Re: [Frameworks] Films around the domestic interior and group study

[Nicky Hamlyn]

Re Group Study: Godard, Vent D'est.

Sent from my Sony Xperia™ smartphone

 Nicky Hamlyn wrote 

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Re: [Frameworks] 16mm to HD transfer in Leeds / Manchester / York?

[Nicky Hamlyn]

Try IDailies in London but will post. They're very good 

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 Amir Husak a écrit 

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Re: [Frameworks] Camera obscura films

[Nicky Hamlyn]

Rachel Reupke made a film in/of a camera obscura,  but that's as much as I 
know.  You could ask at LUX, Nicky 

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 Simon Payne a écrit 

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Re: [Frameworks] Swings

[Nicky Hamlyn]

This is very obscure, but Jigsaw, by Robina Rose, has a long scene in a 
children's playground. Wonderful film,  deserves to be rediscovered. 

Envoyé depuis mon smartphone Sony Xperia™

 peter snowdon a écrit 

>Renoir's Une Partie de campagne (copying his father in this, some might
>say). 
>For the relevant extract, see:
>http://www.pileface.com/sollers/spip.php?page=imprime_article=1652#section3
>
>Also, of course, tho not narrative, there is Léger's Ballet mécanique. 
>The French seem to have a thing about it.
>
>
>On Tue, Mar 8, 2016, at 08:17 PM, Gene Youngblood wrote:
>> Friends, I need recommendations of memorable swing scenes (as in
>> playground swings), preferably in narrative feature films. I already have
>> Charulata and Ikiru. Thanks. 
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>-- 
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>something wrong with the noun.> Nicolas Rey
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Re: [Frameworks] Lis Rhodes? Dynamo Dresden fan? + synch?

[Nicky Hamlyn]

As far as I know it's named after the football club, for no particular reason. 
Letratone was made somewhere in Kent, south east England,  but not any more. 
They have offices in LeMans: www.letraset.com. The film was made section by 
section under an enlarger, from B originals printed through colour filters 
and yes, obviously the sound would be finally printed 26 frames ahead, to put 
it in sync.

Nicky.

 John Muse a écrit 

>Can anyone motivate the title of Lis Rhodes' Dynamo Dresden?  Or is she a fan 
>of https://en.wikipedia.org/wiki/Dynamo_Dresden ?
>
>I was hoping that either the Letratone or the clear leader was manufactured in 
>Dresden.
>
>And she claims that the optical track and the visual track are the same, but 
>it looks like (and sounds like) she offset the optical track (26 frames ahead) 
>so that there would visual and acoustic synch, even though she fabricated the 
>optical track and the visual track in one go.  If you go to 
>http://www.tate.org.uk/whats-on/tate-modern-tanks/display/lis-rhodes-light-music
> and scroll down to the video, you'll see at 51" prints of the film strip.  
>Right?  Wrong?
>
>j/PrM
>
>*
>
>john muse
>visiting assistant professor of independent college programs
>haverford college
>http://www.finleymuse.com
>http://www.haverford.edu/faculty/jmuse
>http://haverford.academia.edu/JohnMuse
>
>*
>
>
>
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Re: [Frameworks] Annette Michelson and Peter Gidal

[Nicky Hamlyn]

'stairs' not 'stars'!

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 Nicky Hamlyn a écrit 

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Re: [Frameworks] Annette Michelson and Peter Gidal

[Nicky Hamlyn]

I suspect Arnulf Rainer is excluded because it's abstract,  my assumption being 
based on Gidal's critique of Sharits., ie, the viewer can fantasise 'into' 
blank colour frames just as much as they can falsely identify with a character 
in a movie. Some of Gidal's own films, eg Room Film 1973, use an 'algorithm', 
others don't. When Gidal programmed the LFMC cinema he showed plenty of work he 
didn't like, as he restated at a recent anniversary screening at the BFI. By 
the way, it's 'Structural Materialist, not 'Structuralist Materialist'. This is 
partly, I believe, to distinguish it from other structuralisms, but also to 
focus the distinction from Sitney's (more or less useless) formulation. Nicky. 



 Dave Tetzlaff a écrit 

>> My notion of "including Ono and Ackerman [sic]" is, you're right, 
>> wrongheaded.
>
>Sorry if the double-negative was unclear, but I was saying including those 
>makers is NOT wrongheaded at all. The gag (I was going for a bot o' irony) was 
>that your thinking that doing so 'went against the grain' was 'wrongheaded', 
>in that there isn't really a genre grain to go against. Rather there are fiber 
>strands going different directions, criss-crossing, bumping into each other, 
>tangling contentiously. Thus, my thesis is that drawing boundaries defined by 
>Gidal's polemical principles, or even his choices of what to argue against, is 
>kind of against the grain of the larger 'thing' Gidal was partaking in, which 
>I might guess he saw 'dialectically' (??). 
>
>> Why Kubelka's "Arunulf Rainer" doesn't make the cut.  Compositional rather 
>> than algorithmic perhaps?  
>
>Sounds right to me. I suppose you could argue that 'Arnulf Rainer' and 
>'Adebar' are 'materialist' but not 'structuralist'. 
>
>> Ono's Four (Bottoms) and Akerman's La Chambre, would they please him at all?
>
>Qua Mulvey, "please" might not be the right term… ;-)
>
>> Or be infuriating because…
>
>What? There are structuralist films that AREN'T infuriating? ;-)
>At least to someone…
>(Did Gidal ever have anything to say about 'Awful Backlash' or 'Bleu Shut'?)
>
>> Once I've moved to "relevant to the debates" then we still need to either 
>> resurrect or have those debates.
>
>Indeed. I didn't mean to suggest 'were relevant to the debates at the time'. 
>Nor 'have been taken as relevant in the literature then to now.' If you think 
>the Ono and Akerman are relevant, then they are. Regardless of what Gidal 
>thinks of those works, I'm guessing he'd be pleased that someone is working 
>through his ideas with work no one's considered before, testing film against 
>theory, and theory against film - regardless of whether he agreed with your 
>conclusions (not that you need to have anything but interesting questions…) 
>
>> I say Ono and Akerman become more interesting when considered in relation to 
>> these debates…
>
>'Nobody's explored that before' = 'publishable journal articles' = 'how to get 
>rid of the "visiting" in front of your job title… Or better yet, a book 
>contract. Not only may there be enough films by women (old and new) that 
>haven't been been considered in light of these dabates, but AFAIK crunching 
>Gidal-relevant theories of the politics of representation against feminist 
>theory (new and old) is relatively unexplored territory as well..
>
>
>I can't speak to Gidal's standards, but as _I_ understand it, "unity of time 
>and space" hardly disqualifies a work from any 'structural/structuralist' 
>rubric I can imagine. ('Wavelength', after all, has a unity of filmic time and 
>space, if not shot in real time.) I think 'algorithmic vs. compositional' is 
>in the right directions, but I'm not comfortable calling some of the simpler 
>"predetermined shapes/outlines" (Sitney) "algorithms", as to me that implies a 
>somewhat more complex formula, and one that usually establishes some pattern 
>of change over the running time (e.g. Critical Mass, Serene Velocity, Print 
>Generation, etc.) It's more like the maker appears to give up some choices 
>we'd see in other 'not-structural' films to that predetermined concept. Not 
>that this giving-up alone makes a film 'structural/ist', but it seems to be a 
>necessary condition. "Unity of time and space" can be some kind of 
>'not-editing where'd you expect there to be editing'. I'd put 'Highway 
>Landscape' in the 'structural' bin, or at least not toss it out… The Fluxus 
>slo-mo single-take films count too, IMHO, and while we're on all things Ono, 
>I'd suggest Mieko/Chieko Shiomi's 'Disappearing Music for Face' might fit your 
>search, if you haven't already included it.
>
>I did think of one fairly recent (and likely not well known) work in light of 
>your query: 'Summer Solstice' by Nina Yuen (one of Louise Borque's former 
>students). It's a long take with the camera mounted in a car, pointed out the 
>front windsheild. As the car (driven by Yuen's mother, whose voice is heard on 
>the soundtrack) moves back and forth along the length 

