Other Reckless Things, composed and performed
>by Ellen Zweig, was published on cassette tape as  part of an issue of
>Terry Cannon's journal of avant-garde film, "Spiral."
>Janis Crystal Lipzin
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Re: [Frameworks] Original soundtrack recordings of Avant-Garde films

[Adam Hyman]

Once upon a time there was a label called Table of the Elements. (Their
website is defunct)  They issued multiple CDs of works by Tony Conrad and
Jack Smith.  Mostly audio only things, but perhaps among them was a
soundtrack or two to a film of one or the other?Š

Actually, it looks like probably not, but some interesting things

https://www.discogs.com/Jack-Smith-Les-Evening-Gowns-Damnees-56-Ludlow-Stree
t-1962-1964-Volume-I/release/703373

https://www.discogs.com/Jack-Smith-Silent-Shadows-On-Cinemaroc-Island-56-Lud
low-Street-1962-1964-Volume-II/release/727518

https://www.discogs.com/Tony-Conrad-Early-Minimalism-Volume-One/master/38256
3

https://www.discogs.com/Tony-Conrad-Slapping-Pythagoras/release/680717

Etc

Best,

Adam

From:  FrameWorks  on behalf of
Christian Gosvig Olesen 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wednesday, December 4, 2019 at 1:44 PM
To:  "Experimental Film Discussion List "

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

Hello,

Many (of the amazing) soundtracks to Derek Jarman's films have been released
on various formats:

Throbbing Gristle "In the Shadow of the Sun":
https://www.discogs.com/Throbbing-Gristle-In-The-Shadow-Of-The-Sun/master/10
294

Coil "The Angelic Conversation":
https://www.discogs.com/Coil-The-Angelic-Conversation/master/21410

Simon Fisher Turner/Derek Jarman "Blue":
https://www.discogs.com/Derek-Jarman-Blue/master/21552

Simon Fisher Turner "Caravaggio":
https://www.discogs.com/Simon-Fisher-Turner-Caravaggio-1610-Sound-Sketches-F
or-Michele-Of-The-Shadows/master/246163 (and several other Jarman/Turner
soundtracks are released as well)

Sub Rosa released a boxset of Luc Ferrari's soundtrack works not so long ago
(among others for Piotr Kamler's "Chronopolis"):
https://www.subrosa.net/en/catalogue/early-electronic-music/luc-ferrari-comp
lete-music-for-films-1960-1984.html

Peter Tscherkassky's "Outer Space" is featured on a Finnish compilation:
https://www.discogs.com/Various-Avantometric-Attachments-2002/release/75764

Angus MacLise's soundtrack to "The Invasion of Thunderbolt Pagoda":
https://www.discogs.com/Angus-MacLise-The-Invasion-Of-Thunderbolt-Pagoda/rel
ease/440194

And there is an Angus MacLise compilation featuring music from "Chumlum"
among others: https://www.discogs.com/Angus-MacLise-Untitled/release/311090

There was also a funny, unofficial archival release series of "Musique
Concrète Soundtracks to Experimental Short Films" some years back:

https://www.discogs.com/label/13172-New-England-Electric-Music-Company

Best, 

Christian


Den ons. 4. dec. 2019 kl. 19.26 skrev Albert Alcoz :
> Hello,
> 
> I'm researching soundtracks of Avant-Garde films that have been published on
> Vinyl, cassette or CD. It is not easy to find many cases because generally the
> soundtracks are not original.
> 
> Does anyone know other cases besides those mentioned here?
> 
> Asparagus (1979) Suzan Pitt. Music: Richard Teitelbaum
> http://sanitymuffin.bigcartel.com/product/asparagus-original-soundtrack-record
> ing
> 
> L'Ange (1980) Patrick Bokanoski. Music: Michèle Bokanowski
> https://tracelabel.bandcamp.com/album/lange
> 
> Decasia (2002) Bill Morrison. Music: Michael Gordon
> https://michaelgordonmusic.bandcamp.com/album/decasia
> 
> All the best,
> Albert Alcoz
> 
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Re: [Frameworks] A - very - Long Shot: how to get in touch with Michael Shamberg?

[Adam Hyman]

Hi,
Also, it is almost always the case that, for any official music video, the
record company that issued the record owns the rights to it. If there was no
record company, then try to reach someone in the band?

Best regards,
Adam

From:  FrameWorks  on behalf of
Brecht Debackere 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wednesday, November 6, 2019 at 6:54 AM
To:  Chris G 
Cc:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] A - very - Long Shot: how to get in touch with
Michael Shamberg?

Hi Christopher, 

It seems like this is exactly the information I was looking for and I was
looking at the wrong Michael Schamberg!
So thank you very much for the information and rectification!

Kind regards, 

Brecht. 


> On 6 Nov 2019, at 14:03, Chris G  wrote:
> 
> Hi Brecht,
> 
> You might want to check and see if you aren’t actually looking for Michael H.
> Schamberg who produced and directed several of New Order’s videos (Electronic
> featured NO’s Bernard Sumner). Unfortunately he died a few years ago. I’m not
> sure if they worked with both Michael Shambergs- but maybe... Wikipedia and
> IMDB attribute some of his work to the more well-known producer. It also seems
> that Michael H. was in a documentary called “To Chris Marker, an Unsent
> Letter”. He also produced the Blue Monday 1988 video directed by Robert Breer.
> Guessing his ties to the experimental film world ran a bit deeper.
> 
> Hope this helps somehow even if it’s not the info you were looking for.
> 
> Best,
> Christopher
> 
> On Nov 6, 2019, at 12:31, Brecht Debackere  wrote:
> 
>> Dear all, 
>> 
>> While Michael Shamberg is better known for his commercial Hollywood
>> productions, he also commissioned/produced a videoclip for the band
>> Electronic’s track ‘Getting away with it’.
>> This clip was made by none other than Chris Marker!
>> 
>> I’m trying to get in touch with Michael Shamberg (or his agent or whatever)
>> in regards to this video (to see it, to learn who owns the rights).
>> 
>> Maybe there’s someone here who has an idea?
>> 
>> kind regards, 
>> 
>> Brecht Debackere
>> 
>> 
>> V I S U Λ ˩ Λ N T I C S
>> 
>> www.visualantics.net <http://www.visualantics.net/>
>> Hooikaai 17
>> 1000 Brussel
>> 
>> M+32(0)498 319 302


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Re: [Frameworks] Films about places with descriptive voice-over

[Adam Hyman]

Perhaps Patrick Keillor¹s films, ³London², ³Robinson in Space² and ³Robinson
in Ruins" would be of interest.  Not sure if they are concrete enough for
you, but definitely lots of voice over as responses to specific places.


From:  FrameWorks  on behalf of
Niurgun Bootur 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Sunday, November 3, 2019 at 6:18 AM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] Films about places with descriptive voice-over

Dear Frameworkers,

A friend of mine is working on a short film about the architectural aspects
of a neighborhood in Malagueira, Portugal and the gap between its
architect's utopian vision and the present reality. He would like to work
with a voice-over to describe something imaginary, like simple everyday
situations, all unseen and imagined, as if sensed and commented upon by the
architect himself.

I would be grateful if you could you suggest voice-over films that are a
response to specific places or have a way of telling that describes a place
or a situation in concrete terms. For example, John Smith's The Girl Chewing
Gum.

Thanks a lot,
Niurgun


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[Frameworks] Looking for Antony Balch's film Ghosts At No. 9

[Adam Hyman]

Hi all,
For a friend:

³I'm trying to track down a print (or hi-res digital copy) of Antony Balch's
film Ghosts At No. 9, to include as part of the staging for the
opera-theatre work Artaud in the Black Lodge, which will premiere in
September 2020. We are specifically seeking to excerpt 19:30 through 23:30as
part of the performance. The rights holder (The William Burroughs Estate)
has granted permission for its use, but is unable to provide a print.²

Not listed at Canyon, Filmmakers Coop, or LUX.
Anyone know of a source for print of digital copy, please?

Best regards,

Adam

-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org



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[Frameworks] D.A. Pennebaker has died

[Adam Hyman]

D.A. Pennebaker passed away at 94:

https://www.hollywoodreporter.com/news/da-pennebaker-dead-documentary-legend
-was-94-817392

https://www.showbiz411.com/2019/08/03/rip-da-pennebaker-oscar-winning-docume
ntary-filmmaker-of-the-war-room-monterey-pop-dont-look-back-was-94
 


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Re: [Frameworks] Documentaries-diaries-essays or video/film installations that play with truth or cinema theory

[Adam Hyman]

Check out the book F Is for Phony: Fake Documentary and Truth¹s Undoing, ed.
By Alex Juhasz and Jesse Lerner
https://www.upress.umn.edu/book-division/books/f-is-for-phony
And then all the films discussed in thereŠ
We did a screening once in conjunction with it that included No Lies, Land
Without Bread, and Marlon Fuentes¹ Bontoc Eulogy (1995).

Best regards,

Adam Hyman
Los Angeles Filmforum


On 6/6/19, 11:02 PM, "FrameWorks on behalf of Tim Halloran"

wrote:

> ...No Lies, (1973); Mitchell Block.
> 
> Most documentaries ³play with truth,² in some manner.
> 
> Sent from my iPad
> 
>>  On Jun 6, 2019, at 3:13 PM, Morgan Hoyle-Combs 
>> wrote:
>>  
>>  Hello all.
>>  
>>  I've asked this quite a few times already, but I'm still on the lookout for
>> films that question the concept of truth in documentaries or cinema. So far,
>> I've been able to favor "Megacities" by Michael Glawogger, "David Hotlzman's
>> Diary" by Jim McBride and "The stories we tell" by Sarah Polley. And yes,
>> I've watched F for Fake more than enough ;)
>>  
>>  I've also been getting into dissecting film and theater down to, for lack of
>> better terms, compound elements. I've been looking into the works of Bazin,
>> Kracauer and Metz and how they have explored the concept of spectatorship and
>> illusion within the realm of photography, film and sometimes theater.
>>  
>>  So anything that would focus on deconstructing truth or incorperate cinema
>> theory. In addition to diaries and essays, I'd also be open to film/video
>> installations/performances that share the same focus.
>>  
>>  M
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Re: [Frameworks] walking

[Adam Sekuler]

Walking To Werner by Linas Phillips (2006)

On Thu, May 2, 2019 at 6:02 PM Scott MacDonald 
wrote:

> *Hey Frameworkers,*
>
> *A colleague is interested in films in which walking is a central formal
> thread.*
>
> *Do any of you have suggestions? *
>
> *Please contact me separately.*
>
> *Scott*
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-- 
Adam Sekuler
www.adamsekuler.com
www.tomorrowneverknowsfilm.com
612.229.3205
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Re: [Frameworks] Film Festival Blues

[Adam Hyman]

That¹s great!  How do you raise money for that?

Best,

Adam

From:  FrameWorks  on behalf of Jon
Behrens 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wednesday, May 1, 2019 at 1:20 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Film Festival Blues

Engauge Experimental Film Festival has no entry fee . and if you get
accepted you will receive $200 honorarium
www.interbaycinemasociety.org <http://www.interbaycinemasociety.org>

Jon

Sent from my iPhone

On May 1, 2019, at 11:02 AM, Dominic Angerame 
wrote:

> PS. 
> 
> I once entered a festival that only accepted a certain amount of entries and
> cut off all entries sent after a specific deadline. This may be a way towards
> a solution. I would like to know how many films I am competing with. If a
> festival allows 2700 entries, such as Ann Arbor, I never would have submitted
> my work. 
> 
> I would have taken the $40 entry and bought lottery tickets were I stand a
> better chance of winning.
> 
> D
> 
>> On May 1, 2019, at 10:25 AM, Dante Fresse  wrote:
>> 
>> Film festival proliferation is a good thing for me, but focusing on the next
>> time increase in my opinion isn¹t the right thing to do. As a young filmmaker
>> I find competitive process of selecting to be an opportunity for growth and
>> scarcity in this industry and that is an excellent way to learn how to use
>> opportunities where you can get a chance to talk to succeeding artists.
>> 
>> What do y¹all think about this?
>> 
>> On Tue, Apr 30, 2019 at 5:11 PM Dominic Angerame 
>> wrote:
>>> Every film festival is telling me that they have received record number of
>>> entries from hundreds to thousands. If entries are increasing should not the
>>> scope and duration of the festivals increase to accommodate the record
>>> numbers. Increased entries also mean increased income to the festivals.
>>> 
>>> A question to the community
>>> 
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Re: [Frameworks] Film Festival Blues

[Adam Hyman]

Do you pay filmmakers when you screen their work?
And what is a PEG Channel, please?

Best regards,

Adam

From:  FrameWorks  on behalf of Will
Erokan 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, April 30, 2019 at 11:24 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Film Festival Blues

I run an experimental cable access show called Here Comes Everybody. We
screen in a number of cities* across the US, and we don't have submission
fees.
Please, do not hesitate to submit work.. Due to time restrictions we'd have
a hard time screening anything longer than 28 minutes, ideally we're looking
for pieces 0-10 minutes in length.
You can find our episodes archived on youtube here..
https://www.youtube.com/playlist?list=PLyP_qMpFYsPugsG0t_wnH64OV3LmQYmlj
Send your links to hcet...@gmail.com

Likewise, if you're connected to a PEG channel and you'd like to run our
show.. Please let me know and I can start delivering episodes immediately.

-will erokan

*We broadcast regularly in Los Angeles, Portland OR, Waukegan IL, North
Liberty IA, Ithaca NY, etc

On Tue, Apr 30, 2019 at 10:22 PM Adam Hyman  wrote:
> Yes, thank you.  That is what I was asking.
> We just had a great discussion about this at a panel of programmers/directors
> at Experiments in Cinema.
> In the US, there generally is not much government money on any level to
> support film festivals, let alone their prizes.  Thus, to compare a European
> festival to a US one is not so simple when it comes to funding, submission
> fees, awards, etc.
> 
> Mind you, I don¹t run a festival, but a weekly screening series, but back to
> Dominic¹s original question, it is dependent on finding facilities, people,
> audiences, and money to make a festival longer.  Most people I know who run
> festivals are burned out after their current durations, so making it longer
> isn¹t physically feasible.  Attendees also burn out.  Theaters want to get
> back to their regular programming.  Volunteers need to return to paying jobs.
> It seems like most US festivals have a tough time raising enough money to put
> on the festivals that they currently have.  Even with submission fees
> increasing with the number of submissions (and it¹s debatable whether those
> are proper anyway), that isn¹t enough for all the requirements of a festival.
> 
> Best regards,
> 
> Adam 
> 
> 
> 
> From:  FrameWorks  on behalf of Marcin
> Gizycki 
> Reply-To:  "Experimental Film Discussion List
> " 
> Date:  Tuesday, April 30, 2019 at 8:54 PM
> To:  "Experimental Film Discussion List "
> 
> Subject:  Re: [Frameworks] Film Festival Blues
> 
> Adam,
> Are you asking where the money for our awards comes from? Mostly from the city
> of Poznan. Also from the Polish Film Institute and other public institutions.
> Best,
> Marcin
>  
> 
> From: FrameWorks  On Behalf Of Adam
> Hyman
> Sent: Tuesday, April 30, 2019 11:38 PM
> To: Experimental Film Discussion List 
> 
> Subject: Re: [Frameworks] Film Festival Blues
>  
> 
> Paid for by whom?
> 
>  
> 
> Best,
> 
>  
> 
> Adam
> 
>  
> 
> From: FrameWorks  on behalf of Marcin
> Gizycki 
> Reply-To: "Experimental Film Discussion List "
> 
> Date: Tuesday, April 30, 2019 at 5:43 PM
> To: "Experimental Film Discussion List "
> 
> Subject: Re: [Frameworks] Film Festival Blues
> 
>  
> 
> Ok., Tim,
> I understand. One correction to my previous email. The Grand Prix at Animator
> equals $15,000.
> Best,
> Marcin
>  
> From: FrameWorks  On Behalf Of
> Dimitrije Martinovic
> Sent: Tuesday, April 30, 2019 8:39 PM
> To: Experimental Film Discussion List 
> Subject: Re: [Frameworks] Film Festival Blues
>  
> 
> I agree with you, DIY-start your own screenings,  I would love to collaborator
> with anyone interested in trying this one.
> 
>  
> 
> On Tue, Apr 30, 2019 at 8:06 PM Tim Halloran  wrote:
>> 
>> Marcin, why did you assume I was being sarcastic? I was quite serious. Just
>> saying we should stop crying about it and reimagine the whole festival
>> paradigm. DIY. 
>> 
>>  
>> 
>> Tim
>> 
>> Sent from my iPhone
>> 
>> 
>> On Apr 30, 2019, at 4:37 PM, Marcin Gizycki  wrote:
>>> 
>>> Tim, sarcasm is not necessary here. I started such a festival long time ago:
>>> Animator in Poznan, Poland. We do not charge any fee and the Grad Prix
>>> equals $1500 thousand dollars.
>>> Yours,
>>> Marcin 
>>>  
>>> 
>>> From: FrameWorks  On Behalf Of Chris
>>> Lange
>>> Sent: Tuesday, April 30, 2019 7:27 PM
>>> To: Experimental Film D

Re: [Frameworks] Film Festival Blues

[Adam Hyman]

Yes, thank you.  That is what I was asking.
We just had a great discussion about this at a panel of
programmers/directors at Experiments in Cinema.
In the US, there generally is not much government money on any level to
support film festivals, let alone their prizes.  Thus, to compare a European
festival to a US one is not so simple when it comes to funding, submission
fees, awards, etc. 

Mind you, I don¹t run a festival, but a weekly screening series, but back to
Dominic¹s original question, it is dependent on finding facilities, people,
audiences, and money to make a festival longer.  Most people I know who run
festivals are burned out after their current durations, so making it longer
isn¹t physically feasible.  Attendees also burn out.  Theaters want to get
back to their regular programming.  Volunteers need to return to paying
jobs.  It seems like most US festivals have a tough time raising enough
money to put on the festivals that they currently have.  Even with
submission fees increasing with the number of submissions (and it¹s
debatable whether those are proper anyway), that isn¹t enough for all the
requirements of a festival.

Best regards,

Adam 



From:  FrameWorks  on behalf of
Marcin Gizycki 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, April 30, 2019 at 8:54 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Film Festival Blues

Adam,
Are you asking where the money for our awards comes from? Mostly from the
city of Poznan. Also from the Polish Film Institute and other public
institutions. 
Best,
Marcin
 

From: FrameWorks  On Behalf Of Adam
Hyman
Sent: Tuesday, April 30, 2019 11:38 PM
To: Experimental Film Discussion List 

Subject: Re: [Frameworks] Film Festival Blues
 

Paid for by whom?

 

Best,

 

Adam

 

From: FrameWorks  on behalf of
Marcin Gizycki 
Reply-To: "Experimental Film Discussion List
" 
Date: Tuesday, April 30, 2019 at 5:43 PM
To: "Experimental Film Discussion List "

Subject: Re: [Frameworks] Film Festival Blues

 

Ok., Tim,
I understand. One correction to my previous email. The Grand Prix at
Animator equals $15,000.
Best,
Marcin
 
From: FrameWorks  On Behalf Of
Dimitrije Martinovic
Sent: Tuesday, April 30, 2019 8:39 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Film Festival Blues
 

I agree with you, DIY-start your own screenings,  I would love to
collaborator with anyone interested in trying this one.

 

On Tue, Apr 30, 2019 at 8:06 PM Tim Halloran  wrote:
> 
> Marcin, why did you assume I was being sarcastic? I was quite serious. Just
> saying we should stop crying about it and reimagine the whole festival
> paradigm. DIY. 
> 
>  
> 
> Tim
> 
> Sent from my iPhone
> 
> 
> On Apr 30, 2019, at 4:37 PM, Marcin Gizycki  wrote:
>> 
>> Tim, sarcasm is not necessary here. I started such a festival long time ago:
>> Animator in Poznan, Poland. We do not charge any fee and the Grad Prix equals
>> $1500 thousand dollars.
>> Yours,
>> Marcin 
>>  
>> 
>> From: FrameWorks  On Behalf Of Chris
>> Lange
>> Sent: Tuesday, April 30, 2019 7:27 PM
>> To: Experimental Film Discussion List 
>> Subject: Re: [Frameworks] Film Festival Blues
>>  
>> Maybe they should provide more money to the festival film viewers / jury to
>> do a fully honest and cognizant job of selecting.  That¹s important work,
>> which for some festivals sometimes seems like a bit of a bs configuration.
>> Though, it is the festival viewer / critic that spends the sometimes
>> difficult and time-consuming work of assessing all of these films.
>> 
>>  
>> 
>> If they¹re making more money and not expanding their festivals, why not pay
>> some of the artists?
>> 
>>  
>> 
>> It also seems like this is a case-by-case.
>> 
>>  
>> 
>>  
>> 
>>  
>> 
>>  
>> 
>>  
>>> 
>>> On Apr 30, 2019, at 5:29 PM, Tim Halloran  wrote:
>>>  
>>> 
>>> Start your own filmmaker-friendly festivals.
>>> 
>>>  
>>> 
>>> Tim
>>> 
>>> Sent from my iPad
>>> 
>>> 
>>> On Apr 30, 2019, at 3:20 PM, Marcin Gizycki >> <mailto:mgizy...@hotmail.com> > wrote:
>>>> 
>>>> I am bothered more by the fact that festivals charge a lot of money not
>>>> giving much in exchange. Most of them simply exploits filmmakers.
>>>> 
>>>> Marcin
>>>> 
>>>>  
>>>> 
>>>> From: FrameWorks >>> <mailto:frameworks-boun...@jonasmekasfilms.com> > On Behalf Of
>>>> o...@thenowcorporation.com <mailto:o...@th

Re: [Frameworks] Film Festival Blues

[Adam Hyman]

Paid for by whom?

Best,

Adam

From:  FrameWorks  on behalf of
Marcin Gizycki 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, April 30, 2019 at 5:43 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Film Festival Blues

Ok., Tim,
I understand. One correction to my previous email. The Grand Prix at
Animator equals $15,000.
Best,
Marcin
 
From: FrameWorks  On Behalf Of
Dimitrije Martinovic
Sent: Tuesday, April 30, 2019 8:39 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Film Festival Blues
 

I agree with you, DIY-start your own screenings,  I would love to
collaborator with anyone interested in trying this one.

 

On Tue, Apr 30, 2019 at 8:06 PM Tim Halloran  wrote:
> 
> Marcin, why did you assume I was being sarcastic? I was quite serious. Just
> saying we should stop crying about it and reimagine the whole festival
> paradigm. DIY. 
> 
>  
> 
> Tim
> 
> Sent from my iPhone
> 
> 
> On Apr 30, 2019, at 4:37 PM, Marcin Gizycki  wrote:
>> 
>> Tim, sarcasm is not necessary here. I started such a festival long time ago:
>> Animator in Poznan, Poland. We do not charge any fee and the Grad Prix equals
>> $1500 thousand dollars.
>> Yours,
>> Marcin 
>>  
>> 
>> From: FrameWorks  On Behalf Of Chris
>> Lange
>> Sent: Tuesday, April 30, 2019 7:27 PM
>> To: Experimental Film Discussion List 
>> Subject: Re: [Frameworks] Film Festival Blues
>>  
>> Maybe they should provide more money to the festival film viewers / jury to
>> do a fully honest and cognizant job of selecting.  That¹s important work,
>> which for some festivals sometimes seems like a bit of a bs configuration.
>> Though, it is the festival viewer / critic that spends the sometimes
>> difficult and time-consuming work of assessing all of these films.
>> 
>>  
>> 
>> If they¹re making more money and not expanding their festivals, why not pay
>> some of the artists?
>> 
>>  
>> 
>> It also seems like this is a case-by-case.
>> 
>>  
>> 
>>  
>> 
>>  
>> 
>>  
>> 
>>  
>>> 
>>> On Apr 30, 2019, at 5:29 PM, Tim Halloran  wrote:
>>>  
>>> 
>>> Start your own filmmaker-friendly festivals.
>>> 
>>>  
>>> 
>>> Tim
>>> 
>>> Sent from my iPad
>>> 
>>> 
>>> On Apr 30, 2019, at 3:20 PM, Marcin Gizycki >> <mailto:mgizy...@hotmail.com> > wrote:
>>>> 
>>>> I am bothered more by the fact that festivals charge a lot of money not
>>>> giving much in exchange. Most of them simply exploits filmmakers.
>>>> 
>>>> Marcin
>>>> 
>>>>  
>>>> 
>>>> From: FrameWorks >>> <mailto:frameworks-boun...@jonasmekasfilms.com> > On Behalf Of
>>>> o...@thenowcorporation.com <mailto:o...@thenowcorporation.com>
>>>> Sent: Tuesday, April 30, 2019 5:52 PM
>>>> To: Experimental Film Discussion List >>> <mailto:frameworks@jonasmekasfilms.com> >
>>>> Subject: Re: [Frameworks] Film Festival Blues
>>>> 
>>>>  
>>>> festival scams.
>>>> 
>>>> Owen
>>>> 
>>>>  
>>>> 
>>>>  
>>>> 
>>>> 
>>>> On Apr 30, 2019, at 5:31 PM, Mark Street >>> <mailto:mstreet...@gmail.com> > wrote:
>>>>> 
>>>>> There's not good way to hear "we didn't take your film".  But the
>>>>> breathless intro  "We got 5 million entries!..." has always irritated
>>>>> me.
>>>>> 
>>>>>  
>>>>> 
>>>>> Mark Street
>>>>> 
>>>>> www.markstreetfilms.com <http://www.markstreetfilms.com/>
>>>>> 
>>>>>  
>>>>> 
>>>>> On Tue, Apr 30, 2019 at 5:11 PM Dominic Angerame
>>>>> mailto:dominic.anger...@gmail.com> > wrote:
>>>>>> 
>>>>>> Every film festival is telling me that they have received record number
>>>>>> of entries from hundreds to thousands. If entries are increasing should
>>>>>> not the scope and duration of the festivals increase to accommodate the
>>>>>> record numbers. Increased entries also mean increased income to the
>>>>>> festivals. 
>>>>>> 
>>>>>>  
>>>>>> 
>>&g

Re: [Frameworks] what's ok to send for posting and what's not ok?

[Adam Hyman]

Hi Cecilia,

My guess is that no one on Frameworks knows the answer.  It¹s a community of
experimental filmmakers, so I doubt anyone has optioned a book.

I think better luck might be found through lists or organizations dealing
with independent filmmaking of a more narrative feature variety, like FIND
(Film Independent).  Or maybe a google search would find sites dealing with
legal issues for filmmakers.  There was definitely a site, whose name
escapes me, that I learned of through a documentary email list, that had a
variety of contract templates for very low cost.

While I try to find its name, I found this, which is different and may or
may not be right.

New Media Rights (NMR) provides pro bono legal resources and its free media
studio to creators - artists, filmmakers, podcasters, citizen journalists,
bloggers, open source software projects, as well as nonprofits.
http://www.newmediarights.org <http://www.newmediarights.org/>

A Google search for ³legal forms for filmmakers² led to lots, such as this
page;
https://nofilmschool.com/2016/08/grab-every-filmmaking-form-youll-ever-need-
these-99-free-templates
On which I see that #3 is literary option.

Best of luck,
Adam

From:  FrameWorks  on behalf of
Cecilia Dougherty 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Monday, April 22, 2019 at 5:22 AM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] what's ok to send for posting and what's not ok?

Dear Frameworks, 
I sent an email a few days ago asking if anyone had information on how to
option a book - if anyone knew of best type of contract for a small film, or
had experience. I haven't seen it posted, so I was wondering if that's not
the type of topic that goes out?
Please let me know.
Thanks!
Cecilia D.

-- 
Say one thing and meme another

Cecilia Dougherty
http://www.ceciliadougherty.com
http://inbetweentheories.com

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[Frameworks] Peter Mays R.I.P.

[Adam Hyman]

Greetings.  Los Angeles based filmmaker, painter, projectionist, and
filmgoer Peter Mays passed away last night.  Peter was one of the longest
members of the experimental film community in LA, going back to when he
started a film society in the UCLA Art Department in 1962 to screen
underground films that he had read about.  He made multiple film & video
works over the years, was a founding member of the  of the Single Wing
Turquoise Bird Light Show and the one continuing member in all of its
iterations, and also served as projectionist at the Fox Venice and at CAA to
make ends meet.  In later years, he was often painting at home in Santa
Monica.

Filmforum had a screening with him in 2010, and showed his films at
different time through the years, and as part of Alternative Projections.
His most well-known work, ³Death of the Gorilla² is really wonderful, and
was also featured on the cover of the book Art Cinema, by Paul Young, for
Taschen Press.  We¹ll be doing two screenings this month honoring him, shows
that were already being planned, and were hoping that he might have been in
condition to attend.  Although that didn¹t happen, I hope that you all will
be able to come to at least one, and that those of you who knew him might
say a few words.  Here¹s more on him at Alternative Projections, and an oral
history.
https://www.alternativeprojections.com/people/peter-mays/
https://www.alternativeprojections.com/oral-histories/peter-mays/

And his Facebook page:
https://www.facebook.com/petermays22
Two of his films have been restored by Mark Toscano at the Academy Film
Archive, Death of the Gorilla and The Star-Curtain Tantra.  Those will be
part of the first of two screenings we will have at Filmforum honoring Peter
Mays, on March 17 and 31, 2019.

We¹ll miss him.

Very truly yours,

Adam

-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org





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Re: [Frameworks] Expanded cinema and experimental music

[Adam Hyman]

Where is your colleague located, and by ³not American² do you mean, not of
the USA, or not of anywhere in the Americas?

From:  FrameWorks  on behalf of
Esperanza Collado 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wednesday, February 20, 2019 at 2:18 AM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] Expanded cinema and experimental music

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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Re: [Frameworks] GERMAINE DULAC'S WRITINGS ON CINEMA AVAILABLE IN ENGLISH

[Adam Hyman]

What is one supposed to do if you don¹t have Kindle or do¹t wish to
patronize Amazon?

Best regards

Adam Hyman
Los Angeles Filmforum

From:  FrameWorks  on behalf of
Christian Leblat 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wednesday, December 19, 2018 at 1:50 AM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] GERMAINE DULAC'S WRITINGS ON CINEMA AVAILABLE IN
ENGLISH

Hello,
we are pleased to announce:

WRITINGS ON CINEMA (1919-1937)  BY GERMAINE DULAC
E-BOOK EDITION NOW AVAILABLE IN ENGLISH !
Ed., with a new preface by PROSPER HILLAIRET
Foreword by TAMI M. WILLIAMS
English translation by SCOTT HAMMEN
 
These seminal texts by pioneering filmmaker and feminist Germaine Dulac will
be of great interest to film scholars and cinephiles alike.
Maryann De Julio, Professor of French, Department of Modern and Classical
Language Studies, Kent State University.
 
Paris Expérimental has done us all a great favor by updating, translating,
and putting everything on e-book so that we all may see the visionary
brilliance of this pioneering feminist filmmaker.
Sandy Flitterman-Lewis, Associate Professor of English and Comparative
Literature, Rutgers University, author of To Desire Differently: Feminism
and The French Cinema.
 
Germaine Dulac is among the most important figures of French silent cinema,
even world cinema tout court. Her writings, made available in English for
the first time in an excellent translation by Scott Hammen, are simply a
must-have for any scholar or lover of cinema as well as for scholars of
gender and sexuality
Christophe Wall-Romana, Associate professor, University of Minnesota.

Price: $11,34
Buy it on Kindle Amazon:
https://www.amazon.com/dp/B07LFJHT6C/ref=sr_1_2?s=books=UTF8=15450800
83=1-2=writings+on+cinema+dulac

Yours,

Christian Lebrat
PARIS EXPERIMENTAL
http://www.paris-experimental.asso.fr

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Re: [Frameworks] Projector repair in LA

[Adam Hyman]

Hi Mariah,

Usually one tried 
Milt Goodwin
626-488-7653
And 
Charles Massa
310-779-9339 or 310-801-3120

Milt has great service, but his repairs aren¹t always successful the first
time.
Charles has not as great service, and I¹ve never successfully gotten a
repaired projector from him, but other people have.

A grimace emoji would be appropriate here.

Not familiar with Walt¹s.  How are they?

But otherwise you need to ship.

Best regards,

Adam
Los Angeles Filmforum

On 12/18/18, 10:50 AM, "FrameWorks on behalf of Mariah Garnett"
 wrote:

>Does anyone know anyone in LA who services 16mm projectors? I usually go
>to Walt¹s Camera but am looking for a backup.
>Thanks!
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Re: [Frameworks] Linear film editing

[Adam Hyman]

Hi,

 I learned in film school during the transition period that what Dave says
is correct
Editing with celluloid is non-linear; early video editing was linear due to
the assembly reason that Dave describes; non-linear digital editing was a
return to the non-linear editing of celluloid.
We could have a poll though.