Re: [Frameworks] structuralist/materialist films by women

[Nicky Hamlyn]

Gill Eatherley, Samantha Rebello, Sue K.

 John Muse a écrit 

>I'm looking for structuralist/materialist films by women, whether made in the 
>60's and 70's or later.  Gidal include Wieland in his anthology; Sailboat is 
>lovely, comic, and punchy.  And I, against the grain, appreciate Ono's Fluxus 
>works from this angle.  I just found Birgit Hein and will recruit Akerman's Le 
>Chambre for the purpose.  Leslie Thorton's X-TRACT helps too.  Thank you 
>UbuWeb!  What am I missing?  
>
>j/PrM
>
>*
>
>john muse
>visiting assistant professor of independent college programs
>haverford college
>http://www.finleymuse.com
>http://www.haverford.edu/faculty/jmuse
>http://haverford.academia.edu/JohnMuse
>
>*
>
>
>
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Re: [Frameworks] 360 degrees

[Nicky Hamlyn]

Mulvey and Wollen: Riddles of the Sphinx. 13 consecutive 360 degree pans.

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 o...@thenowcorporation.com a écrit 

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Re: [Frameworks] Contact with Ben Rivers

[Nicky Hamlyn]

You could try his gallery, Kate McGarry 

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 Bryan Wendorf a écrit 

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Re: [Frameworks] Eclipse on film

[Nicky Hamlyn]

If I 'm not mistaken, the actual eclipse is not visible in Tacita's  film. It 
was totally overcast that day. Nicky 

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 Anderwald Grond a écrit 

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Re: [Frameworks] Eclipse on film

[Nicky Hamlyn]

The 2012 Transit of Venus is combined with the 2004, so it's two films in one 
now. Nicky 

Envoyé depuis mon smartphone Sony Xperia™

 Cathy a écrit 

>Under - "Any other astronomical event" - Nicky Hamlyn's 'The Transit of Venus'
>http://nickyhamlyn.com/images-4/.
>
>Best
>Cathy
>Cathyrogers.co.uk
>
>Sent from my iPhone
>
>> On 9 Feb 2016, at 13:28, John Warren  wrote:
>> 
>> I have a question—can you think of any experimental films or videos that 
>> feature a solar eclipse specifically or other astronomical event?
>> 
>> peace, jw
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Re: [Frameworks] Films about glass and light

[nicky . hamlyn]

Stan Brakhage: Text of Light. A world in an ashtray.
Some of Jamie Jenkinson's iPhone videos are very glassy: 
http://www.jamiejohnjamesjenkinson.com/
John DuCane: Zoom Lapse. Windows.
Michael Snow: Wavelength.
Nicky Hamlyn: Silver Street. Views out of windows and mirrors included.

Nicky.


 

 

 

-Original Message-
From: Sheri Wills <s...@sheriwills.com>
To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
Sent: Wed, 3 Feb 2016 2:19
Subject: [Frameworks] Films about glass and light


Hello Everyone,

As part of a celebration of the 50th anniversary of the glass department at 
RISD 
for next year, we are beginning to plan a series of screenings of (mostly 
experimental) films that engage with materials, ideas, experiences of glass 
and/or light - materially, abstractly, physically, metaphysically…..

We are planning a projection of Line Describing a Cone, and a screening of Text 
of Light. The preliminary long list includes Moholy-Nagy’s films, Tacita Dean’s 
Green Ray, and the 1959 industrial film, Glas, by Bert Haanstra.

It would be wonderful to hear thoughts from this group.

Many thanks in advance,
Sheri
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Re: [Frameworks] Films about glass and light

[nicky . hamlyn]

If you're going to show Tacita Dean you should also consider Disappearance at 
Sea, parts one and two which, if I'm not mistaken, are films of lighthouses. 
Delft Hydraulics is also about light via water.

Nicky.


 

 

 

-Original Message-
From: nicky.ham...@talktalk.net
To: frameworks@jonasmekasfilms.com
Sent: Wed, 3 Feb 2016 13:38
Subject: Re: [Frameworks] Films about glass and light


Stan Brakhage: Text of Light. A world in an ashtray.
Some of Jamie Jenkinson's iPhone videos are very glassy: 
http://www.jamiejohnjamesjenkinson.com/
John DuCane: Zoom Lapse. Windows.
Michael Snow: Wavelength.
Nicky Hamlyn: Silver Street. Views out of windows and mirrors included.

Nicky.


 

 

 

-Original Message-
From: Sheri Wills <s...@sheriwills.com>
To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
Sent: Wed, 3 Feb 2016 2:19
Subject: [Frameworks] Films about glass and light


Hello Everyone,

As part of a celebration of the 50th anniversary of the glass department at 
RISD 
for next year, we are beginning to plan a series of screenings of (mostly 
experimental) films that engage with materials, ideas, experiences of glass 
and/or light - materially, abstractly, physically, metaphysically…..

We are planning a projection of Line Describing a Cone, and a screening of Text 
of Light. The preliminary long list includes Moholy-Nagy’s films, Tacita Dean’s 
Green Ray, and the 1959 industrial film, Glas, by Bert Haanstra.

It would be wonderful to hear thoughts from this group.

Many thanks in advance,
Sheri
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[nicky . hamlyn]

Margaret Tait: Landmakar: http://www.lux.org.uk/collection/works/land-makar

Nicky.

 

 

 

-Original Message-
From: Anderwald + Grond 
To: Experimental Film Discussion List 
Sent: Fri, 15 Jan 2016 7:08
Subject: Re: [Frameworks] Experimental Films on Farming/ Agriculture


In the Garden, 2002, by Ute Aurand and Bärbel Freund
http://www.uteaurand.de/filme/im_garten.php

-
Ruth Anderwald + Leonhard Grond

++43 699 10984551
Schüttelstr. 21/14  
1020 Vienna
cont...@anderwald-grond.at
http://www.anderwald-grond.at
follow on twitter @anderwaldgrond
http://www.hasenherz.at


http://www.on-dizziness.org
When I came in I was confused, when I came out I was full of ideas. Eilean 
Hooper-Greenhills
Dizziness-A Resource FWF-PEEK AR-224


Am 14.01.2016 um 18:50 schrieb Heath Iverson :




Any suggestions on avant-garde/experimental films that deal with any aspects of 
farming/gardening/plant or animal agriculture?