Best,

Adam

From:  FrameWorks  on behalf of
Colinet André 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Thursday, November 29, 2018 at 4:44 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Linear film editing

I don¹t agree with Dave.
Linear editing means physical linear structuring of film or video footage.
Non linear editing means virtual editing of footage because it¹s only a
editing list with software.
All the best !!
Colinet André
 
 
 
Verzonden vanuit Mail <https://go.microsoft.com/fwlink/?LinkId=550986>  voor
Windows 10
 

Van: Dave Tetzlaff <mailto:djte...@gmail.com>
Verzonden: donderdag 29 november 2018 22:50
Aan: Experimental Film Discussion List
<mailto:frameworks@jonasmekasfilms.com>
Onderwerp: Re: [Frameworks] Linear film editing
 
> I'm interested in 'linear film editing', as in cutting and splicing film at an
edit bench or Steenbeck or however you do it.
 
That¹s not linear editing. Physical film editing is non-linear, which means
you can edit anywhere in the piece you want by winding the reels to that
spot. Linear editing was how editing in VIDEO was performed
pre-computerization. That is, you had to add each shot sequentially from
beginning to to end, in that order, and once you got to, say, shot 5, you
couldn¹t go back and trim the cut between 1 and 2 without starting over.
 
Needless to say, linear editing is a pain in the ass, and anyone who had
ever editied film found it extremely frustrating and limitiing. Thus
non-linear video editing was invented by commercial filmmakers after video
became integrated into feature film produstion via special effects and
Œworkprinting¹. For example, one of the earliest experimental systems, the
Editdroid, was built by Lucasfilm in the early Œ80s. In fact, before the
term Œnon-linear editing¹ came into common use in the 1990s, these systems
were called Œelectronic film editing¹, because they gave editors working
with video footage the same flexibility that physical film editing had
always offered.
 
You have checked your definitions before creating your surveyŠ
 
https://en.wikipedia.org/wiki/Non-linear_editing_system#History
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[Frameworks] Enlightening Vision: Recent Films by Nathaniel Dorsky and Jerome Hiler, Nov 30 - Dec 2, in Los Angeles

[Adam Hyman]

Sorry, we missed the Flicker deadline for these shows, starting on November
30.

UCLA Film & Television Archive, the the Hugh M. Hefner Classic American Film
Program, and Los Angeles Filmforum present
Enlightening Vision: Recent Films by Nathaniel Dorsky and Jerome Hiler
November 30 ­ Dec 2, 2018
At the UCLA Film & Television Archive, Billy Wilder Theater at the Hammer
Museum, 10899 Wilshire Blvd, Los Angeles, CA 90024


In-person: filmmakers Nathaniel Dorsky and Jerome Hiler.
Los Angeles Filmforum members receive free admission at the box office!
https://www.cinema.ucla.edu/events/2018/enlightening-vision-nathaniel-dorsky
-jerome-hiler
In every generation there is a small number of artists whose clarity of
voice and individual vision inspires a renewed passion for their medium,
even as they deepen our appreciation for all art. Filmmakers Nathaniel
Dorsky and Jerome Hiler are two such artists. Internationally celebrated for
their bodies of work spanning over fifty years, Dorsky and Hiler will make
rare appearances with three programs of recent films. Working with hand-held
and hand-wound 16mm cameras, each creates a cinema of exquisite beauty that
unfolds in time and retains the mystery and ambiguities of life lived rather
than illustrated.
Dorsky and Hiler have been creative collaborators and partners since meeting
during the halcyon days of New York¹s 1960s underground film scene.  Dorsky,
a renowned cinematographer, editor and author, has produced nearly fifty
films since 1964. Each includes hundreds of images recorded in differing
locales that reveal astonishing interplays of texture, movement and space.
Hiler, whose practice includes painting and stained glass, creates images
unsurpassed in their delicacy and subtlety of expression. Often choosing
pastoral settings, his subjects emerge in inexplicable ways through multiple
layering, adding filters and hand manipulating the actual film material.
Hiler creates film spaces that are  ethereal and dark-hued plays with edges
of perception.
Theirs are films that invite us in but don¹t make it obvious how
to look and
respond: they are streams of interconnected records and
reflections of the
visual world, transforming recognizable objects and
places into realms of
seemingly infinite and unexpected discovery. We
are being returned, as
though it was being discovered for the first time, to the essential magic
of cinema. The Archive is honored to present this series with Nathaniel
Dorsky
 and Jerome Hiler in person.
Programs organized by Steve Anker and curated by the filmmakers.
³For Nathaniel Dorsky and Jerome Hiler, Film Is the Star²
By Manohla Dargis, The New York Times, Sept. 24, 2015
https://www.nytimes.com/2015/09/27/movies/for-nathaniel-dorsky-and-jerome-hi
ler-film-is-the-star.html


---
Friday, November 30, 2018, 7:30 pm:
THREE FILMS BY JEROME HILER
"My films bear a stronger relation to music than to the usual concept of a
motion picture. As in music, their story is an elusive thing that co-joins
with the intimate associations of the viewer.  They are silent which gives
the mind of the viewer the freedom to be aware of its own presence, as well.
My images simply unfold according to their needs.  As with so many
independent, hand-made films, these
works exist in some in-between space of the media universe". (J.H.)
 
WORDS OF MERCURY (2011, 25 min., 16mm, silent)
 
BAGATELLE II (2016, 16 min., 16mm, silent)
 
MARGINALIA (2016, 23 min., 16mm, silent)
 
Total running time: 64 minutes.


Tickets: Advance sale price: $10.00 at
http://emarket.cinema.ucla.edu/ShoppingCenter/Details.aspx?ref=1035
Tickets for Archive events may also be purchased at the box office:
General admission:  $9.00; Seniors:  $8.00; UCLA Alumni Association Members:
$8.00 
Non-UCLA students:  $8.00; Filmforum members, UCLA students:  Free (see
policy  )

For more information:
https://www.cinema.ucla.edu/events/2018/11/30/three-films-jerome-hiler

www.lafilmforum.org   or 323-377-7238.
‹
Saturday, December 1, 2018, 7:30 pm:
Four Films by Nathaniel Dorsky and Jerome Hiler
 
SATURDAY, DECEMBER 1, 7:30PM
FOUR FILMS BY NATHANIEL DORSKY & JEROME HILER
Although Nathaniel Dorsky and Jerome Hiler have shared the same world and
have many of the same interests and occupations, their films express the
inner spirit of two distinct individuals. There are similarities, but these
recede in significance as one experiences the unique mind of either
filmmaker.
 
FILMS BY JEROME HILER
³Given all the layers involved, there are some rules to follow that must
govern all the material. One has to regard black or darkness as if it were
gold itself. The dark characteristics are what enable the layers to come
through and blend with one another.² (J.H.)
 
NEW WORK-IN-PROGRESS (2017-18, ca. 17 min., 16mm, silent)
³My new, as yet unnamed 

Re: [Frameworks] Films about the clock

[Adam Hyman]

There¹s a variation of the piece you describe by Lozano-Hammer on the wall
of the coffee place at the Los Angeles County of Art.  I believe it is a
digital clock that divides the hours of a day into another metric, tracks
the day using that metric.
Ah, here¹s a piece on it.  It¹s by Jim Campbell.
https://unframed.lacma.org/2014/11/24/solving-mystery-cm%E2%80%99s-artwork-j
im-campbell%E2%80%99s-untitled-sun

Just wanted to re-mention Morgan FIsher¹s Phi Phenomenon.


From:  FrameWorks  on behalf of
Albert Alcoz 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, October 30, 2018 at 1:30 AM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Films about the clock

Thank you for those new suggestions.

Roger Beebe, maybe what is happening nowadays is that those artists
interested on "that kind of rigid formal investigation", around the clock,
easy to link with structural film, have changed their mediums. This is
something Tyler Maxin has already noted. Instead of cinema or video they use
some other digital tools for their projects. I'm thinking this realizing
what's behind a piece like Zero Noon (2013) by Rafael Lozano-Hammer: "a
digital clock that shows the current time according to eccentric metrics".
(http://www.lozano-hemmer.com/zero_noon.php) or The Pirate Cinema (2012-214)
by Nicolas Maigret 
(http://peripheriques.free.fr/blog/index.php?/works/2012-the-pirate-cinema-/
)

Best,
Albert

On Tue, Oct 30, 2018 at 1:01 AM Peter Snowdon  wrote:
> Boris Lehman, La chute des heures (1990). Nothing but clocks for 8 minutes:-)
> 
> Envoyé de mon iPad
> 
> Le 27 oct. 2018 à 14:07, Albert Alcoz  a écrit :
> 
>> Hello frameworkers,
>>  
>> I¹m trying to write a short article in spanish about different notions of
>> time concerning contemporary experimental film and video. Since the concept
>> of ³time related to cinema² is almost impossible to delimit I have decided to
>> concentrate just about the clock.
>>  
>> So, i¹m searching films and videos where the clock is an important
>> object/issue for the development of the piece. By now I have just found
>> appropiation works as 60 Seconds (2002) by Christoph Girardet and The Clock
>> (2012) by Christian Marclay but i¹m sure there are dozens.
>>  
>> There¹s a brilliant film by Chris Gallagher named Time Being (2009) that
>> could also be useful to theorize some ideas but I need some more titles.
>>  
>> Any suggestions?
>>  
>> Thank you all,
>>  
>> Best,
>> Albert
>> 
>> -- 
>> http://visionaryfilm.net/ 
>> http://albertalcoz.com/ 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks


-- 
http://visionaryfilm.net/ 
http://albertalcoz.com/ 
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Re: [Frameworks] Films about the clock

[Adam Hyman]

Morgan Fisher¹s Phi Phenomenon is perhaps the purest example:
""A single static close-up, bilaterally symmetrical about both axes, shows
an ordinary electric classroom clock without a second hand running in
regular fashion." ­M. F.

From:  FrameWorks  on behalf of
Roger Beebe 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Saturday, October 27, 2018 at 6:50 AM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Films about the clock

There¹s a sequence in Jon Jost¹s Speaking Directly where we are just forced
to watch a stopwatch for several minutes that you should check out.  My
memory is that it¹s fairly late in the film (all of which is worth
watching). 

Best,
Roger

> On Oct 27, 2018, at 8:07 AM, Albert Alcoz  wrote:
> 
> Hello frameworkers,
>  
> 
> I¹m trying to write a short article in spanish about different notions of time
> concerning contemporary experimental film and video. Since the concept of
> ³time related to cinema² is almost impossible to delimit I have decided to
> concentrate just about the clock.
>  
> 
> So, i¹m searching films and videos where the clock is an important
> object/issue for the development of the piece. By now I have just found
> appropiation works as 60 Seconds (2002) by Christoph Girardet and The Clock
> (2012) by Christian Marclay but i¹m sure there are dozens.
>  
> 
> There¹s a brilliant film by Chris Gallagher named Time Being (2009) that could
> also be useful to theorize some ideas but I need some more titles.
>  
> 
> Any suggestions?
>  
> 
> Thank you all,
>  
> 
> Best,
> Albert
> 
> -- 
> http://visionaryfilm.net/ 
> http://albertalcoz.com/ 
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] Seeking examples of film elegies

[Adam Hyman]

Perhaps Necrology by Standish Lawder.  Does it work as elegy, for you to
decide:
https://www.youtube.com/watch?v=Dadi7mw5gCs

When we had a memorial screening for Brakhage, we included
Passage Through: A Ritual  (1990, 16mm, color/ sound, 50min)
   
And also Brakhage¹s Panels for the Walls of Heaven is really lovely (2002,
color, silent, 31 min.) Print courtesy of the Academy Film Archive.

And Kitch¹s Last Meal, by Carolee Schneemann, (1976, 55 min.), perhaps.
Hard to know what will work as consolation.

Best regards,

Adam Hyman

From:  FrameWorks  on behalf of
Katherine T Model 

Threnody‹Nathaniel Dorsky
The Dragon is the Frame‹Mary Helena Clark

Best,
Katie Model

On Tue, Aug 28, 2018 at 1:40 PM Gene Youngblood  wrote:


Alexander Sokurov¹s trilogy, Elegy of a Voyage, Elegy of the Land and Moscow
Elegy (lovely portrait of Kozintsev¹s apartment).

 
 
On August 28, 2018 at 9:05:14 AM, Sarah Bliss (bl...@sarahblissart.com)
wrote:
 


Greetings Frameworkers,

I write from AgX in Boston, where we are making our way, in grief and with
love, since the death of our beloved Rob
Todd.  At AgX, we sometimes hold a salon for members. The theme of our next
will be elegies.  What filmic examples of
elegies do you know?

The Poetry Foundation defines an elegy as: "In traditional English poetry,
it is often a melancholy poem that laments its subject¹s death but ends in
consolation."

Thanks, 

Sarah Bliss
http://www.SarahBlissArt.com




D0F6BC06-0949-4C0C-88A7-9A17EB8166AF@hsd1.ma.comcast.net
Description: Binary data
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Re: [Frameworks] Tracey Emin contact?

[Adam Hyman]

It might be a ³not replying; it¹s August² thing?  Monday is a holiday in the
UK also.


From:  FrameWorks  on behalf of Mia
Ferm 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Friday, August 24, 2018 at 3:25 PM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] Tracey Emin contact?

Hi Everyone. 

I'm on the lookout for Why I Never Became a Dancer by the UK artist Tracey
Emin. I've tried contacting Tracey's studio and haven't hear back. The TATE
has it, but need at least nine months advanced notice and I'm looking to
show it in October.

Send a lead if you got it!

Thanks,
Mia Ferm

-- 
Cinema Project
www.cinemaproject.org 
971-266-0085
PO Box 5991 
Portland, OR 97228

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[Frameworks] A place to stay at Wavelengths, Toronto

[Adam Hyman]

Hi all,

Hoping to get to Wavelengths, but waited too long to check with the hostels,
and the hotels are too expensive for Filmforum to cover.  Anyone interested
in sharing a place or have any ideas, Sept 6-10?
Feel free to write me directly and not to the whole list,
a...@lafilmforum.org
Thank you.

Best regards,

Adam

-- 
Adam Hyman
Los Angeles Filmforum
6522 Hollywood Blvd.
Los Angeles CA 90028 USA
http://www.lafilmforum.org
a...@lafilmforum.org
+1-323-377-7238 (Filmforum)
+1-323-807-4202 (personal cell)


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Re: [Frameworks] Robert Todd

[Adam Hyman]

Dear Deb and family,

My deepest condolences to you and your whole family on your losses.  I can¹t
imagine your pain.
I had only a few fortunate times with Rob, at festivals, and once when he
was in Los Angeles while Emerson was building its big Hollywood outpost.  It
was delightful to talk, to walk, and to hang out with him.  He was
sympathetic, kind, humorous, and thoughtful.  Our world will be poorer not
to have him in it, but at least we will have his lovely and observant films.
He helped us all how to look and how to see.   Thank you for collaborating
with him and helping these films get made and reach us.

I¹ll be in touch about screening some of his beautiful films soon in
tribute.

Very truly yours,

Adam Hyman
Los Angeles Filmforum


From:  FrameWorks  on behalf of
debtodd wheeler 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Sunday, August 19, 2018 at 8:14 AM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Robert Todd

Hi everyone,

I'm Rob's sister and frequent collaborator. I reach out to you today to
share one of the many films Rob made in 2017. This film is called SHRINE. It
captures the moments after my 18 year old son Lucas' memorial service. Rob
lost his nephew, my son, on Sept 11, 2017 to sudden death of unknown cause
(viral myocarditis), and his profound grief is poured into every film he
made since.
https://vimeo.com/23721  It is password protected. password = SHRINE

This is a highly personal film, but one I think captures his grief and my
grief today.
Please feel free to share. It's one of his most tender and beautiful works.

Also, he worked tirelessly in the last month to catalog and protect his
archive. Please contact me or Tessa about showing any of the works from his
vast catalog.

Lastly, thank you all for the community. He felt loved and appreciated by
you all.