A few examples might be Marjorie Keller's Answering Furrow or Lucien 
Castaing-Taylor's Sweetgrass. Other ideas? 



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Re: [Frameworks] Shower scenes...

[nicky . hamlyn]

Don't know if they've already been mentioned, but one of Kuchar's weather diary 
films has him masturbating in a motel shower, and there's also Fred Drummond's 
'Shower Proof', a printer loop film made at the LFMC in 1969.

Nicky.

 

 

 

-Original Message-
From: Jamie Cleeland 
To: Experimental Film Discussion List 
Sent: Wed, 6 Jan 2016 14:11
Subject: Re: [Frameworks] Shower scenes...


https://archive.org/details/PsychoPorky
Screened this year at Bideodromo, Spain


Sent from my iPad

On 6 Jan 2016, at 20:52, wenhua shi  wrote:



Beau Travail / Claire Denis 


On Wed, Jan 6, 2016 at 8:50 AM, wenhua shi  wrote:

Red Sun (1971) with Toshiro Mifune & Charles Bronson 






On Wed, Jan 6, 2016 at 1:37 AM, Jared Ashburn  wrote:



"Watersmith" (1969) Will Hindle








On Jan 5, 2016, at 6:44 PM, Patrice James  wrote:



Weird Science (super funny shower scene);Fatal Attrcation (thrilling bathroom 
fight scene in tub); I Now Pronounce you Chuck & Larry (hilarious "bros" - 
don't drop the soap bathroom scene); and Addicted (Sharon Leal, Boris Kodjoe - 
steamy shower scene).
 
C'mon there are too many great ones no?
 
Good luck!
Patrice 
  
- Original Message - 
  
From:   Escobar López   Almudena 
  
To: Experimental Film Discussion   List 
  
Sent: Tuesday, January 05, 2016 6:19   PM
  
Subject: Re: [Frameworks] Shower   scenes...
  


  
"Madrid, 1987" by David Trueba (it's now at Netflix)
  

  
On 5 January 2016 at 18:13, Chris Freeman  
wrote:
  

Fight Club, American Beauty, Star Trek The Motion Picture




On Tue, Jan 5, 2016 at 9:37 AM, John Knecht  wrote:

  
  
Hey, I got into this late; but did anyone mention the shower scene   with 
George Kuchar in "Hold Me While I'm Naked"?


john   knecht

  
  
  

  
On Tue, Jan 5, 2016 at 10:21 AM, Cecilia Dougherty   
 wrote:
  

the video, Joe-Joe, that Leslie Singer and I did in 1993 has a shower 
scene in less obvious response to Hitchcock's famous suggestion that a 
woman taking a shower is an invitation to murder.



On Thu, Dec 31, 2015 at 3:14 PM, Daniel Hess  
wrote:

  
Hello all,   


  
I need to call on the great well of obsessive cinema knowledge   that 
is Frameworks. I am on a mission to collect as many shower/bath   
scenes as possible. How many films with a shower/bath scene can you   
recall? Don't forget prison showers, bathhouse showers (I will also   
allow sauna scenes), someone cleaning a shower, dog showers...
  


  
Thanks in advance.
  


  
Daniel

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-- 





Cecilia Dougherty

http://ceciliadougherty.com
http://fourlegsgood.blogspot.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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Re: [Frameworks] Bi-packing acetate in a Bolex

[nicky . hamlyn]

Sorry for delayed response,

I usually load manually just to be sure both sets of sprocket holes are 
securely on the sprocketed rollers and the claw. Point the camera at a white 
wall and take a light reading in the usual way,

Nicky.

 

 

 

-Original Message-
From: Chris G 
To: Experimental Film Discussion List 
Sent: Sat, 5 Dec 2015 23:19
Subject: [Frameworks] Bi-packing acetate in a Bolex



That's reassuring Nicky! I'll be ready to shoot tomorrow after I shoot and 
process the first pass of my mattes, any tips on loading? 


Thanks,

Chris

 
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Re: [Frameworks] Bi-packing acetate in a Bolex

[nicky . hamlyn]

I have done a fair amount of bi-packing acetate neg with polyester print stock, 
and polyester with polyester, and it works fine. Occasionally a frame slips, 
maybe every 500or 600 feet, but it works well and there's been no damage to the 
camera that I can detect,

Nicky.

 

 

 

-Original Message-
From: Francisco Torres 
To: Experimental Film Discussion List 
Sent: Thu, 3 Dec 2015 17:45
Subject: Re: [Frameworks] Bi-packing acetate in a Bolex


maybe some one in the US  could go to a library and check this out -
Bipacking with a Bolex - American Cinematographer, March 1964,p.140 Day,W. Percy




2015-12-03 9:03 GMT-04:00 Chris G :



I've seen pieces that were shot bi-packed in a Bolex using camera stocks. I've 
shot a fair amount of acetate stock in camera, both single frame and continuous 
without issue. I guess I'll have to do dummy load tests with acetate-polyester 
then acetate-acetate. 




On Dec 3, 2015, at 08:30, Bernd Lützeler  wrote:



I have heard of this idea, using the Bolex as a contact printer. Not with these 
particular stocks. Rather like a rumor...


Bernd.




Am 03.12.2015 um 06:19 schrieb Dominic Angerame :



I think its a big mistake to attempt. There does not seem to be room for the 
thickness of the stock and the Bolex has no registration pin to keep frames 
steady. I would not like to damage my Bolex through bi-paking.


Dominic



On Tue, Dec 1, 2015 at 9:49 AM, Francisco Torres  wrote:




try this book-



Techniques of Special Effects of Cinematography
 By Raymond Fielding



https://www.google.com.pr/search?tbo=p=bks=isbn:1136055533



the nypl used to have it years ago.


it cites this article---


'' bipacking with a bolex'', American Cinematographer, March 1964,p.140 Day,W. 
Percy





2015-12-01 7:44 GMT-04:00 Chris G :





Hi all,


I was wondering if it was especially idiotic to bi-pack two acetate-base stocks 
(in this case both Kodak Hi-Con) in a Bolex for mattes while running it slowly 
with an animation motor. 


Thanks!

Chris



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Re: [Frameworks] The eye in experimental cinema

[nicky . hamlyn]

Guy Sherwin's 'Eye', 'Maya' and 'Yi Wei' from the Short Film Series,

Nicky.

 

 

 

-Original Message-
From: Jorge Lorenzo Flores Garza 
To: Experimental Film Discussion List 
Sent: Sat, 31 Oct 2015 22:14
Subject: Re: [Frameworks] The eye in experimental cinema


Tscherkassky's "Outer Space" also has a very interesting reference to the 
Vertovian eye.  The outerspace of the medium watching the narrative, perhaps.



From: ryder.wh...@gmail.com
Date: Sat, 31 Oct 2015 13:07:23 -0600
To: angel...@cuevas.as
CC: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] The eye in experimental cinema



Thanks all, these are great!


Best,


R



On Sat, Oct 31, 2015 at 8:09 AM, Angélica Cuevas Portilla  
wrote:

Hi Ryder,
Here you have an excellent film from mexican filmmaker Andrés Garcìa Franco
https://myspace.com/kinoandres/video/black-hole/53608351
 
Greetings,
Angélica
 

---

Angélica Cuevas Portilla
Mex-Parismental
4, rue Mathis
75019 Paris
France
+33-6-64 24 09 10
@MexParismental
https://www.facebook.com/MexParismental
http://mex-parismental.blogspot.com
***
-17th Festival des Cinémas Différents de Paris
 http://www.cjcinema.org

07-18 Oct 2015 
  Festival Trailer : https://vimeo.com/138882009




On 2015-10-29 21:38, Ryder White wrote:




Hello Frameworkers,


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


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


Thanks in advance!


Ryder



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Re: [Frameworks] Chantal Akerman died/reception

[nicky . hamlyn]

Same problem with the Hollis Frampton DVDs. Quiet annoying.

Nicky.

 

 

 

-Original Message-
From: Adam Hyman 
To: Experimental Film Discussion List  
; JANA DEBUS 
Sent: Fri, 9 Oct 2015 6:36
Subject: Re: [Frameworks] Chantal Akerman died/reception


Criterion is a US company that mostly licenses films only for US home video 
distribution, and internet streaming.  However, it is more likely than not that 
they don’t have the rights to make it available for streaming to people outside 
the United States.  Those rights would be held whatever company distributes her 
films in each country in question.


On 10/8/15 10:21 PM, "Jana Debus"  wrote:


I am sorry to hear that!
I wonder whether Criterion could do something about that…
maybe worth it contacting them tomorrow.
I’ll try.

Jana




On 08.10.2015, at 22:18, Peter Mudie  wrote:

Yep, they can only be viewed in the U.S. (which is a bit tough on everyone in 
Belgium, or anywhere else for that matter).
Peter


From:  FrameWorks  on behalf of Jana 
Debus 
Reply-To:  Experimental Film Discussion List 
Date:  Friday, 9 October 2015 1:12 pm
To:  Experimental Film Discussion List , 
"nicky.ham...@talktalk.net" 
Subject:  Re: [Frameworks] Chantal Akerman died/reception

oh, shame, did you try the other link, I sent?

http://www.hulu.com/search?q=chantal+akerman




On 08.10.2015, at 22:09, nicky.ham...@talktalk.net wrote:

Only if you live in the USA,

Nicky.
 
 
 
-Original Message-
From: Jana Debus 
To: Experimental Film Discussion List 
Sent: Fri, 9 Oct 2015 5:14
Subject: Re: [Frameworks] Chantal Akerman died/reception

Dear All,


Criterion has made Chantal Akerman’s films available online, 
you can watch them for free at this time of mourning,
and be close to her, through her work.

And, have you ever heard her reading “A family in brussels”?
it’s beautiful, she was such a gifted writer, too.
It’s on CD.


https://www.criterion.com/explore/151-chantal-akerman



Jana



On 08.10.2015, at 20:20, Elizabeth McMahon  wrote:

I cannot speak for Film maker's Cooperative or Canyon, but The New York Public 
Library has a 16mm print of "Jeanne Dielman" for those who are close by, or 
otherwise interested in seeing it on film. It was distributed at the time of 
acquisition by New Yorker, so it did indeed have a stateside distributor, and 
one with quite a distinguished reputation. If you are interested in screening 
it on site, please call ahead to arrange the time.  

Elizabeth McMahon

On Thu, Oct 8, 2015 at 9:41 PM, Chuck Kleinhans  
wrote:

I appreciate Gene Youngblood’s observations.  I would point out in addition 
some of the decisions Akerman made which shaped the reception of her work.

First, and I think incredibly importantly, was her choice of Babette Mongolte 
to be her cinematographer on Jeanne Dielman.  Mongolte had already done the 
camerawork on Rainer’s Lives of Performers and Film About a Woman Who.  Seeing 
those works as connected by visual sensibility gives the works at least a 
second “authorship” in the cinematographer.

Second, Jeanne Dielman arrived in 1975-6.  It was screened at some film centers 
and then the print left the country.  Yeet during its brief appearance it 
inspired almost all the emerging feminist film makers, critics, scholars, 
teachers, and intellectuals to rave about it.  And the writers wrote about it 
with a strong femiist analysis  

I think this was due to at least two factors, One was that feminist film 
criticism was looking for new work that escaped the Hollywood expectations.  
Remember this is the exact moment when Laura Mulvey’s landmark essay on "Visual 
 Pleasure and Narrative CInema" hit the scene. Jeanne Dielman was the perfect 
film to see after or before reading Mulvey..  This was also the time of 
emerging feminist film festivals, feminist film courses in colleges and 
universities, feminist film programming  being a regular part of film center 
programming, etc.

Second, there was at that time a certain momentum in the women’s movement for 
thinking anew about housework and domestic space.  In the UK one high profile 
group of feminists led a campaign for “Wages for Housework”—demanding 
recognition of women’s unpaid labor.  In N. America there was an active 
discussion of the “double day” and women working outside the home but also then 
being totally responsible for domestic chores, cleaning, child-rearing, etc.  
So within the political wing of the women’s movement there was interest in this 
and Jeanne Dielman, although in one sense one of the “least likely” films to 
appeal to feminist 

Re: [Frameworks] 16mm spools and cans

[Nicky Hamlyn]

Thanks 

Envoyé à partir de mon smartphone Sony Xperia™ 

 Esperanza Collado a écrit 

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Re: [Frameworks] 16mm spools and cans

[nicky . hamlyn]

Great, thanks, I have a vague memory of buying from them before,

Nicky.

 

 

 

-Original Message-
From: Pip Chodorov 
To: Experimental Film Discussion List 
Sent: Sat, 19 Sep 2015 15:20
Subject: Re: [Frameworks] 16mm spools and cans


I just bought a bunch at Motion Picture Enterprises (MPE) in NewYork.
They can send to UK by UPS.
Pip




At 10:16 -0400 19/09/15, nicky.ham...@talktalk.net wrote:
Can anyone recommend a source of 16mm spools and cans,preferably plastic, 800' 
and 1200' ideally, either in the UK orelsewhere. It's becoming rather hard to 
find them

Thanks,

Nicky.
 
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[Frameworks] 16mm spools and cans

[nicky . hamlyn]

 Can anyone recommend a source of 16mm spools and cans, preferably plastic, 
800' and 1200' ideally, either in the UK or elsewhere. It's becoming rather 
hard to find them 

Thanks,

Nicky.

 

 



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Re: [Frameworks] Articles/essays on the history of flatbed editors(Moviola, Steenbeck, etc)?