Embrace the light,

Deb Todd Wheeler


On Sat, Aug 18, 2018 at 3:27 PM, Bryan Wendorf 
wrote:
> 
> I don't believe anyone has posted about this yet. I am sorry to be the one to
> have to share this news. Boston based filmmaker Robert Todd was reported
> missing yesterday. He had last been seen heading to Franklin Park near his
> home Thursday evening. Today a search party found his body in the park. No
> cause of death has been reported yet.
> 
> Rob has been a constant presence at experimental film festivals around the
> world for nearly twenty years now. I know I first screened one of his films at
> CUFF in 2001. I met him for the first time at Media City in I believe 2009. He
> was a kind, talented, prolific and generous man.
> 
> http://www.roberttoddfilms.com/
> 
> 
> 
> Bryan Wendorf
>  Programmer and Artistic Director
>  Chicago Underground Film Festival
>  www.cuff.org <http://www.cuff.org>
> 
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> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 



-- 
Deb Todd Wheeler



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[Frameworks] Ism Ism Ism: Experimental Cinema in Latin American Tour

[Adam Hyman]

Hi all,

Greetings.  Los Angeles Filmforum recently finished our screening series
Ism, Ism, Ism: Experimental Cinema in Latin America. Here¹s the website:
https://www.ismismism.org/ We also created a wonderful bilingual catalogue
from UC Press:
https://www.ucpress.edu/book/9780520296084/ism-ism-ism-ismo-ismo-ismo
With contributions from multiple scholars, historical texts, beautifully
illustrated.


We now have a subset of the screening series available for touring.  The
series features a tremendous number of wonderful and rarely screened films,
and the book (and bilingual program notes also available for every show)
will contextualize everything, and we think will open the eyes of many folks
to  many superb works that haven¹t entered the standard North
American/European circuit.Much is digital; we have prints for a few, and
some prints can be rented from various other places.  We also know where
guests can come from.  We have a PDF describing the contents of the shows,
and would be delighted to discuss in detail it with anyone interested in
bringing the shows (some or all) to your institution or local theater!

The series was curated by Jesse Lerner and Luciano Piazza and many other
contributors; Brenda Contreras is the Tour Coordinator.
Please write and let us know if you¹d like to get a copy of the PDF with
details, and we can go from there.
Email lafilmfo...@gmail.com and/or a...@lafilmforum.org .
Thank you for your consideration!

Best regards,

Adam

-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org <http://www.lafilmforum.org/>


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Re: [Frameworks] Goodbye To Language

[Adam Sekuler]

um... the film was shot in 3D Gene. Many of the most visually innovative
aspects of the film have to be experienced in 3D or they actually don't
work.
I can say, having seen it, there is no other way to view this work.

On Wed, Jul 25, 2018 at 1:20 PM Gene Youngblood  wrote:

>
> Maybe someone can educate me about this. I just got around to purchasing
> "Goodbye to Language," only to discover you can’t watch it with glasses.
> You need both a 3D Blu-ray player and a 3D TV. I’m at a loss to explain
> this. Why on earth would they restrict their market to such a tiny niche of
> upscale consumers who would probably find the film incomprehensible to
> begin with? To put it another way, why did they turn their backs on the
> vast worldwide audience enabled by glasses? I just don’t get it.
> ___
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>


-- 
Adam Sekuler
www.adamsekuler.com
www.tomorrowneverknowsfilm.com
612.229.3205
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Re: [Frameworks] Entertaining the film

[Adam Hyman]

My comment was rude.  I¹m not the moderator.  I¹m sorry

From:  FrameWorks  on behalf of Gene
Youngblood 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Saturday, July 21, 2018 at 11:53 AM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Entertaining the film

Does Woody Allen¹s The Purple Rose of Cairo qualify in some way? I haven¹t
seen it for more than a decade.

 
Gene & Jane Youngblood
(505) 395-6370 home
 

On July 21, 2018 at 11:00:55 AM, Stephen Anker (san...@calarts.edu) wrote:
 
> Ladislas Starevich - The Cameraman's Revenge, 1912
> 
> On Thu, Jul 19, 2018 at 9:22 AM Nicole Baker  wrote:
>> Thanks for the suggestions everyone!
>> 
>> It seems there are fewer than I expected. I was considering this something of
>> a film trope. Would you guys agree?
>> 
>> On Wed, Jul 18, 2018, 9:04 AM Lara Hannawi  wrote:
>>> a fun odd one where the subject is trying to depart from the film, within
>>> the film, you can say she's breaking down the 4th wall, the theatre of film,
>>> so in that sense she's doing the opposite of what you're looking for. its
>>> ayneh, or the mirror, by panahi.
>>> 
>>> -- Original message--
>>> From: Patrick Friel
>>> Date: Tue, Jul 17, 2018 18:01
>>> To: Experimental Film Discussion List;
>>> Cc:
>>> Subject:Re: [Frameworks] Entertaining the film
>>> 
>>> Buster Keaton's SHERLOCK JR. is the classic example.
>>> 
>>> Also, HELLZAPOPPIN' with Ole Olson and Chic Johnson.
>>> 
>>> Chuck Jones' great cartoon DUCK AMUCK is a variant on this.
>>> 
>>> 
>>> On Tuesday, July 17, 2018 7:48 PM, Nicole Baker  wrote:
>>> 
>>> 
>>> Hey frameworkers!
>>> 
>>> I'm trying to gather together a list of films where a person or persons
>>> enter into the film world/narrative.
>>> I know I've seen it, but can't think of any examples! Besides that Take on
>>> Me music video (which is close but no cigar).
>>> Examples from TV would work too.
>>> 
>>> Thanks everyone!
>>> Nicole
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>> 
>>> 
>>> ___
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>> ___
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Re: [Frameworks] Entertaining the film

[Adam Hyman]

As Patrick said, SHERLOCK JR.
I can¹t remember exactly, but doesn¹t THE NEVER-ENDING STORY do that?
And I think there are some horror films that use it, but I¹m not really a
horror film person.
One could argue that Twin Peaks: The Return fits, if one interprets the last
segment of the last episode is Cooper and alternate-Laura now somehow being
in the ³real workd."

But is this right?  Any character is ³in the film world.²  Your¹e asking for
films that have two worlds, and a character somehow moves from one to the
other, and the second is where the primary narrative takes place?

From:  FrameWorks  on behalf of
Santiago Fernandez 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, July 17, 2018 at 8:05 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Entertaining the film

The Purple Rose of Cairo


"My head is made of the same matter of the sun"

On Jul 17, 2018, at 8:15 PM, Ignacio Tamarit 
wrote:

> The Last Action Hero (1993)
> 
> 2018-07-17 22:00 GMT-03:00 Patrick Friel :
>> Buster Keaton's SHERLOCK JR. is the classic example.
>> 
>> Also, HELLZAPOPPIN' with Ole Olson and Chic Johnson.
>> 
>> Chuck Jones' great cartoon DUCK AMUCK is a variant on this.
>>  
>> 
>> 
>>  
>>  
>>  
>>  On Tuesday, July 17, 2018 7:48 PM, Nicole Baker  wrote:
>>   
>> 
>>  
>> Hey frameworkers!
>> 
>> I'm trying to gather together a list of films where a person or persons enter
>> into the film world/narrative.
>> I know I've seen it, but can't think of any examples! Besides that Take on Me
>> music video (which is close but no cigar).
>> Examples from TV would work too.
>> 
>> Thanks everyone!
>> Nicole
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> 
>>   
>>  
>>   
>> 
>> ___
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>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
> 
> 
> 
> -- 
> Ignacio Tamarit
> Lumiton Museo Usina Audiovisual
> Cabral 2354, Munro, Vicente López.
> Tel.: 4721-9255.
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Re: [Frameworks] Documentaries within/with a group subject and participatory filmmaker(s)

[Adam Hyman]

Sonya stated "I'm especially interested in films from the last 25-30 years.²
These suggestions are from the late 60s and early 70s.  Has there really
been nothing that fits the bill made in the USA since 1990?  And outside the
USA?
There are many many films where the filmmaker is visible.  Almost every
Werner Herzog film, for example.  The group activity with the filmmaker as
participant is the challenging part.

Sonya, does something like ³The Act of Killing² (Joshua Oppenheimer) fit the
bill?  The enacted scenes of the genocidaires fantasy films were organized
by the filmmakers.  They are a sort of group activity, and the filmmakers
are an active participant.  There is some direct address to Joshua later in
the film, but I don¹t recall whether any filmmakers are visible in those
enacted scenes.

Or how about groups like bands, teams, or such where one member is making
the film.  Does Dave Grohl¹s ³Sound City² count?  Other band docs directed
by members?  (isn¹t there on by the Beastie Boys?)

I think overall you are more likely to find such films not in the USA, where
the individual still reigns supreme and filmmakers in standard docs are
still supposed to be watchers and not participants.  ³Experimental² docs
often have a filmmaker participant, but the group activity element is tough.
I know of a couple of films that live more in the art world than the doc
world that look at group therapy, have staged scenes, and so forth.  But
those are also tough due to doctor-patient privilege, so there may be no
scenes of the ³ actual² group therapy session.  The filmmakers aren¹t
patients in therapy; they do set up the staged scenes though with the
patients in the group, and thus participate in that sense. Does that
interest you?

How about ³The Cove²?  Wasn¹t the filmmaker working with the people doing
the action against dolphin hunters?  Or am I misremembering?

Does the filmmaker have to be a camera person?  There are plenty of sports
films, like ski stunt films, where the camera people are the skiers, for
example, but are they the filmmakers?  Or is a filmmaker only someone who
directs and edits?

Are there films that anyone can think of, perhaps, with a class in a school,
and the teacher is making the film?

Best regards,

Adam

From:  FrameWorks  on behalf of
Christian Bruno 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, July 10, 2018 at 12:52 PM
To:  "Experimental Film Discussion List "
, "sonya.mladen...@gmail.com"

Subject:  Re: [Frameworks] Documentaries within/with a group subject and
participatory filmmaker(s)

I'm guessing William Greaves' Symbiopsychotaxiplasm, Take One would be an
excellent example.



best

Christian



From: FrameWorks  on behalf of Scott
MacDonald 
Sent: Tuesday, July 10, 2018 11:58 AM
To: Experimental Film Discussion List; sonya.mladen...@gmail.com
Subject: Re: [Frameworks] Documentaries within/with a group subject and
participatory filmmaker(s)
 
Peter Watkins: Punishment Park (1970) and really most all of Watkins' work.

Scott

On Tue, Jul 10, 2018 at 1:22 PM, Sonya Mladenova 
wrote:
> Hello everyone,
> 
> Looking for documentary films shot with/within a group of people engaged in an
> activity or some kind of project, independently or in an organized
> environment,in which the filmmaker is a visible and/or an active participatory
> presence. I'm especially interested in films from the last 25-30 years. I'm
> investigating the relationship between the filmed person(s) and the person(s)
> filming, whatever the configuration.
> 
> Somes examples, but not limited in scope:
> Starless Dreams by Mehrdad Oskouei
> À ciel ouvert by Mariana Otero
> La moindre des choses by Nicolas Philibert
> 
> Many many thanks,
> 
> Sonya


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Re: [Frameworks] Bruce Connor - A Movie

[Adam Hyman]

Either Canyon Cinema or the Conner Estate.  You can check with Canyon
online, and if they don¹t, contact Kohn Gallery in LA.

From:  FrameWorks  on behalf of
Kevin T Allen 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Friday, May 4, 2018 at 7:10 AM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] Bruce Connor - A Movie

Hi All~

Does anyone know a source where one could rent a 16mm print or HiRes video
file of Connor's A MOVIE? Surely, there has to be a better version than the
dubbed VHS version that's made the rounds for decades. Or perhaps it's an
issue with the Conner estate?

Thanks!
-- 
Kevin T. Allen | ke...@smallgauge.org
smallgauge.org   | kevintallen.com



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Re: [Frameworks] Anger films

[Adam Hyman]

Brian Butler is Anger Management, and is indeed the one to ask.

Best,

Adan

On 4/12/18, 12:34 AM, "FrameWorks on behalf of Pip Chodorov"
 wrote:

>At Re:Voir we have Elliott¹s Suicide and Foreplay on DVD.
>For the others you can ask Brian Butler. Do you need his address?
>-Pip Chodorov
>
>
>
>At 14:30 + 12/04/18, Hawkins, Joan C. wrote:
>>HI Frameworkers� I¹m trying to track down some Kenneth Anger films�
>>does anyone know if they¹re being distributed�
>>or do I need to contact Mr. Anger directly?
>
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Re: [Frameworks] Labor Movement films?

[Adam Hyman]

Travis Wilkerson's An Injury To One is pretty essential.

Sent from my iPhone

> On Apr 8, 2018, at 7:11 PM, Elizabeth McMahon  wrote:
> 
> Here's some film/videographies from UC Berkeley:
> 
> http://www.lib.berkeley.edu/MRC/LaborVid.html
> 
> http://www.lib.berkeley.edu/MRC/labormovies.html
> 
> Elizabeth McMahon
> 
> 
> 
> 
>> On Sunday, April 8, 2018, Brandon Walley  wrote:
>> Looking for experimental, nonfiction, feature or shorts that deal with the 
>> works right, labor unions or related for a May Day screening. Suggestions?
> ___
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Re: [Frameworks] Labor Movement films?

[Adam Hyman]

Sent too soon.  Links:
https://www.twn.org/

http://www.newsreel.org/



From:  FrameWorks <frameworks-boun...@jonasmekasfilms.com> on behalf of Adam
Hyman <a...@lafilmforum.org>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Sunday, April 8, 2018 at 1:32 PM
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Labor Movement films?

Newsreel and Third World Newsreel and lots of films.
I just showed San Francisco State: On Strike that is one.
Mayday, on the Black Panther in 1969, is another.
Lots more.

From:  FrameWorks <frameworks-boun...@jonasmekasfilms.com> on behalf of
William Wees <william.w...@mcgill.ca>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Sunday, April 8, 2018 at 1:05 PM
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Labor Movement films?

Solidarity
by Joyce Wieland <http://www.cfmdc.org/filmmaker/1350>
Canada / 10:40 / 1973 / sound / colour
A film on the Dare strike of the early 1970s. Hundreds of feet and legs,
milling, marching and picketing with the word Solidarity superimposed on the
screen. The soundtrack is an organizer's speech on the labour situation.
Like her films "Rat Life and Diet in North America," "Pierre Vallieres" and
"Reason Over Passion," Solidarity combines a political awareness, an
aesthetic viewpoint and a sense of humour unique in Wieland's work.


>From the online catalogue of the Canadian Filmmakers Distribution Centre.



--Bill Wees
William C. Wees
Emeritus Professor
McGill University




From: FrameWorks <frameworks-boun...@jonasmekasfilms.com> on behalf of mary
billyou <mbill...@gmail.com>
Sent: April 8, 2018 3:43 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Labor Movement films?
 
Abigail Child's Acts and Intermissions

On Sun, Apr 8, 2018 at 3:23 PM, Brandon Walley <brand...@gmail.com> wrote:
> Looking for experimental, nonfiction, feature or shorts that deal with the
> works right, labor unions or related for a May Day screening. Suggestions?
> 
> ___
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> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 



-- 





www.marybillyou.com <http://www.marybillyou.com>
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frameworks
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Re: [Frameworks] Labor Movement films?

[Adam Hyman]

Newsreel and Third World Newsreel and lots of films.
I just showed San Francisco State: On Strike that is one.
Mayday, on the Black Panther in 1969, is another.
Lots more.

From:  FrameWorks  on behalf of
William Wees 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Sunday, April 8, 2018 at 1:05 PM
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Labor Movement films?

Solidarity
by Joyce Wieland 
Canada / 10:40 / 1973 / sound / colour
A film on the Dare strike of the early 1970s. Hundreds of feet and legs,
milling, marching and picketing with the word Solidarity superimposed on the
screen. The soundtrack is an organizer's speech on the labour situation.
Like her films "Rat Life and Diet in North America," "Pierre Vallieres" and
"Reason Over Passion," Solidarity combines a political awareness, an
aesthetic viewpoint and a sense of humour unique in Wieland's work.


>From the online catalogue of the Canadian Filmmakers Distribution Centre.



--Bill Wees
William C. Wees
Emeritus Professor
McGill University




From: FrameWorks  on behalf of mary
billyou 
Sent: April 8, 2018 3:43 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Labor Movement films?
 
Abigail Child's Acts and Intermissions

On Sun, Apr 8, 2018 at 3:23 PM, Brandon Walley  wrote:
> Looking for experimental, nonfiction, feature or shorts that deal with the
> works right, labor unions or related for a May Day screening. Suggestions?
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 



-- 





www.marybillyou.com 
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Re: [Frameworks] 16mm projector repair in LA area?