[nicky . hamlyn]

Don't know if ti's already been mentioned but Pedro Costa's 'Where does your 
secret smile lie?', film of Straub / Hullet editing Sicilia! on a Steenbeck, is 
relevant,

Nicky.

 

 

 

-Original Message-
From: Francisco Torres 
To: Experimental Film Discussion List 
Sent: Fri, 18 Sep 2015 18:58
Subject: Re: [Frameworks] Articles/essays on the history of flatbed 
editors(Moviola, Steenbeck, etc)?



Pudovkin at work


2015-09-18 13:56 GMT-04:00 Francisco Torres :


Pudovkin-


http://sensesofcinema.com/wp-content/uploads/2015/09/Macovaz-Image-8-copy-750x400.jpg



 
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Re: [Frameworks] Phill Niblock, Francis Al ÿ s

[nicky . hamlyn]

You could try asking Jon Wozencroft, who runs the Touch label, which has issued 
CDs by him: j...@touchmusic.org.uk, 

Nicky. 
 

 

 

-Original Message-
From: Adam Hyman 
To: Experimental Film Discussion List  

Sent: Mon, 31 Aug 2015 17:07
Subject: [Frameworks] Phill Niblock, Francis Al ÿ s


Hi,

We're hoping to screen Phill Niblock's Trabajando una (Mexico) (1974) from 
film, not DVD.  Anyone know a source, or have contact information for Niblock, 
please?

Also, we wish to screen Francis Alÿs's REEL-UNREEL.  Anyone have contact 
information for him, please?

Thanks in advance!

Adam


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








 
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Re: [Frameworks] Gatten

[nicky . hamlyn]

It's all here:

https://fds.duke.edu/db/aas/MFAEDA/faculty/david.gatten

Nicky.

 

 

 

-Original Message-
From: Kate Ewald katherine.ew...@gmail.com
To: frameworks@jonasmekasfilms.com
Sent: Sun, 30 Aug 2015 13:09
Subject: Re: [Frameworks] Gatten


David is not at Duke anymore, so that email may not have gone through (also 
could explain his radio silence). He has a new address, and I'm sure would be 
pleased to hear from you. It's david.gat...@colorado.edu. Hopefully I'm not 
remiss for sharing it. 
Cheers,
Kate
 
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Re: [Frameworks] Titles of scratch films

[nicky . hamlyn]

Vicky Smith's films are rotoscoped scratch films on clear celluloid, later with 
addition of body fluids. They are beautiful.

Nicky.

 

 

 

-Original Message-
From: Tess Takahashi tess.takaha...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 25 Aug 2015 20:09
Subject: [Frameworks] Titles of scratch films




I'm doing something on films that employ scratching directly on celluloid like 
Brakhage's Chinese Series, David Gatten's Fragrant Portals..., Dona Cameron's 
World Trade Alphabet, Barbel Neubauer's work, Pierre Hebert's work, Storm 
DeHirsch's Peyote Queen, and Len Lye's Free Radicals.


What am I missing? Old and New? 


Bonus points it it's set to African drums...




 
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Re: [Frameworks] Titles of scratch films

[nicky . hamlyn]

Hi Tess,

Vicky's email below. She also just completed her PhD, which is on 'Full-Body 
Film',

Best wishes,

Nicky.

vsmi...@students.ucreative.ac.uk
 

 

 

-Original Message-
From: Tess Takahashi tess.takaha...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 26 Aug 2015 23:59
Subject: Re: [Frameworks] Titles of scratch films



Thanks, all, for putting these films on my radar - and to those of you who sent 
links!


I'm looking forward to tracking them down - along with various suggested 
reading materials by crackpot crafters + others!


I sure there are more out there...


Tess



On Wed, Aug 26, 2015 at 5:27 PM,  nicky.ham...@talktalk.net wrote:

Vicky Smith's films are rotoscoped scratch films on clear celluloid, later with 
addition of body fluids. They are beautiful.

Nicky.

 

 

 

-Original Message-
From: Tess Takahashi tess.takaha...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 25 Aug 2015 20:09
Subject: [Frameworks] Titles of scratch films





I'm doing something on films that employ scratching directly on celluloid like 
Brakhage's Chinese Series, David Gatten's Fragrant Portals..., Dona Cameron's 
World Trade Alphabet, Barbel Neubauer's work, Pierre Hebert's work, Storm 
DeHirsch's Peyote Queen, and Len Lye's Free Radicals.


What am I missing? Old and New? 


Bonus points it it's set to African drums...




 

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Re: [Frameworks] films about solfege

[nicky . hamlyn]

The Sound of Music.

Nicky.

 

 

 

-Original Message-
From: Amanda Christie ama...@amandadawnchristie.ca
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 6 Aug 2015 17:37
Subject: [Frameworks] films about solfege


Hello hive mind,

I'm looking for examples of films about or related to solfège.

thanks,

amanda
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Re: [Frameworks] processing 16mm Tri X as negative in a bucket like a savage

[Nicky Hamlyn]

I got nice results using Dektol with Agfa ST8 sound film. Nicky 

Envoyé à partir de mon smartphone Sony Xperia™ 

 Scott Dorsey a écrit 

Dektol is a very, very fast-working developer and very grainy.  It is
intended for paper and print materials, not for film.  It may be possible
to use very diluted dektol but you will have to do some testing on short
lengths, and the results will tend to be inconsistent because of the short
times.
--scott
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Re: [Frameworks] countryside film

[nicky . hamlyn]

Deliverance.
Moi, PIerre Riviere.

Nicky.

 

 

 

-Original Message-
From: John Matturri jmatt...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 13 Jul 2015 16:56
Subject: Re: [Frameworks] countryside film


La terra trema
On Jul 13, 2015 11:54 AM, Caryn Cline carynycl...@gmail.com wrote:


In the feature film category:


Louis Malle's Lacombe, Lucien 
Easy Rider
Shane

Shame (Australian feminist retelling of Shane)
Invasion of the Body Snatchers (1956 version)


CC






On Mon, Jul 13, 2015 at 1:03 AM, franco base frenk.ca...@gmail.com wrote:



Hi
I'm looking for experimental films where the idyllic vision of the countryside 
is overturned. Films that show the violence and ignorance that reign in the 
little villages in opposition, for example, with the hippie vision of the 
countryside.


Non experimental films are welcome also.
I think to:
Hunting Scenes from Bavaria little village
La Poison 
Straw Dogs


Thanks a lot.



f



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-- 

Caryn Cline
Experimental Filmmaker  Teacher
vimeo.com/carynyc

Co-producer  cinematographer, Acts of Witness
www.actsofwitness.com








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Re: [Frameworks] Image data to sound data

[nicky . hamlyn]

Have you seen Lis Rhodes' film Light Music (1975)? 

Nicky.

 

 

 

-Original Message-
From: _blank bl...@null66913.net
To: frameworks@jonasmekasfilms.com
Sent: Fri, 19 Jun 2015 14:32
Subject: [Frameworks] Image data to sound data


Hi everybody,


Some days ago I performed an experiment that maybe some of you find 
interesting. I’m obsessed with the relationship between image and sound and I 
saved all frames from a silent abstract movie (Opus IV by Walter Ruttmann) as 
sound files. The result is this https://vimeo.com/130891108 What you see and 
what you hear are exactly the same files, I just saved all the jpg frames as 
aiff.


I’ve being doing this kind of experiments for a while (saving image files as 
sound files and vice versa), but never using material from other people or 
classic experimental films. I think that the result is curious because this 
kind of abstract films are really similar to the digital images used today in 
certain types of electronic music (giltch, minimal, noise, etc.) that are very 
related to the type of sound obtained from this data bending experiments.


Regards,
Blanca Rego


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

 
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Re: [Frameworks] sound examples in film + video

[nicky . hamlyn]

Specifically in relation to the diagetic / non-diagetic, the farmyard piano 
scene from Godard's Weekend,

Nicky.

 

 

 

-Original Message-
From: lagonaboba lagonab...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 15 Jun 2015 16:08
Subject: Re: [Frameworks] sound examples in film + video


For mainstream features, check out the BFI Screen Guides text, 100 Modern 
Soundtracks by Phillip Brophy.
Brophy’s introduction offers a constructive contextualizing perspective.  
Decent text for laying a groundwork for thinking about sound in narrative 
features.
Bresson is always brilliant with sound.  
Kubelka’s sound in Unsere Afrikareise is fantastic.
Baillie is sonically strong in Castro Street and Quick Billy.
Deborah Stratman does some great sound work.
My own, Suite of Summer Evenings, if I may, has a rich soundscape. (if you’d 
like to judge for yourself, I’ll send you the Vimeo password).


robert harris


On Jun 15, 2015, at 10:21 AM, Matt Shaw mshaw...@gmail.com wrote:


Hi Folks,

I’m looking for recommendations of films + videos that can be used to exemplify 
the use of sound (diegetic and non-).

This is for an introductory video studio course with the section focusing on 
sound ending with a portrait/doc project.

All types and styles of filmmaking appreciated. 


Matt Shaw


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Re: [Frameworks] TV jargon

[nicky . hamlyn]

Sometimes called a 'Sting' in the UK,

Nicky.

 

 

 

-Original Message-
From: Gene Youngblood ato...@comcast.net
To: Frameworks Listserv frameworks@jonasmekasfilms.com
Sent: Sat, 13 Jun 2015 5:37
Subject: Re: [Frameworks] TV jargon


Thanks, all, for your kind responses.



On Jun 12, 2015, at 9:45 PM, Bernd Luetzeler fi...@gmx.de wrote:



If I’m getting you right you’re talking about a sequence at the beginning of 
the TV program,
showing the protagonists, often mixed with Motion Graphics and music?
And that sequence would appear at the beginning of each episode, right?
When I was working in a German TV channel (2000-2009), they were calling them 
the “Signation”.
But I think the term might differ from country to country or even from channel 
to channel.
I hope that helps...
Bernd







On 13-Jun-2015, at 05:23, k. a.r. a_r...@hotmail.com wrote:


I agree w Francisco. Intros.. 
source: I used to work in live TV

Kristie Reinders, B.F.A. 
Director of Cinematography, Electric Visions 
Curator and Head Projectionist, Electric Mural Project 
The Mission, San Francisco, CA 

'A first class technician should work best under pressure.' 
- - - Issac Asimov 



Date: Fri, 12 Jun 2015 13:16:44 -0400
From: fjtorre...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] TV jargon


Back in the 90s we used to call them 'Intros'' or  ''I.D.s''. (because they 
were supposed to create an identity or ''Personality'' for each time slot). 
Sigh


2015-06-12 10:04 GMT-04:00 Gene Youngblood ato...@comcast.net:

Frameworkers whose day job is TV, can you tell me what is the industry term for 
moving image introductions to program series. I’m thinking of TCM’s non-verbal 
mini-narratives that precede movies — one imitating Edward Hopper’s 
“Nighthawks,” another where golden Adonis’s push a giant world globe. They 
function like logos, but logos are still graphics.
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Re: [Frameworks] Night films

[nicky . hamlyn]

The Klopfenstein is the one I was trying to remember. The LFMC had a print of 
it long ago. Might be worth asking LUX,

Nicky.

 

 

 

-Original Message-
From: Christopher Ball cbifi...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 14 May 2015 5:47
Subject: Re: [Frameworks] Night films


Peter Mettler, Picture of Light, http://www.imdb.com/title/tt0110831/combined


On Wed, May 13, 2015 at 12:46 PM, Esperanza Collado 
esperanzacolla...@gmail.com wrote:

Thank you all for your superb recommendations.




2015-05-13 17:09 GMT+02:00 fred truniger fred.truni...@gmail.com:

  
Hi Esperanza
Clemens Klopfenstein's Night Films come to my mind: Geschichte derNacht 
(to be found on ubu); Transes; Das Schlesische Tor.
These have been shot around 1980 in 16mm entirely at night withoutany 
additional light.
Emily Richardson's Petrolia is another random guess.
cheers, fred



Am 13.05.15 um 14:55 schrieb peter  snowdon:




Hi Esperanza, 
  
  
 
  
At the more documentary end of the experimental spectrum,there is 
Laura Waddington's Border, much of which was shot atnight. 
  
  
There are also these four short YT videos which speak, Ithink, to the 
question of what the night conceals, and what itmakes visible 
(sensible): 
  
  
http://www.mightierthan.com/2009/07/poem-for-the-rooftops-suite/
  
  
 
  
best
  
Peter
  
 
  
 
  
On Tue, May 12, 2015, at 07:49 PM, Esperanza Collado wrote:
  
  

Dear frameworkers,


 

A friend is preparing a film in which she will work in the  limits of 
visibility, in the night, trying to force  perception. Would you please 
recommend experimental film  references apart from Liotta, Dorsky, 
Dwoskin? It would be  interesting to get references of films and videos 
in which  there is no use of special camera techniques such as  
time-lapse or night-shot. 


 

Many thanks!


 

 

 

 

-- 


Esperanza Collado


  
- - - - - - - - - - - - - - 
  
  
www.esperanzacollado.org
  


 

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--


The term 'experimental cinema' is  like 'organic agriculture' or 
'participatory democracy': we  only need the adjective because there's 
something wrong with  the noun. Nicolas Rey


___


gourna films


www.redrice.net

  
  
 
  
  
  
  
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-- 
  Dr. Fred Truniger
Grünmattstrasse 52
CH - 8055 Zürich
Tel: +41 - 43 - 3445220
Mobile: + 41 78 8258864

Office
Sihlquai 67
8005 Zürich
fred.truni...@gmail.ch  
  

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-- 

Esperanza Collado
- - - - - - - - - - - - - - 

www.esperanzacollado.org




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Re: [Frameworks] Night films

[nicky . hamlyn]

Helga Fanderl: Night and Wind
Emily Richardson: Block, Nocturne
Chris Welsby: Drift
Peter Gidal: Room Film 1973, Close UP

The LFMC used to have a beautiful BW film shot in cities at night by someone 
like Wim Wenders cinematographer, but that's all I can remember.