[Adam Hyman]

Milt Goodwin is pretty much the main option.

Sent from my iPhone

> On Jan 23, 2018, at 2:50 PM, Stephanie Hutin  
> wrote:
> 
> Hi,
> 
> We are looking to have a variety of 16mm projectors repaired locally. Can 
> anyone make a recommendation? Thank you.
> 
> Best,
> Stephanie
> 
> 
> Stephanie Hutin
> Director of Production
> Intercollegiate Media Studies
> Mosbacher Gartrell Center for Media Experimentation and Activism
> Pitzer College
> 1050 North Mills Ave., West Hall
> Claremont, CA 91711
> 909.607.3889
> 
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Re: [Frameworks] The Motorcycle Jacket

[Adam Hyman]

The Wild One, of course.

From:  FrameWorks  on behalf of
Jesse Pires 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Tuesday, January 9, 2018 at 1:29 PM
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] The Motorcycle Jacket

Any suggestions for experimental films that feature the classic leather
biker jacket prominently (in addition to Kenneth Anger)?

-Jesse
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Re: [Frameworks] Jazz Music and Avant-Garde Film

[Adam Hyman]

Unquestionably they didn¹t have the rights to start, but it also wasn¹t a
big issue.
Rights for those films have become an issue when DVD editions were desired
to be made.  Reputable companies won¹t distribute DVDs without evidence of
licenses (or fair use opinions from lawyers).
I think since A-G films live below the commercial radar, most don¹t get
rights.

From:  Myron Ort 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Thu, 9 Nov 2017 11:55:18 -0800
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Jazz Music and Avant-Garde Film

To me there is the interesting question regarding which avant garden or
experimental films obtained the rights for the music. Some maybe not at
first but maybe later if the film became more widely known.

Not jazz, but I wondered if Kenneth Anger had the rights to all that pop
music when Scorpio Rising first came out, likewise Bruce Conner¹s ³Cosmic
Ray², now that Bruce is blue chip museum material I am sure they have the
obtained the rights especially since the major power of that film is the Ray
Charles music but I have my doubts about those rights when first the film
came out.   Harry Smith just put on his favorite album at the time Monk or
whatever, likewise the early films of Joseph Cornell.  Smith¹s early
compilation of American Folk Music was likely very casual about rights at
first, just using his collection of rare old 78 rpm material.  Does anyone
actually know facts relating to all this. I think at some point I did read
that Anger said he had rights to the pop music, but not exactly sure if that
was true at the beginning.



 


> On Nov 9, 2017, at 11:27 AM, Ryan Marino  wrote:
> 
> Hi Albert,
> 
> The White Rose by Bruce Conner features music from Miles Davis's Sketches of
> Spain. 
> 
> 
> best,
> ryan
> 
> On Thu, Nov 9, 2017 at 1:47 PM, Ignacio Tamarit 
> wrote:
>> Osias Wilenski "El Perseguidor" (1965)
>> 
>> Not strictly experimental, but rather experimental for Argentine fiction
>> feature films of the time.
>> Based on the homonymous short story by Julio Cortazar, inspired by the life
>> of Charlie Parker.
>> 
>> https://www.youtube.com/watch?v=1WwxYPhORzg
>> 
>>  
>>   
>> > n=sig-email_content=webmail> Libre de virus. www.avast.com
>> > n=sig-email_content=webmail>
>> 
>> 
>> 2017-11-09 13:34 GMT-03:00 Beebe, Roger W. :
>>> I think I saw Michael Snow¹s name invoked somewhere in this thread, but I
>>> don¹t think anyone mentioned that he is himself a jazz musician.  I saw a
>>> show at Hallwall¹s in Buffalo years ago where Snow where they included a
>>> piece called REVERBERLIN made of footage of a performance of his ensemble
>>> CCMC: 
>>> 
>>> http://www.hallwalls.org/media-arts/4675.html
>>> 
>>> FYI,
>>> Roger
>>> 
 On Nov 9, 2017, at 11:21 AM, Esperanza Collado
  wrote:
 
 Hey Albert,
 
 What a great thread! Did anyone mention Shirley Clark? Can't remember the
 title. 
 
 Also, some of the animated films of Suzan Pitt use jazz music. Asparagus
 for sure.
 
 You may want to check Christopher McLain's works too... i could be wrong.
 
 Will keep thinking...
 
 
 
 El El jue, 9 nov 2017 a las 16:42, tanya g  escribió:
> Albert, 
> 
> Thank you for initiating this thread. I apologize if this was already
> mentioned but in my research I came across two others: Surprise Boogie
> (1956) direted by Albert Pierru and sponsored film Skyscraper by Clarke
> and Van Dyke from 1959, if memory serves.
> 
> Two non-avant garde that may be nonetheless of interest are:
> 
> Cry of Jazz (Ed Bland, 1959)
> https://en.wikipedia.org/wiki/Cry_of_Jazz
> 
> Jammin' The Blues (1944)
> https://www.youtube.com/watch?v=BIFJ81RIyVk
> 
> 
> 
> 
> 
> On Wed, Nov 8, 2017 at 3:13 AM, Albert Alcoz 
> wrote:
>> Hello,
>> 
>> I was wondering about the connections between jazz music and avant-garde
>> film after watching Bridges-Go-Round (1958) by Shirley Clarke, with the
>> soundtrack version created by Teo Macero.
>> 
>> There should be plenty of avant-garde and experimental films where the
>> soundtrack is instrumental jazz music. Maybe the field of Visual Music
>> should be the most represented but i'm sure there are other films like
>> the one by Michael Snow that uses, in this case, free jazz music or
>> improvisation.
>> 
>> Does anyone remember some other avant-garde films with jazz soundtracks?
>> 
>> Right my list is as 

Re: [Frameworks] Jazz Music and Avant-Garde Film

[Adam Hyman]

Good call.
The vimeo page that you linked to  includes the name of the musician in the
text  - jazz multi-instrumentalist Joe McPhee.
McPhee is fantastic.



From:  Kate Ewald 
Hi Albert,

Ephraim Asili's Many Thousands Gone uses an improvised score from a jazz
saxophonist, although I don't know his name.  My understanding was that they
did two takes - the first completely improvised without seeing the film
prior, and the second take with only the first viewing under his belt.
Ephraim then edited the two takes together for what is now the full score,
with permission from the musician.

You can see the full film on his vimeo: https://vimeo.com/105169029

Cheers,
Kate Ewald  


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Re: [Frameworks] Jazz Music and Avant-Garde Film

[Adam Hyman]

Filmforum screened Joyce Wieland's Rat Life and Diet in North America
recently and Mark Toscano was able to identify it.
"The free jazzish music in Rat Life and Diet is from this excellent JCO
record"
https://www.discogs.com/The-Jazz-Composers-Orchestra-The-Jazz-Composers-Orch
estra/master/39895

Best regards,
Adam Hyman
Los Angeles Filmforum
From:  Stephen Broomer <stephen_broo...@hotmail.com>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Wed, 8 Nov 2017 13:03:49 +
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Jazz Music and Avant-Garde Film

Hi Albert,

Jack Chambers' R34 features a section of Ayler's Bells for the last stretch
of it.

Joyce Wieland's Rat Life and Diet in North America has a violent cacophony
of free jazz at the beginning that I've not been able to identify.

Joyce's Water Sark has an improvisational soundtrack by Carla Bley & Mike
Mantler (of the Jazz Composers Orchestra) with Ray Jessel (Broadway composer
and later novelty songwriter).

Likewise, her Peggy's Blue Skylight is named for the Mingus composition and
features Paul Bley playing it on the soundtrack.

There are passages of jazz in the collage soundtracks of Arthur Lipsett.
(Sorry for the Canada-centric response!)

I feel like there's a Kuchar movie that has the Scott Lafaro bass solo from
Ornette Coleman's Free Jazz on the soundtrack...

There's another Hy Hirsch film, Gyromorphosis, that uses Django by the
MJQ/John Lewis.

There's always Pull My Daisy.

Stephen

Sent from my iPhone
On Nov 8, 2017, at 3:14 AM, Albert Alcoz <albertal...@gmail.com> wrote:

> Hello,
> 
> I was wondering about the connections between jazz music and avant-garde film
> after watching Bridges-Go-Round (1958) by Shirley Clarke, with the soundtrack
> version created by Teo Macero.
> 
> There should be plenty of avant-garde and experimental films where the
> soundtrack is instrumental jazz music. Maybe the field of Visual Music should
> be the most represented but i'm sure there are other films like the one by
> Michael Snow that uses, in this case, free jazz music or improvisation.
> 
> Does anyone remember some other avant-garde films with jazz soundtracks?
> 
> Right my list is as follows:
> 
> Begone Dull Care (1949) by Norman McLaren. Music by Oscar Peterson
> 
> Films No. 1 (1948) by Harry Smith. Music by Dizzy Gillespie
> 
> Chasse des Touches (1959) by Hy Hirsh. Music by Thelonious Monk
> 
> Catalog (1961) by John Whitney. Music by Ornette Coleman
> 
> New York Eye and Ear Control (1964) by Michael Snow. Music by Albert Ayler,
> Don Cherry, etc.
> 
> Thanks in advance,
> 
> Albert Alcoz
> 
> 
> -- 
> http://visionaryfilm.net/ <http://www.visionaryfilm.net/>
> http://albertalcoz.com/ <http://www.albertalcoz.com/>


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Re: [Frameworks] Looking for scenes with bus shelter / bus stop

[Adam Hyman]

³Speed²
³Bus Stop²
³Bus 174²
Although I suppose those are pretty obvious.

From:  Jessica Arseneau 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wed, 19 Jul 2017 14:51:18 +0200
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] Looking for scenes with bus shelter / bus stop

Dear Frameworks people,

I'm looking for film scenes that happens in bus shelters/stops. If any
scenes are coming up in your mind, please feel free to send the title of the
film.

Thanks a lot and all the best,


Jessica Arseneau
Interdisciplinary artist
jessarseneau.github.io 
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[Frameworks] Jonas Mekas in the Academy, and more...

[Adam Hyman]

Among today¹s invitees to the Academy of Motion Picture Arts & Sciences are:
Jonas Mekas
Penny Lane
Pedro Costa
Arturo Ripstein
Jean-Marie Téno
Lav Diaz
Alejandro Jodorowsky
Idrissa Ouedraogo

Mostly under Documentary or Directors
http://www.latimes.com/entertainment/movies/la-et-mn-academy-new-members-lis
t-20170628-story.html


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[Frameworks] NY Times Twin Peaks review

[Adam Hyman]

Whether or not you are watching the new run of Twin Peaks, check out the
last paragraph of the NY Times review of it.

https://mobile.nytimes.com/2017/06/26/arts/television/twin-peaks-season-3-e
pisode-8-recap.html?referer=https://t.co/BNdEZl335E

Imagery in the episode perhaps is more related to contemporary work by
Makino Takashi or Semiconductor.

Best regards,

Adam



-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org



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[Frameworks] Google on June 22

[Adam Hyman]

In today¹s unbelievable note, the Google logo today
https://www.google.com/
(aka the Google Doodle)
Leads to a quote from Oskar Fischinger and a small thing to make one¹s own
visual music piece, with a link to learn more about Fischinger (on what
would have been his 117th birthday)

https://www.google.com/search?q=Oskar%20Fischinger=ddle=oskar-fischin
gers-117th-birthday-5635181101711360-lawcta=en

Time Magazine online:
http://time.com/4827886/google-doodle-oskar-fischinger-animation/

The Verge:
https://www.theverge.com/2017/6/22/15852476/oskar-fischinger-visual-artist-
google-doodle-animation-lumigraph

-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org






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[Frameworks] recent dance films from NYC

[Adam Sekuler]

Hello friends,

I'm in search of some recent (past 3 years) experimental dance films that
originate from New York filmmakers and/or choreographers.

Many thanks!
Adam
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Re: [Frameworks] Cinema v Gallery: Robert Frank in Chicago

[Adam Hyman]

A short-term space/installation.
Say, an empty storefront gets found/used by an organization for a month
only.  It¹s a ³pop-up"

From:  Francisco Torres 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Sat, 27 May 2017 10:58:58 -0400
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Cinema v Gallery: Robert Frank in Chicago

i just realized that i have no idea what ''a pop up presentation'' is.
oh well.

2017-05-27 6:52 GMT-04:00 Francisco Torres :
> https://steidl.de/News/Robert-Frank-Books-and-Films-1947-2017-Exhibition-02262
> 85052.html
> 
> Art Institute of Chicago, Bucksbaum Gallery 188
> 111 South Michigan Ave., Chicago
> may 11-26
> 
> ''This exhibition dedicated to Frank opens with a special pop-up presentation,
> conceived by the photographer and his longtime publisher Gerhard Steidl. The
> two-week-only display includes 29 photographs by Frank, drawn from the
> museum¹s latest acquisition of the artist¹s work, his 2014 book Partida. A
> compact retrospective surrounds it, featuring reproductions on newsprint
> banners tacked to the wall, films shown on portable video ³beamers² and
> projected on newsprint, and books hung in midair across the gallery. On May
> 26, the pop-up elements will be replaced by Robert Frank originals.''
> 
> 2017-05-27 5:54 GMT-04:00 christopher nigel :
>> Hi which gallery was this ?
>> 
>> On Sat, May 27, 2017 at 8:29 AM, Chuck Kleinhans 
>> wrote:
>>> 
 > On May 26, 2017, at 3:23 PM, Bernard Roddy 
 wrote:
 >
 > Yesterday I passed through a small gallery filled with Robert Frank
 pictures.  Lined up along a 12 or 15 ft wall were projections about 11 x 17
 in. of 6 or 7 films.  This is gallery exhibition: I saw all Franks films in
 under a minute.
 >
>>> 
>>> I don¹t quite understand from this description.  Were the ³projections²
>>> still images or moving images?  Were they actually projected (as with slides
>>> and films or video projection) or were they screened on flat screen
>>> monitors?
>>> 
>>> I assume the gallery was selling the photographs. Was it also selling films?
>>> (as films, or as videos?)
>>> 
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>> 
>> 
>> ___
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>> 
> 

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Re: [Frameworks] major US and international exhibitions of experimental film, video, moving image art?

[Adam Hyman]

So just installed exhibitions that are broad surveys?

Hall of Mirrors: Art and Film Since 1945
At MOCA (Los Angeles) in 1998


From:  Ben Ogrodnik 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Thu, 18 May 2017 16:04:00 -0400
To:  "Experimental Film Discussion List "

Subject:  [Frameworks] major US and international exhibitions of
experimental film, video, moving image art?

Hi all,

I'm interested in gathering a list of film/video-based art exhibitions in
the United States, UK, Europe and rest of the world.  I was wondering if
anyone might have suggestions of any exhibitions (recent or old) that were
focused on a broad survey of moving image art.

Obviously many exhibitions, such as documenta or the Venice Biennale, have
exhibited some form of moving images or experimental media. But for my
purposes, I'm interested only in shows that focus on the moving image as the
central theme, not as a component of a larger thematic whole.

An example might be the recent show at the Whitney Museum, Dreamlands:
Immersive Cinema and Art, 1905-2016 or Into the Light: The Projected Image
in American Art, 1964-1977, both curated by Chrissie Iles. Another example
of this on a much smaller scale would be Renegades: American Avant-Garde
Film, 1960-1973, at the Walker Center of the Arts.

Your suggestions would be greatly appreciated !

Thanks so much.
Sincerely,
Ben

-- 
Ben Ogrodnik
PhD student
K. Leroy Irvis Fellow
Department of Film Studies // History of Art and Architecture
University of Pittsburgh
b...@pitt.edu
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Re: [Frameworks] Daybreak Express

[Adam Hyman]

Not knowing if that info is available on the DVD or elsewhere, have you
tried contacting his office?
http://phfilms.com/

Best,

Adam

From:  Margaret Rorison <margaret.b.rori...@gmail.com>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Tue, 16 May 2017 21:38:22 -0400
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  [Frameworks] Daybreak Express

Dear All, 

I can't seem to find any info on what camera DA Pennebaker used to shoot
Daybreak Express. Was it a Bolex?

thanks! 
Meg 

---
http://margaretrorison.com/ <http://margaretrorison.com/>
http://sightunseenbaltimore.com/ <http://sightunseenbaltimore.com/>

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Re: [Frameworks] San Francisco: Screening/Store?

[Adam Hyman]

Also see if PFA in Berkeley is running anything.