Nicky.

 

 

 

-Original Message-
From: Esperanza Collado esperanzacolla...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 12 May 2015 18:49
Subject: [Frameworks] Night films


Dear frameworkers,


A friend is preparing a film in which she will work in the limits of 
visibility, in the night, trying to force perception. Would you please 
recommend experimental film references apart from Liotta, Dorsky, Dwoskin? It 
would be interesting to get references of films and videos in which there is no 
use of special camera techniques such as time-lapse or night-shot. 


Many thanks!





-- 
Esperanza Collado
- - - - - - - - - - - - - - 

www.esperanzacollado.org



 
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Re: [Frameworks] London Super-8 Lab recommendations

[nicky . hamlyn]

Don't most labs with a website also have a real address? Try here: 
http://www.cinelab.co.uk/

They process Super 8 neg and they have an address. They're in Slough, west of 
London, about 25 minutes by train. I don't think there's anywhere else in the 
UK,

Nicky.



 

 

 

-Original Message-
From: Bernd Luetzeler fi...@gmx.de
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 7 May 2015 21:27
Subject: [Frameworks] London Super-8 Lab recommendations


Dear Frameworkers!

a friend of mine wants to get some Kodak Super-8 negative rolls processed and 
telecine’d in London.
He says there are a couple of places he has found online, but he finds it 
difficult to tell what would be the best place?
So maybe someone has some ideas what is the best place to get both services 
done 
in good quality, by reliable people,
ideally a place with a proper address (not just online) and accepting credit 
cards… ???

whoever has any leads just let me know

Bernd
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Re: [Frameworks] London Super-8 Lab recommendations

[nicky . hamlyn]

Have a look on this page:

http://www.cinelab.co.uk/services/film-processing/

Nicky.

 

 

 

-Original Message-
From: Bernd Lützeler fi...@gmx.de
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Fri, 8 May 2015 4:15
Subject: Re: [Frameworks] London Super-8 Lab recommendations


Dear Nicky,


thanks for the link. I looked at their website and Super-8 is not mentioned at 
all. Are you sure they offer Super-8?


thanks


Bernd


Bernd Lützeler
Wedekindstr. 19
10243 Berlin
+49.30.2923444
+49.172.3947635
fi...@gmx.de
www.filmifunda.de


On 08.05.2015, at 02:54, nicky.ham...@talktalk.net wrote:



Don't most labs with a website also have a real address? Try here: 
http://www.cinelab.co.uk/

They process Super 8 neg and they have an address. They're in Slough, west of 
London, about 25 minutes by train. I don't think there's anywhere else in the 
UK,

Nicky.



 

 

 

-Original Message-
From: Bernd Luetzeler fi...@gmx.de
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 7 May 2015 21:27
Subject: [Frameworks] London Super-8 Lab recommendations


Dear Frameworkers!

a friend of mine wants to get some Kodak Super-8 negative rolls processed and 
telecine’d in London.
He says there are a couple of places he has found online, but he finds it 
difficult to tell what would be the best place?
So maybe someone has some ideas what is the best place to get both services 
done 
in good quality, by reliable people,
ideally a place with a proper address (not just online) and accepting credit 
cards… ???

whoever has any leads just let me know

Bernd
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Re: [Frameworks] Ethnographic films / studies of The Other

[nicky . hamlyn]

You seem to contradict yourself: you say 'whenever I see' etc, but then ask 
'what are some (of these films)'? If you know you've seen some, how come you 
can't identify them?

Nicky. 
 

 

 

-Original Message-
From: Chris Freeman christopherbriggsfree...@gmail.com
To: frameworks@jonasmekasfilms.com
Sent: Fri, 1 May 2015 13:15
Subject: [Frameworks] Ethnographic films / studies of The Other


Whenever I see an ethnographic travelogue or some study of the other by a 
white male at a screening, there's always a collective eye roll of great, 
another white male putting minorities on the screen.  I know the trope, but I 
don't actually know any of those specific cliche films.  What are some?

 
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Re: [Frameworks] Complete Plant Liquidation of Deluxe La boratories, Inc.’s. Hollywood Film Process ing Facility. One of the World’s Largest Film Processing and Facilities

[nicky . hamlyn]

Yes, also ironic, given many labs and post-production facilities would junk 
their old gear rather than sell it in working condition, in case it was bought 
by a rival firm,

Nicky.

 

 

 

-Original Message-
From: Christopher Ball cbifi...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 7 Apr 2015 13:25
Subject: Re: [Frameworks] Complete Plant Liquidation of Deluxe La boratories, 
Inc.’s. Hollywood Film Process ing Facility. One of the World’s Largest Film  
Processing and Facilities


Probably most of it went to metal recyclerssuch a shame.


On Tue, Apr 7, 2015 at 9:16 AM, Nicholas Kovats nkov...@gmail.com wrote:

Indeed. But I should have read more carefully. The auction notice was from last 
year. I wonder how it was parceled out?


On Monday, April 6, 2015, Nicky Hamlyn nicky.ham...@talktalk.net wrote:

Ironic, considering the first thing Deluxe did after buying Soho Film Lab in 
London was to cease 16mm printing. That's what precipitated Tacita Dean's save 
film campaign. Nicky.


 Nicholas Kovats wrote 

The auction title says it all. Over 1032 individual lots and starts on
June 3. Sad to see, i.e.
http://www.hgpauction.com/auctions/60587/deluxe/ The complete catalog,
i.e. https://hgpauction.hibid.com/catalog/43298/deluxe-labs. My hope
is that some of the remaining labs are able to raise sufficient
capital to make use of some portion of this huge former operation.
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Re: [Frameworks] Complete Plant Liquidation of Deluxe Laboratories, Inc.’s. Hollywood Film Processing Facility. One of the World’s Largest Film Processing and Facilities

[Nicky Hamlyn]

Ironic, considering the first thing Deluxe did after buying Soho Film Lab in 
London was to cease 16mm printing. That's what precipitated Tacita Dean's save 
film campaign. Nicky.

 Nicholas Kovats wrote 

The auction title says it all. Over 1032 individual lots and starts on
June 3. Sad to see, i.e.
http://www.hgpauction.com/auctions/60587/deluxe/ The complete catalog,
i.e. https://hgpauction.hibid.com/catalog/43298/deluxe-labs. My hope
is that some of the remaining labs are able to raise sufficient
capital to make use of some portion of this huge former operation.
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Re: [Frameworks] Short films that focus on the post-industrial

[nicky . hamlyn]

Anything by Patrick Keiller, some of Kevin Jerome Everson's work, though don't 
know it all to make accurate suggestions, William Raban's recent work over the 
last twenty years,

Nicky.