From:  Tessa Siddle 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wed, 26 Apr 2017 09:23:19 -0700
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] San Francisco: Screening/Store?

For screenings: 
Artists Television Access
Shapeshifter's Cinema (in Oakland)
SF Cinematheque 


On Apr 26, 2017 8:34 AM, "Björn Lundgren" 
wrote:
> I'm goint to San Fracisco in June/July and wonder if anyone could send me some
> information about experimental film screenings?
> 
> I'm also interested in finding a good store for non-blockbuster cinema where I
> can pick-up items on Bluray for a decent price, such as the Jack Chambers
> collection from CFMDC.
> 
> All the best,
> Björn
> 
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Re: [Frameworks] New book + CD on Peter Kubelka now available

[Adam Hyman]

Greetings.  I emailed you a while ago about a prior book but never received
a reply.

Interested in this one as well and to pay by PayPal.

Please reply to 
a...@lafilmforum.org

Thank you!

Adam

From:  <paris-experimen...@numericable.fr>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Thu,  6 Apr 2017 14:21:21 +0200 (CEST)
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  [Frameworks] New book + CD on Peter Kubelka now available

JUST RELEASED

APRIL 2017

 

 

 

At Peter’s
Vienna, June 20th, 2016 (7:04 pm - 10:46 pm)
by Christian Lebrat
April 2017, 19 x 22 cm, 72 pp., 87 ill. in black and white + 1 CD.

ISBN: 978-2-912539-50-2

PARIS EXPERIMENTAL EDITIONS

Bilingual (English-French)

Print run: 350 copies

Price : 35 Euros

 

This book documents, in one hundred images, an evening spent, in Vienna, on
June 20, 2016, in the company of Peter Kubelka, his wife Luise, Viennese
photographer Heinz Cibulka, as well as Jonas Mekas and his son Sebastian who
came to film Kubelka at home. In the intimacy of his apartment, a veritable
laboratory of objects, Kubelka prepares a delicious meal and presents his
collection. He holds forth on the uses and the metaphorical interpretations
of various objects that come from different civilizations and epochs.

The book is accompanied by a CD with audio excerpts from the evening.



more info :

http://www.paris-experimental.asso.fr/project/at-peters-chez-peter-christian
-lebrat/





For Payment by Paypal, please contact us at

paris-experimen...@numericable.fr

(shipping cost : 10 Euros for Europe, 15 Euros worldwide)





-   PETER KUBELKA

Peter Kubelka (b. 1934 in Vienna) is a historic figure of independent
cinema. Shot between the 1950s and the 1970s, his œuvre offers new forms of
filmic expression. Today, his films are represented in international art
museums and cinematheques.  With his friends, Jonas Mekas, Stan Brakhage and
P. Adams Sitney, Kubelka was one of the original founding members of
Anthology Film Archives in New York. Later, he founded the Austrian
Filmmuseum of Vienna and taught filmmaking as well as cooking at the
Frankfurt School of Fine Arts (Städelschule). His artistic interests surpass
filmmaking. A keen observer, he compares the visual arts to music, language,
and cooking, which he believes to be the world’s oldest art. In April 2017,
the Centre Pompidou has invited Peter Kubelka to give a lecture series and
to screen his most recent film, Monument Film in its French premiere. Paris
Expérimental’s new book on him will be published for this occasion.



20 special editions with an original photo / price on request / contact us
for more info



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Re: [Frameworks] Eulogy Films

[Adam Hyman]

I believe Phil Solomon has one for Mark LaPore, but I am blanking on the
title.

From:  Marilyn Brakhage 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Sat, 18 Mar 2017 15:43:44 -0700
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Eulogy Films

Dear Margaret,
Some Stan Brakhage films in homage to specific individuals include "Water
for Maya" [i.e. Maya Deren], 2 min, 25 sec.; "Visions in Meditation #4: D.H.
Lawrence," 17 min. 41 sec; and "Last Hymn to the Night - Novalis," 17 min.
18 sec.  Also, the fifth and final section of his "b series," subtitled
"Sorrowing" (and by extension the entire film) was dedicated to Gregory
Markopoulos, 12 minutes.
... Homages to larger groups of people might include "The Dead" (10 min. 21
sec., filmed in Paris/Père Lachaise cemetery), and "In Consideration of
Pompeii," 4 min. 35 sec.
... Someone else mentioned "Sirius Remembered" (in homage to a family dog).
Along those lines would also be "Pasht" (in honor of a cat).  "Sirius
Remembered" was also thought of as part of a trilogy, with "The Dead" and
"Burial Path" (in part, I believe, in consideration of a late illness of
Stan's friend, the literary critic, Donald Sutherland).

Marilyn Brakhage

On 18-Mar-17, at 8:43 AM, Margaret Rorison wrote:

> Dear Film Friends,
> 
> I am curious about film eulogies and would love to know more films that have
> been made to honor someone. For example, Nathaniel Dorsky's August and After
> 
> ​I am looking for short films in particular.
> 
> Poetic gestures of goodbye, final notes, odes...
> 
> thank you, 
> Margaret Rorison 


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Re: [Frameworks] Lying as a theme

[Adam Hyman]

There¹s a book called F Is for Fake, edited by Jesse Lerner & Alex Juhasz,
which is entirely on ³fake documentaries² which I think could all fit your
criterion.



On 2/21/17, 5:49 PM, "Morgan Hoyle-Combs"  wrote:

>Hello
>
>Does anyone know of any film (essay/diary/doc) where lying is a theme or
>the main focus? I wondered if there was anything that ran among these
>lines: 
>
>1. The audience is well aware that the narrator/filmmaker is lying to them
>
>2. The audience does not know whether or not the narrator/filmmaker lying
>to them. It's left ambiguous.
>
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Re: [Frameworks] Jennifer West films?

[Adam Hyman]

Want me to ask Jennifer?

Best,

Adam

On 2/3/17, 10:35 AM, "Jonathan Walley" <wall...@denison.edu> wrote:

>Hi everyone,
>
>Does anyone know if Jennifer West¹s films (or DVD versions thereof) are
>distributed? I see she has gallery representation, which can sometimes be
>a sign that the work isn¹t distributed in the traditional sense, but
>wanted to see if anyone here has info.
>Thanks!
>Jonathan
>
>Dr. Jonathan Walley
>Associate Professor and Chair
>Department of Cinema
>Denison University
>wall...@denison.edu
>
>
>
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Re: [Frameworks] scanned text

[Adam Hyman]

Hi Gene,

Try to have high res TIFF files to start.
In AVID, you can use the effects tool for simple versions, and AfterEffects
for elaborate moves or better versions of moves.
In FCP, there is also an effects tool for simple versions.  If you know
anyone who can use AfterEffects, you can export completed moves from that as
QT files and import them into FCP.  I presume there is other software
besides AfterEffects that will serve that purpose, and maybe even one that
links to FCP, but I've only been on shows that use AfterEffects.

Adam

From:  Gene Youngblood <ato...@comcast.net>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Mon, 19 Dec 2016 08:12:51 -0700
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  [Frameworks] scanned text

Friends, I¹m collecting into a book the 150 articles I wrote for the Los
Angeles Free Press 1967-1970. They include the original articles that became
the basis for Expanded Cinema. I also want to use the scans as B-roll for a
documentary. That means zooming in and out, panning across the pages in
closeup, and highlighting (isolating) lines of text for emphasis. How is
that done? Is there software that enables it for inclusion in a Final Cut
edit? Offline responses are welcome.

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Re: [Frameworks] Books on Contemporary Experimental Film

[Adam Hyman]

There are lots of articles; any reason why it needs to be a book?

Best,

Adam

From:  Michael Betancourt <hinterland.mov...@gmail.com>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Tue, 6 Dec 2016 13:22:28 -0500
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Books on Contemporary Experimental Film

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

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

Michael Betancourt
Savannah, GA USA



michaelbetancourt.com <http://michaelbetancourt.com>
twitter.com/cinegraphic <http://twitter.com/cinegraphic>  |
vimeo.com/cinegraphic <http://vimeo.com/cinegraphic>
www.cinegraphic.net <http://www.cinegraphic.net>  | the avant-garde film &
video blog
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Re: [Frameworks] Films on Farming

[Adam Hyman]

Killer of Sheep has a slaughterhouse in an urban setting, but not "farming"
if by Farming you mean people tilling fields & harvesting crops and working
the soil.  I also wouldn't call it "experimental" really.

From:  lindsay mcintyre <email.li...@gmail.com>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Sun, 13 Nov 2016 18:36:33 -0700
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Films on Farming

Hi Linda, 
How about Killer of Sheep by Charles Burnett 1978 and Hoof, Tooth and Claw
by Chu-Li Shewring and Adam Gutch (maybe 2012)?
Lindsay McIntyre



On Sun, Nov 13, 2016 at 4:25 PM, Andy Ditzler <a...@andyditzler.com> wrote:
> Laura Kissel's Cabin Field (2005): http://www.laurakissel.com/#/cabinfield/
> 
> Ben van Meter and Gilbert Shelton's Set the Chickens Free (1972)
> 
> 
> Andy Ditzler
> Founder and curator, Film Love: www.filmlove.org <http://www.filmlove.org/>
> Co-founder, John Q collective: www.johnq.org <http://www.johnq.org/>
> 
> 
> On Sat, Nov 12, 2016 at 3:32 PM, Linda Fenstermaker
> <lindafensterma...@gmail.com> wrote:
>> Hello,
>> 
>> I am interested in experimental films that focus on farming both historic and
>> current. Any leads, titles, essays about this intersection of art and
>> agriculture would be greatly appreciated. Thanks!
>> 
>> Linda Fenstermaker


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[Frameworks] iOS 10 update - think twice before doing it

[Adam Hyman]

For those of you who might still be running OSX 10.6.8 on a Mac (for FCP
editing, for example). DO NOT update your iPhone to iOS10 (I have learned)
as it does not work with 10.6.8, and your computer will no longer recognize
your phone (if you want to transfer photos, sync), etc.
I'm over an hour on the phone with Apple at this point only to learn so far
that iOS 10 only works with the latest iTunes and OSX.


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[Frameworks] Guillermo Moncayo

[Adam Hyman]

Hi,

Anyone know how to reach Guillermo Moncayo?  Please email me off list.

Thanks!

Best regards,

Adam

-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org



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Re: [Frameworks] Optical soundtracts at Colorlab - all good?

[Adam R. Levine]

I literally just got a print back from Colorlab this week - sounds great!

-Adam
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Re: [Frameworks] Experimental films using Astronomy & Satellite imagery - recommendations

[Adam Hyman]

Thank you.  
I'll send a summary email in a couple of days.

Best,

Adam

From:  Piibe Kolka <piibe.ko...@gmail.com>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Wed, 14 Sep 2016 22:07:33 +0300
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Experimental films using Astronomy & Satellite
imagery - recommendations

Hi Adam, 

i made an experimental doc '540 nanometers' on the topic in 2012.
https://vimeo.com/41938289
ps. thanks for starting the thread - so many good recommendations for this
particular interest.

Piibe

On 14 September 2016 at 19:42, Rob Gawthrop <r...@robgawthrop.co.uk> wrote:
> Erth John Latham UK 1971
> "A journey from outer space to the centre of the world, in which consciousness
> itself is revealed as a form sedimented history. With distant views of the
> approaching Earth punctuated by black and silence, light years are compressed
> into a cosmic imaginary.” Lux
> 
> Moon 69 Scott Bartlett 1969
> "Moon 1969 is a beautiful, eerie, haunting film, all the more wonderful for
> the fact we do not once see the moon: only the manifestation of its powers
> here on earth, the ebb and flow of the waters.. fiery rainbows into a cloudy
> sky... men and rockets transformed into shattering crystals... creating a
> picture if the cosmos in continual transformation."-- Gene Youngblood
> 
> 
> Rob
> 
> 
> On 13 Sep 2016, at 18:28, Adam Hyman <a...@lafilmforum.org> wrote:
> 
>> I'm working on programming a series around a theme of earth satellites &
>> astronomy, for a museum that is doing an exhibition linked to JPL (Jet
>> Propulsion Lab - the people behind our space probes, etc)
>> 
>> This is supposed to be a more mainstream series, and there will be some
>> Hollywood sci-fi features as part of it, so we're not going too far out
>> (so to speak).
>> 
>> But I'm looking for recommendations of experimental films that somehow
>> involve/invoke astronomical imagery, or, perhaps even better, imagery of
>> earth-orbiting satellites, and views of earth from satellites.  I hope to
>> run one in front of each feature, or have one evening of them.
>> 
>> I am thinking of:
>> Films by Semiconductor ­ Brilliant Noise; Black Rain
>> Films by Jeanne Liotta
>> Films by Jordan Belson ­ Allures; Samadhi (1967); Cosmos (1969); World
>> (1970)
>> 
>> 
>> I have already been through Robert Haller's booklet on his series
>> "Universe" but I think I am not going to stretch this series to include
>> his time or other science-based films.  We're sticking with astronomy and
>> satellites.
>> 
>> Additional suggestions, please?
>> 
>> Thank you for your help.
>> 
>> Best regards,
>> 
>> Adam
>> 
>> -- 
>> Adam Hyman
>> Los Angeles Filmforum
>> a...@lafilmforum.org
>> http://www.lafilmforum.org
>> 
>> 
>> 
>> 
>> 
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> 
> 
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Re: [Frameworks] Experimental films using Astronomy & Satellite imagery - recommendations

[Adam Hyman]

Thank you!  I'll check them out.

Adam

From:  Jesse Malmed <jesse.mal...@gmail.com>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Tue, 13 Sep 2016 20:23:49 -0500
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Experimental films using Astronomy & Satellite
imagery - recommendations

A few (maybe they stretch):

Alexander Stewart + Peter Miller - On the Logic of Dubious Historical
Accounts, 1969-1972
https://vimeo.com/49984605

Deborah Stratman - ...These Blazeing Starrs!
http://www.pythagorasfilm.com/blazeingstarrs.html

Scott Reeder - Moon Dust

Jim Finn - Interkosmos

Blair Bogin - Galileo and Selfies
https://vimeo.com/88908855

Peter Burr - Alone with the Moon
https://vimeo.com/32216168

JM

On Tue, Sep 13, 2016 at 6:12 PM, Adam Hyman <a...@lafilmforum.org> wrote:
> Thanks!
> I mentioned Belson in my original postŠ
> 
> From:  Scott MacDonald <smacd...@hamilton.edu>
> Reply-To:  "Experimental Film Discussion List
> <frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
> Date:  Tue, 13 Sep 2016 18:47:21 -0400
> To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
> <frameworks@jonasmekasfilms.com>
> Subject:  Re: [Frameworks] Experimental films using Astronomy & Satellite
> imagery - recommendations
> 
> Bill Morrison's JUST ANCIENT LOOPS.
> 
> Jordan Belson's films.
> 
> On Tue, Sep 13, 2016 at 6:41 PM, John Knecht <jkne...@colgate.edu> wrote:
>> Gunvor Nelson's "Take Off".
>> 
>> On Tue, Sep 13, 2016 at 5:04 PM, Tara Nelson <brendamere...@gmail.com> wrote:
>>> La Region Centrale by Michael Snow certainly invokes astronomical imagery...
>>> 
>>> On Tue, Sep 13, 2016 at 4:37 PM, Scott Dorsey <klu...@panix.com> wrote:
>>>> You know there are a lot of JPL films out there from their film library.
>>>> 
>>>> Ask them if they can get a print of "The Sergeant-- Report #100" which is
>>>> a hilarious short made up by guys at the JPL film lab in 1959 about the
>>>> Sergeant Rocket.
>>>> --scott
>>>> 
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>>> 
>>> 
>>> ___
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>>> FrameWorks@jonasmekasfilms.com
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>>> 
>> 
>> 
>> 
>> -- 
>> John Knecht, Russell Colgate Distinguished
>>  University Professor of Art and Art History
>>  and Film and Media Studies. Emeritus.
>>  
>> 
>> ___
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> 
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> ameworks
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-- 

// // // 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
<http://acretv.org/>  // western pole <http://westernpole.tumblr.com>
 <http://www.chicagoreader.com/chicago/trunk-show-jesse-malmed-raven-falquez
-munsell-bumper-stickers-eric-fleischauer/Content?oid=15719804> Trunk Show
in Newcity 
<http://art.newcity.com/2015/05/30/portrait-of-a-gallery-trunk-show/>  / JM
on WDCB <https://soundcloud.com/wdcbnews/the-arts-section-chicago-fest>  /
Live to Tape in the Reader
<http://www.chicagoreader.com/Bleader/archives/2015/05/14/live-to-tape-fest-
is-like-if-weird-al-yankovics-uhf-were-a-gallery-installation>  / Trunk Show
in the Chicago Reader
<http://www.chicagoreader.com/chicago/trunk-show-jesse-malmed-raven-falquez-
munsell-bumper-stickers-eric-fleischauer/Content?oid=15719804>

Re: [Frameworks] Experimental films using Astronomy & Satellite imagery - recommendations

[Adam Hyman]

Sorry for the stupid error on my part, Robert.  I had the booklet just in
the next room.  Folks, that is indeed the correct title, with some worthy
writing, and all bilingual English/French.

Thank you all for your suggestions thus far.  Now to some viewing!

Best regards,

Adam

On 9/13/16 12:56 PM, "Robert Haller" <rob...@anthologyfilmarchives.org>
wrote:

>Dear Adam,
>
>Thanks fpr the mention of my astronomical series and English/French
>catalog, but it was not called "universe" but GALAXY: AVANT-GARDE
>FILM-MAKERS LOOK ACROSS SPACE AND TIME. Sadly it played in the week of
>9/ll which meant that there was almost no media coverage, and it was
>difficult for audiences to get to Anthology because so many of the streets
>in lower Manhattan were blocked by emergency vehicles.--Robert Haller
>
>On 9/13/16 1:28 PM, "Adam Hyman" <a...@lafilmforum.org> wrote:
>
>>I'm working on programming a series around a theme of earth satellites &
>>astronomy, for a museum that is doing an exhibition linked to JPL (Jet
>>Propulsion Lab - the people behind our space probes, etc)
>>
>>This is supposed to be a more mainstream series, and there will be some
>>Hollywood sci-fi features as part of it, so we're not going too far out
>>(so to speak).
>>
>>But I'm looking for recommendations of experimental films that somehow
>>involve/invoke astronomical imagery, or, perhaps even better, imagery of
>>earth-orbiting satellites, and views of earth from satellites.  I hope to
>>run one in front of each feature, or have one evening of them.
>>
>>I am thinking of:
>>Films by Semiconductor ­ Brilliant Noise; Black Rain
>>Films by Jeanne Liotta
>>Films by Jordan Belson ­ Allures; Samadhi (1967); Cosmos (1969); World
>>(1970)
>>
>>
>>I have already been through Robert Haller's booklet on his series
>>"Universe" but I think I am not going to stretch this series to include
>>his time or other science-based films.  We're sticking with astronomy and
>>satellites.
>>
>>Additional suggestions, please?
>>
>>Thank you for your help.
>>
>>Best regards,
>>
>>Adam
>>
>>-- 
>>Adam Hyman
>>Los Angeles Filmforum
>>a...@lafilmforum.org
>>http://www.lafilmforum.org
>>
>>
>>
>>
>>
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>
>
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[Frameworks] Experimental films using Astronomy & Satellite imagery - recommendations

[Adam Hyman]

I'm working on programming a series around a theme of earth satellites &
astronomy, for a museum that is doing an exhibition linked to JPL (Jet
Propulsion Lab - the people behind our space probes, etc)

This is supposed to be a more mainstream series, and there will be some
Hollywood sci-fi features as part of it, so we're not going too far out
(so to speak).

But I'm looking for recommendations of experimental films that somehow
involve/invoke astronomical imagery, or, perhaps even better, imagery of
earth-orbiting satellites, and views of earth from satellites.  I hope to
run one in front of each feature, or have one evening of them.

I am thinking of:
Films by Semiconductor ­ Brilliant Noise; Black Rain
Films by Jeanne Liotta
Films by Jordan Belson ­ Allures; Samadhi (1967); Cosmos (1969); World
(1970)


I have already been through Robert Haller's booklet on his series
"Universe" but I think I am not going to stretch this series to include
his time or other science-based films.  We're sticking with astronomy and
satellites.

Additional suggestions, please?

Thank you for your help.

Best regards,

Adam

-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org





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Re: [Frameworks] Docs With Expressive Dramatizations

[Adam Hyman]

Hi,

I'm biased (as I was co-producer), but "Operation Homecoming: Writing the
Wartime Experience" (2007 is very interesting in the wide array of
approaches it uses, from direct address to camera, archival footage,
direct cinema, "dramatization," and animation to convey the writings of
troops about their experiences in Iraq & Afghanistan.

Adam

On 8/29/16 1:19 PM, "Gene Youngblood" <ato...@comcast.net> wrote:

>Ken,
>Do you require that the ³expressive dramatizations² come from the maker
>of the documentary? That¹s important. There¹s a doc about the history of
>class struggle in America that Link TV has been showing in the past few
>months which is illustrated entirely with clips from feature films, but
>it¹s not a critique of those films, and the viewer is not supposed to
>receive them as such. You¹re supposed to understand them as ³expressive
>dramatizations² of the documentary¹s subject and ignore where they came
>from. There are a lot of them, from "Matewan² to ³The Age of Innocence²
>(they are not identified) and it works, more or less. I qualify it
>because it¹s like telling someone ³don¹t think of an elephant.²
>Especially people like us; maybe an ³average filmgoer,² whatever that
>means, would not be as aware. I¹m losing the name of the doc right now.
>
>
>> On Aug 29, 2016, at 11:42 AM, Ken Paul Rosenthal
>><kenpaulrosent...@hotmail.com> wrote:
>> 
>> I'm researching docs that feature expressive dramatizations, either as
>>brief interstitial moments or extended scenes such as 'The Act of
>>Killing'. I look forward to any and all suggestions.
>> 
>> Thanks, Ken
>> www.kenpaulrosenthal.com
>> www.whisperrapture.com
>> www.maddancementalhealthfilmtrilogy.com
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>
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Re: [Frameworks] leads for research on USIA and avant-garde film?

[Adam Hyman]

I accept your point; even right after I sent it, I debated whether
"verité" was correct.

Best regards,

Adam

On 8/2/16 9:21 PM, "Jeff Kreines" <j...@kinetta.com> wrote:

>
>> On Aug 2, 2016, at 11:08 PM, Adam Hyman <a...@lafilmforum.org> wrote:
>> 
>>>> but uses the tools
>>>> of verité documentary to show the market, with the subtext
>>>> of how people
>
>
>I would have to disagree, as one of the primary elements of
>cinema-verité/direct cinema filmmaking is sync sound.  I realize this
>film was made to be usable without requiring subtitles, so there¹s no
>dialog ‹ but it¹s more ³early 60¹s documentary² style rather than
>³verité² in my very sectarian opinion!
>
>
>Jeff Kreines
>Kinetta
>j...@kinetta.com
>kinetta.com
>
>
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Re: [Frameworks] leads for research on USIA and avant-garde film?

[Adam Hyman]

Thank you Patrick for taking the two minutes and finding that.  I should
have as well; didn't even cross my mind.  It's nice that the NA might be
posting these.

On 8/2/16 11:52 AM, "Patrick Friel" <patrick.fr...@att.net> wrote:

>FYI: GRAND CENTRAL MARKET is on YouTube @ 720p, uploaded by the National
>Archives.
>
>Searching for "U.S. Information Agency" on YouTube draws over 1700 results
>(though those would need to be checked to see which are actually USIA
>films).
>
>Patrick Friel
>
>
>
>On 8/2/16 12:23 PM, "Adam Hyman" <a...@lafilmforum.org> wrote:
>
>> Directed by William Hale - sorry forgot his name.
>
>On 8/2/16 10:11 AM, "Adam
>> Hyman" <a...@lafilmforum.org> wrote:
>
>>For another angle, one film to look at
>> is "Grand Central Market" (1963)
>>who also directed a film on the Watts
>> Towers, filmed by Haskell Wexler,
>>edited by Mel Sloan and visible as a
>> shopper at the eponymous market in
>>downtown LA is Lelia Goldoni, star of
>> Cassevetes's SHADOWS, who was
>>friends with Wexler I believe.  Distributed by
>> USIA, not available to be
>>seen in the US for 25 years, and now available at
>> the National Archives
>>(and I have a file).  It isn't on-the-nose propaganda,
>> but uses the tools
>>of verité documentary to show the market, with the subtext
>> of how people
>>of multiple backgrounds and ethnicities are able to come
>> together
>>peacefully in the grand American world of commerce.
>>
>>The best
>> resource to see the films is the National Archives of the United
>>States, the
>> College Park branch, where copies of most or all of the USIA
>>films went to be
>> archived.
>>https://www.archives.gov/research/catalog/
>>
>>For example, if you
>> type in Grand Central Market, they have two listings.
>>I happen to know from
>> ordering it that one of those copies doesn't exist
>>anymore, but they have
>> one.  Those identfiers are the info you need.  They
>>are not available online,
>> unless someone has posted it on YouTube.  They
>>are all public domain.  Ignore
>> the year of creation (which relates to when
>>it was deposited at the NA), but
>> you can see
>>Creator: U.S. Information Agency. 1982-10/1/1999
>>
>>Here are
>> these two listings:
>>
>>GRAND CENTRAL
>> MARKET
>><https://catalog.archives.gov/id/50048?=%7B%22q%22%3A%22Grand%20Cen
>> tral
>>%
>>20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%22
>> facet
>>%
>>22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2Cmateria
>> lsType
>>%
>>2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%3A
>> %22true
>>%
>>22%7D=0>
>>From RG: 306
>>Moving Images Relating to U.S. Domestic
>> and International Activities
>>PORTRAYS ACTIVITY IN A LOS ANGELES, CA. FOOD
>> STORE - GRAND CENTRAL MARKET.
>>SHOWS VENDORS, REPRESENTING THE MELTING POT
>> THAT IS AMERICA, SELLING THEIR
>>WARES TO PEOPLE
>>National Archives Identifier:
>> 50048  Local Identifier: 306.3714 Creator:
>>U.S. Information Agency.
>> 1982-10/1/1999
>>
>> <https://catalog.archives.gov/>
>>GRAND CENTRAL
>> MARKET
>><https://catalog.archives.gov/id/47130?=%7B%22q%22%3A%22Grand%20Cen
>> tral
>>%
>>20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%22
>> facet
>>%
>>22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2Cmateria
>> lsType
>>%
>>2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%3A
>> %22true
>>%
>>22%7D=1>
>>From RG: 306
>>Moving Images Relating to U.S. Domestic
>> and International Activities
>>PORTRAYS ACTIVITY IN A LOS ANGELES, CA. FOOD
>> STORE - GRAND CENTRAL MARKET.
>>SHOWS VENDORS, REPRESENTING THE MELTING POT
>> THAT IS AMERICA, SELLING THEIR
>>WARES TO PEOPLE
>>National Archives Identifier:
>> 47130  Local Identifier: 306.346 Creator:
>>U.S. Information Agency.
>> 1982-10/1/1999
>>
>>
>>You can also search on
>>U.S. Information Agency.
>> 8/1/1953-3/27/1978
>>This gives you thousands of listings.  Limit it to motion
>> pictures, etc.
>>
>>Best regards,
>>
>>Adam Hyman
>>Los Angeles
>> Filmforum
>>
>>
>>
>>
>>On 7/31/16 5:17 AM, "Mark Webber" <m...@markwebber.org.uk>
>> wrote:
>>
>>>Dear Ben
>>&

Re: [Frameworks] leads for research on USIA and avant-garde film?

[Adam Hyman]

Directed by William Hale - sorry forgot his name.

On 8/2/16 10:11 AM, "Adam Hyman" <a...@lafilmforum.org> wrote:

>For another angle, one film to look at is "Grand Central Market" (1963)
>who also directed a film on the Watts Towers, filmed by Haskell Wexler,
>edited by Mel Sloan and visible as a shopper at the eponymous market in
>downtown LA is Lelia Goldoni, star of Cassevetes's SHADOWS, who was
>friends with Wexler I believe.  Distributed by USIA, not available to be
>seen in the US for 25 years, and now available at the National Archives
>(and I have a file).  It isn't on-the-nose propaganda, but uses the tools
>of verité documentary to show the market, with the subtext of how people
>of multiple backgrounds and ethnicities are able to come together
>peacefully in the grand American world of commerce.
>
>The best resource to see the films is the National Archives of the United
>States, the College Park branch, where copies of most or all of the USIA
>films went to be archived.
>https://www.archives.gov/research/catalog/
>
>For example, if you type in Grand Central Market, they have two listings.
>I happen to know from ordering it that one of those copies doesn't exist
>anymore, but they have one.  Those identfiers are the info you need.  They
>are not available online, unless someone has posted it on YouTube.  They
>are all public domain.  Ignore the year of creation (which relates to when
>it was deposited at the NA), but you can see
>Creator: U.S. Information Agency. 1982-10/1/1999
>
>Here are these two listings:
>
>GRAND CENTRAL MARKET
><https://catalog.archives.gov/id/50048?=%7B%22q%22%3A%22Grand%20Central
>%
>20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%22facet
>%
>22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2CmaterialsType
>%
>2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%3A%22true
>%
>22%7D=0>
>From RG: 306
>Moving Images Relating to U.S. Domestic and International Activities
>PORTRAYS ACTIVITY IN A LOS ANGELES, CA. FOOD STORE - GRAND CENTRAL MARKET.
>SHOWS VENDORS, REPRESENTING THE MELTING POT THAT IS AMERICA, SELLING THEIR
>WARES TO PEOPLE
>National Archives Identifier: 50048  Local Identifier: 306.3714 Creator:
>U.S. Information Agency. 1982-10/1/1999
>
> <https://catalog.archives.gov/>
>GRAND CENTRAL MARKET
><https://catalog.archives.gov/id/47130?=%7B%22q%22%3A%22Grand%20Central
>%
>20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%22facet
>%
>22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2CmaterialsType
>%
>2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%3A%22true
>%
>22%7D=1>
>From RG: 306
>Moving Images Relating to U.S. Domestic and International Activities
>PORTRAYS ACTIVITY IN A LOS ANGELES, CA. FOOD STORE - GRAND CENTRAL MARKET.
>SHOWS VENDORS, REPRESENTING THE MELTING POT THAT IS AMERICA, SELLING THEIR
>WARES TO PEOPLE
>National Archives Identifier: 47130  Local Identifier: 306.346 Creator:
>U.S. Information Agency. 1982-10/1/1999
>
>
>You can also search on
>U.S. Information Agency. 8/1/1953-3/27/1978
>This gives you thousands of listings.  Limit it to motion pictures, etc.
>
>Best regards,
>
>Adam Hyman
>Los Angeles Filmforum
>
>
>
>
>On 7/31/16 5:17 AM, "Mark Webber" <m...@markwebber.org.uk> wrote:
>
>>Dear Ben
>>
>>You might want to speak to Malcolm Le Grice - he worked with the USIA and
>>American Embassy to organise several screenings in London in the early
>>1970s, until they reached a point where he felt that he could no longer
>>collaborate with them. These events included the Whitneys, Oskar
>>Fischinger, Stan Vanderkbeek and Lillian Schwartz.
>>
>>Email me off list if you¹d like Malcolm¹s contact details.
>>
>>Mark
>>
>>> Date: Fri, 29 Jul 2016 13:13:03 -0400
>>> From: Ben Ogrodnik <ben.ogrod...@gmail.com>
>>> Subject: [Frameworks] leads for research on USIA and avant-garde film?
>>> 
>>> Hi all,
>>> I'm interested in conducting a bit of research on the film-related
>>> activities of the United States Information Agency (USIA) during the
>>>1960s
>>> and 1970s.
>>> 
>>> I am curious about the range of film projects and filmmakers promoted
>>>by
>>> USIA (for example, the 1959 *Glimpses of the USA* project by Charles
>>>and
>>> Ray Eames), as well as the regions of the world where such films were
>>> toured during USIA's existence.  Anyone know of an archive or resource
>>>that
>>> might direct me toward this information ?
>>> 
&g

Re: [Frameworks] leads for research on USIA and avant-garde film?

[Adam Hyman]

For another angle, one film to look at is "Grand Central Market" (1963)
who also directed a film on the Watts Towers, filmed by Haskell Wexler,
edited by Mel Sloan and visible as a shopper at the eponymous market in
downtown LA is Lelia Goldoni, star of Cassevetes's SHADOWS, who was
friends with Wexler I believe.  Distributed by USIA, not available to be
seen in the US for 25 years, and now available at the National Archives
(and I have a file).  It isn't on-the-nose propaganda, but uses the tools
of verité documentary to show the market, with the subtext of how people
of multiple backgrounds and ethnicities are able to come together
peacefully in the grand American world of commerce.

The best resource to see the films is the National Archives of the United
States, the College Park branch, where copies of most or all of the USIA
films went to be archived.
https://www.archives.gov/research/catalog/

For example, if you type in Grand Central Market, they have two listings.
I happen to know from ordering it that one of those copies doesn't exist
anymore, but they have one.  Those identfiers are the info you need.  They
are not available online, unless someone has posted it on YouTube.  They
are all public domain.  Ignore the year of creation (which relates to when
it was deposited at the NA), but you can see
Creator: U.S. Information Agency. 1982-10/1/1999

Here are these two listings:

GRAND CENTRAL MARKET
<https://catalog.archives.gov/id/50048?=%7B%22q%22%3A%22Grand%20Central%
20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%22facet%
22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2CmaterialsType%
2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%3A%22true%
22%7D=0>
From RG: 306
Moving Images Relating to U.S. Domestic and International Activities
PORTRAYS ACTIVITY IN A LOS ANGELES, CA. FOOD STORE - GRAND CENTRAL MARKET.
SHOWS VENDORS, REPRESENTING THE MELTING POT THAT IS AMERICA, SELLING THEIR
WARES TO PEOPLE
National Archives Identifier: 50048  Local Identifier: 306.3714 Creator:
U.S. Information Agency. 1982-10/1/1999

 <https://catalog.archives.gov/>
GRAND CENTRAL MARKET
<https://catalog.archives.gov/id/47130?=%7B%22q%22%3A%22Grand%20Central%
20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%22facet%
22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2CmaterialsType%
2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%3A%22true%
22%7D=1>
From RG: 306
Moving Images Relating to U.S. Domestic and International Activities
PORTRAYS ACTIVITY IN A LOS ANGELES, CA. FOOD STORE - GRAND CENTRAL MARKET.
SHOWS VENDORS, REPRESENTING THE MELTING POT THAT IS AMERICA, SELLING THEIR
WARES TO PEOPLE
National Archives Identifier: 47130  Local Identifier: 306.346 Creator:
U.S. Information Agency. 1982-10/1/1999


You can also search on
U.S. Information Agency. 8/1/1953-3/27/1978
This gives you thousands of listings.  Limit it to motion pictures, etc.

Best regards,

Adam Hyman
Los Angeles Filmforum




On 7/31/16 5:17 AM, "Mark Webber" <m...@markwebber.org.uk> wrote:

>Dear Ben
>
>You might want to speak to Malcolm Le Grice - he worked with the USIA and
>American Embassy to organise several screenings in London in the early
>1970s, until they reached a point where he felt that he could no longer
>collaborate with them. These events included the Whitneys, Oskar
>Fischinger, Stan Vanderkbeek and Lillian Schwartz.
>
>Email me off list if you¹d like Malcolm¹s contact details.
>
>Mark
>
>> Date: Fri, 29 Jul 2016 13:13:03 -0400
>> From: Ben Ogrodnik <ben.ogrod...@gmail.com>
>> Subject: [Frameworks] leads for research on USIA and avant-garde film?
>> 
>> Hi all,
>> I'm interested in conducting a bit of research on the film-related
>> activities of the United States Information Agency (USIA) during the
>>1960s
>> and 1970s.
>> 
>> I am curious about the range of film projects and filmmakers promoted by
>> USIA (for example, the 1959 *Glimpses of the USA* project by Charles and
>> Ray Eames), as well as the regions of the world where such films were
>> toured during USIA's existence.  Anyone know of an archive or resource
>>that
>> might direct me toward this information ?
>> 
>> Alternatively, if anyone can point me to scholarly articles on USIA and
>>its
>> forays into independent filmmaking and exhibitions, I'd be most
>> appreciative.
>> 
>> Thanks in advance!
>> 
>> Sincerely,
>> Ben
>> 
>> -- 
>> Ben Ogrodnik
>> PhD student
>> K. Leroy Irvis Fellow
>> Department of Film Studies // History of Art and Architecture
>> University of Pittsburgh
>> b...@pitt.edu
>
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[Frameworks] Los Angeles Filmforum presents Where You Thought You Were, tonight in Los Angeles

[Adam Hyman]

I missed getting this to the Flicker list, but tonight in Los Angeles


Sunday, July 24, 2016, 7:30pm
Los Angeles Filmforum presents
Where You Thought You Were
At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles
CA 90028
All Los Angeles Premieres!
 
Ben Russell in person (Schedule permitting)!
 
Human beings construct their places, the lands and seas and islands that
they traverse in physical existence and in fiction, in memory and fantasy.
This show highlights four superb recent works, made around the world, that
stretch our normal notions of documentary and fiction, while finding ways to
make apparent some of the many ways  that place and landscape are conceived.
Curated by Adam Hyman
 
Tickets: $10 general, $6 students/seniors; free for Filmforum members.
Available in advance from Brown Paper Tickets at http://bpt.me/2571414
<http://bpt.me/2571414>   or at the door.
 
Screening:
The Disappearance of the Aïtus, by Pauline Julier
2014, Tuvalu/Switzerland, HD, 35 min.
This poetic essay about Tuvalu, a microstate in South Pacific, draws an
analogy between the disappearance of the country while the sea levels are
rising and the imaginary¹s erasure of its inhabitants. A metaphorical fable
about modernization of the country unfolds the island during a night visit
and shows an insular environment as heavenly and scary.
 
Into the Great Wide Open, by Michaela Grill
<http://www.sixpackfilmdata.com/filmdb_display.php?id=2179=5=309
8=en> 
2015, Austria/Canada, Digital, 16:00
³Into the Great White Open moves along unstable boundaries and investigates
border crossings. Reliable conceptual territories, like abstract or
figurative, are not permitted trespass in the land- and soundscapes created
by Michaela Grill/Philip Jeck. The ground is unstable, the first shot
already misleading: A slow-gliding camera views an Arctic Ocean horizon,
drifting ice floes shimmer in the dimming twilight, seagulls flit excitedly
across the image ­ virtually the only reliable companions throughout the
course of the entire film. Is it the camera that is moving or drift ice? Is
it melting or is the water freezing? And then, are we seeing ice floes or
clouds? Positive or negative? William Turner or Caspar David
Friedrich?...³Michaela Grill transmits images from a foreign planet, a tire
track in the snow becomes a treacherous scandal and passing birds are man¹s
best friends. In this audio-visual ambience a new habitat is discovered ¬­
something between J.G. Ballard¹s wastelands and H.P. Lovecraft¹s Mountains
of Madness: toward delirium and back again. The duel between abstraction and
objectivity, between here and there, solid and liquid does not take place.²
­ Michael Palm, translated by Eve Heller
 
Atlantis, by Ben Russell
2014, Malta, 16mm film to digital, 23:30
"We Utopians are happy / This will last forever"
Loosely framed by Plato's invocation of the lost continent of Atlantis in
360 BC and its re-re-resurrection via a 1970s science fiction pulp novel,
Atlantis is a documentary portrait of Utopia -- an island that has never /
forever existed beneath our too-mortal feet. Herein is folk song and pagan
rite, religious march and reflected temple, the sea that surrounds us all.
Even though we are slowly sinking, we are happy and content.
"Atlantis interrogates this space of fabulation without ever leaving the
real island behind, finding itself caught between a portrait of place and
the conjuring of a drowned paradise."
‹ Erika Balsom, Artforum <http://www.artforum.com/film/id=48880>
 
Dog Island, by Shehrezad Maher
2014, Pakistan, digital, 26:32
Dog Island merges the narratives, myths, embellishments, and rumors about
two similar islands in Constantinople and Karachi that were occupied by wild
dogs in the early 20th century. Instead of adopting the fixed narrative of
the traditional documentary, the work adopts a logic more akin to a fever
dream, and seeks to combine two stories about similar islands to reveal a
greater truth about uncertainty and violence.
---
This program is supported by the Los Angeles County Board of Supervisors
through the Los Angeles County Arts Commission; the Department of Cultural
Affairs, City of Los Angeles; and Bloomberg Philanthropies. We also depend
on our members, ticket buyers, and individual donors.
 
Los Angeles Filmforum is the city¹s longest-running organization dedicated
to weekly screenings of experimental film, documentaries, video art, and
experimental animation. 2016 is our 41st year.
 
Coming Soon to Los Angeles Filmforum:
July 24 ­ Where You Thought You Were, at the Egyptian
July 27 ­ Larry Clark¹s Passing Through, at Union Station for free
July 31 ­ A Tribute to Tony Conrad, at the Egyptian
Aug 7 ­ Bill Brown & Sabine Guffat, at the Egyptian
 
Memberships available, $70 single, $115 dual, or $50 single student
Contact us at lafilmfo...@yahoo.com.
Find us online at http://lafilmforum.org.
Become 

Re: [Frameworks] Precious Images - Chuck Workman

[adam]

Hi Kim,

I can also give you Chuck's email if that helps, off list.

It was originally done for the Oscars, I believe, so I think the Academy
Film Archive also has one.  I included it in a show of films cited on the
Library of Congress's Film Registry, and had Chuck in person.  I have to
check my records to see if I got what we screened from him or from MOMA or
the Academy.

A key point, though, oddly, is that if a film gets listed on the LoC Film
Registry, that does NOT mean that the LoC has a copy or does anything to
preserve it.  That list seems to be nothing more than a list, citing films
worthy of preservation, etc.  It might lead to
preservation/restoration/etc.  But Chuck and Janie Geiser, who were both
at that show, said that (at least as of that time), the LoC had not even
contacted them after the announcement of the list to ask for prints.

> *MoMA's Circulating Film Library rents a 16mm print.*
>
> *But contact me off-line.*
>
> *Scott*
>
> On Tue, Mar 22, 2016 at 11:47 AM, Kim Knowles
> > wrote:
>
>> Dear Frameworkers,
>>
>>
>> I'm looking for a film by Chuck Workman called 'Precious Images' (1986).
>> Does anyone know who distributes this in the US or Canada?
>>
>>
>> Many thanks!
>>
>> Kim
>>
>> ===
>> KEEP IN TOUCH WITH EIFF
>> Become a web member for FREE and receive news and offers:
>> http://www.edfilmfest.org.uk/register
>> Follow EIFF at: https://twitter.com/edfilmfest or
>> http://www.facebook.com/edfilmfest
>> ===
>> t. +44(0)131 228 4051
>> f. +44(0)131 229 5501
>> w. http://www.edfilmfest.org.uk
>> 88 Lothian Road, Edinburgh EH3 9BZ Scotland, United Kingdom
>> The Edinburgh International Film Festival Limited is a subsidiary of the
>> Centre for the Moving Image. Registered in Scotland No: SC132453. VAT
>> No:
>> 502 548861. Registered Office: 88 Lothian Road, Edinburgh.
>>
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>>
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Re: [Frameworks] Dan McLaughlin e-mail

[adam]

When I contacted him a few years ago for our series Alternative
Projections, he was retired, in a retirement home, but ok and painting.  I
visited him there (in Woodland Hills, CA)  He came to a screening where we
showed work, driven by his son.  When I am on another computer, I'll see
what contact info I have, but I'm pretty sure McLaughlin himself has no
email.

Best regards,

Adam Hyman
Los Angeles Filmforum

> Dear FrameWorkers,
>
> Can someone please send me Dan McLaughlin's email contact (off list)?
>
> Thank you,
> Alexandre
>
> "Dan McLaughlin was the area head of the UCLA School of Theater, Film and
> Television’s Animation Workshop [...], from 1970 until his retirement in
> 2007. »
>
> http://www.tft.ucla.edu/2012/03/dan-mclaughlin/
> <http://www.tft.ucla.edu/2012/03/dan-mclaughlin/>___
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>


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Re: [Frameworks] 360 degrees

[Adam Sekuler]

Apichatpong has one in his National Anthem short. Also Godard's Sympathy
For The Devil.
On Feb 17, 2016 5:06 PM, "Gene Youngblood"  wrote:

> Friends,
> I need recommendations of films that contain 360-degree dolly (or
> Steadicam) shots. Like for example circling around people seated at a
> restaurant table, but it can be anything. It seems to me there are “famous”
> ones in the French New Wave, and there must be many others before and after
> that.
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[Adam Hyman]

Thanks for coming to our screening last night!

-- 
Adam Hyman
Los Angeles Filmforum
a...@lafilmforum.org
http://www.lafilmforum.org


From:  JS Shokrian <deathvalle...@gmail.com>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Fri, 15 Jan 2016 11:24:47 -0800
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Experimental Films on Farming/ Agriculture

Sharon Lockhart was talking about a film last night that she had made in
Japan about farming. Title is NO

JSS Shokrian 

On Jan 15, 2016, at 11:17 AM, Scott MacDonald <smacd...@hamilton.edu> wrote:

> Actually, my book The Garden in the Machine surveys many films/videos that
> seem relevant.
> 
> 
> 
> On Fri, Jan 15, 2016 at 1:55 PM, Gene Youngblood <ato...@comcast.net> wrote:
>> Rose Lowder¹s lovely films come to mind in the gardening/plant category.
>> 
>>> > On Jan 15, 2016, at 11:13 AM, Dave Tetzlaff <djte...@gmail.com> wrote:
>>> >
>>> > Chuck Statler - 'Ain't We Havin' Fun'
>>> > definitely
>>> >
>>> >
>>> > Werner Herzog = 'How Much Wood Could A Woodchuck Chuck'
>>> > maybe
>>> >
>>> >
>>>> >> Any suggestions on avant-garde/experimental films that deal with any
>>>> aspects of farming/gardening/plant or animal agriculture?
>>> >
>>> > ___
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>>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> ___
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Re: [Frameworks] Chantal Akerman NOW Film Series

[Adam Hyman]

Thanks!  Looking forward to the screenings.

Best regards,

Adam

From:  Lyndsay Bloom <lyndsayellisbl...@gmail.com>
Reply-To:  "Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
Date:  Wed, 13 Jan 2016 10:48:05 -0800
To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
<frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Chantal Akerman NOW Film Series

Thanks Adam, my apologies about the attachment!

On Wed, Jan 13, 2016 at 8:42 AM, Adam Hyman <a...@lafilmforum.org> wrote:
> Hi Lyndsay,
> 
> Thanks for the announcement.
> But please don't send a 15 MB image to the whole list; it's really a pain.
> Maybe just the link, which is at
> http://visarts.ucsd.edu/events/chantal-akerman-now-film-series-winterspring-20
> 16
> 
> Best regards,
> 
> Adam
> 
> -- 
> Adam Hyman
> Los Angeles Filmforum
> a...@lafilmforum.org
> http://www.lafilmforum.org
> 
> 
> 
> From:  Lyndsay Bloom <lyndsayellisbl...@gmail.com>
> Reply-To:  "Experimental Film Discussion List
> <frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
> Date:  Wed, 13 Jan 2016 00:21:32 -0800
> To:  "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
> <frameworks@jonasmekasfilms.com>
> Subject:  [Frameworks] Chantal Akerman NOW Film Series
> 
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Re: [Frameworks] Fwd: New Kodak Super 8 movie camera

[Adam Hyman]

Two things we saw in the details, so far:
Sound is recorded to an SD card.
No information about what resolution they scan at, and they send you a
link to download a scan of the film, while also sending you the print.

On 1/8/16 2:02 PM, "Nicholas Kovats"  wrote:

>Hi Heikki,
>
>The Kodak CEO mentioned it in a video. Kodak partner Pro8mm has been
>inquiring about purchasing a used contact printer. But we are still
>trying to nail this one with an official statement from Kodak. More to
>come.
>
>Nicholas
>
>On Fri, Jan 8, 2016 at 4:59 PM, Heikki Repo  wrote:
>> "Customer's will
>>>
>>> take delivery of said digital scan via the internet and Kodak will
>>> ship the original S8 negative with a S8 print. That is not a typo and
>>> we are are attempting to officially confirm the print delivery."
>>
>>
>> Hi Nicholas,
>>
>> where was the S8 print mentioned? I have been trying to find some online
>> source, but haven't found one yet.
>>
>> Super-8 prints are awesome :) I have shot my home movies on Kodak Vision
>> films and made workprints of them @ Andec in Germany. If Kodak were to
>>offer
>> this service to everyone it could eventually lead to a renaissance of
>>film
>> prints.
>>
>> Heikki
>>
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