 

 

 

-Original Message-
From: Margaret Rorison margaret.b.rori...@gmail.com
To: frameworks@jonasmekasfilms.com
Sent: Tue, 31 Mar 2015 15:37
Subject: [Frameworks] Short films that focus on the post-industrial


Dear Friends,


I am looking to find short films that visually capture the post-industrial 
landscape as well as the broad range of feelings and experiences that may 
surround these landscapes. 


thanks so much, 
Meg Rorison 










-- 



http://margaretrorison.com/
http://sightunseenbaltimore.com/

(443) 695-4228


 
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Re: [Frameworks] Women working in Expanded Cinema

[nicky . hamlyn]

There are 413 miles between Edinburgh and London. They are even in different 
countries, as recent events have highlighted!

Nicky.

 

 

 

-Original Message-
From: herb shellenberger htsh...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 31 Mar 2015 20:24
Subject: Re: [Frameworks] Women working in Expanded Cinema


Late pass but two not mentioned:


Screen Bandita (whose members are now scattered in Edinburgh-London and 
Australia) http://www.screenbandita.org


Rose Kallal (NYC) https://vimeo.com/user7961588



On Sat, Mar 21, 2015 at 5:10 PM, Carl E Bogner crlel...@uwm.edu wrote:



Kellie Bronikowski
Sandra Gibson
Zoe Beloff


From: FrameWorks frameworks-boun...@jonasmekasfilms.com on behalf of Amanda 
Christie ama...@amandadawnchristie.ca
Sent: Saturday, March 21, 2015 11:58 AM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Women working in Expanded Cinema


Kerry Laitala 



On 2015-03-21, at 1:48 PM, Kenneth Linehan wrote:

 I'd recommend adding Brittany Gravely  Tara Nelson to your list. Both 
 working of film  in expanded cinema context.


 On Mar 20, 2015, at 1:04 PM, Alex Balkam blueswingingd...@gmail.com wrote:

 Hello Frameworks,

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

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

 Thank you,

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Re: [Frameworks] Seeking source for this quote:

[nicky . hamlyn]

 Jean Renoir said the same thing in different words in 1961 here: 
http://www.youtube.com/results?search_query=jean+renoir+parle+de+son+art

Nicky.

 

 

-Original Message-
From: Ken Paul Rosenthal kenpaulrosent...@hotmail.com
To: Frameworks Postings frameworks@jonasmekasfilms.com
Sent: Sat, 28 Mar 2015 18:21
Subject: [Frameworks] Seeking source for this quote:


“The closer movies  come to representing reality, the worse they 
fail at representing  the world.”

I think it's by Alexander Kluge, but not certain.

Thanks! Ken

www.kenpaulrosenthal.com
www.whisperrapture.com

www.maddancementalhealthfilmtrilogy.com
  
 
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Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?

[nicky . hamlyn]

I showed Wavelength yesterday to first year Fine Art students. It's  a very 
tough introduction to a/g film, a real plunge into the deep end. It really 
annoys and baffles some, but enthuses others, but it always stimulates debate 
in a way that few other films can. For these reasons and others, it's essential,

Nicky. 
 

 

 

-Original Message-
From: Peter Mudie peter.mu...@uwa.edu.au
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sat, 28 Mar 2015 2:38
Subject: Re: [Frameworks] What are the 3 Essential Films that you would show 
Artists on their first foray into the Moving Image Realm ?


Wavelength (Snow, 1967); Zorns Lemma (Frampton, 1970); Arnulf Rainer
(Kubelka, 1960) - in that order.
Peter
(Perth)

On 28/03/2015 9:47 am, Bernard Roddy rodd...@yahoo.com wrote:

I taught an introductory course in which I framed things under the
terms underground, avant-garde, studio-art video, video as
technology, documentary, and a concluding section called film
culture (histories of organizing, concluding with Cashmere's Incite
issue devoted to exhibition).

1. For underground we get Amos Vogel and are allowed relatively populist
clips.
2. For avant-garde we get Scott MacDonald and the classics of his
early text, Avant-Garde Film (which is really useful to keep us in the
history game, since there's that initial link in MacDonald to the
split identified in Kracauer's Theory of Film, the formative and the
realist tendencies).
3. For studio-art video we get Catherine Elwes, who can position body-
and gender-oriented video nicely into a context with Paik.
4. For video as technology we get Yvonne Spielmann, who has a notion
of experimental with respect to video that is about signals, not
frames or even images.  This is essential to talk about Steina.
5. For documentary we have a chapter from Renov and a chapter from
Marks.  Renov can get us Saddie Benning.
6. I found the film culture to be the most useful for introducting
the Austrian work, like Kren's.  Hans Scheugle's text in
Tscherkassky's volume ensures that we have some context for the
expanded of cinema art.

Bernie

On Fri, Mar 27, 2015 at 1:56 PM, Gene Youngblood ato...@comcast.net
wrote:
 Three is a severe limitation, but if you insist, one way to get at it
is to
 start not with films but with major traditions since mid-century and
select
 exemplary works within them. So for example abstract (Brakhage),
minimalist
 (Warhol, Wavelength), essayistic (Marker, Farocki, Forgacs). I include
 Brakhage¹s lens-captured films in the problematic ³abstract.



 On Mar 27, 2015, at 11:43 AM, Donal OCeilleachair donalo...@gmail.com
 wrote:

 Dear Frameworkers:

 I am working on a new film project with the Ealaíontóirí Mhuscraí
 (that's Irish for the Muskerry Region Artists Group)

 Part of the project will involve film / video making workshops where I
will
 show
 them works from experimental film, creative documentary and artists'
moving
 image works
 as a point of reference and inspiration for their own initial
explorations
 into the realm of the moving image

 I am compiling a short-list of 'Essential' works to show them during
these
 workshops
 and I would appreciate responses to the question:
 'What are the 3 Essential Films that you would show Artists
 on their first foray into the Moving Image Realm ?'

 I look forward to hearing any suggestions

 Le míle buíochas (with many thanks)
 --
 Dónal Ó'Céilleachair
 www.anupictures.com

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Re: [Frameworks] Women working in Expanded Cinema

[Nicky Hamlyn]

And Cathy Rogers, who's too modest to mention herself.

Nicky.

 Cathy Rogers wrote 

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Re: [Frameworks] Bi-packing Bolex H16 to print film

[nicky . hamlyn]

Don't remove the lens. Just point the camera at an evenly-lit white wall, take 
an incident light reading as if you were filming the wall (which you are in a 
way) and then expose in the normal way, using the aperture on the lens to 
adjust the exposure. 

Nicky.

 

 

 

-Original Message-
From: i...@arepoproductions.com
To: frameworks@jonasmekasfilms.com
Sent: Tue, 24 Feb 2015 10:29
Subject: [Frameworks] Bi-packing Bolex H16 to print film


Hello fellow Frameworkers,I just tried to load some dummy film through the gate 
(emulsion to emulsion of course) and it loads successfully on my Bolex 
H16.Theoretically, leaving the prism without a lens I presume if light goes 
through the negative, I should be able to print on unexposed film right 
behind.Has anyone ever attempted to successfuly bi-pack a Bolex H16 to print? 
And if so, any suggestion/tip on lighting/exposure?Thanks a 
million,Alberto___FrameWorks 
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Re: [Frameworks] Francis Lee?

[nicky . hamlyn]

As far as the UK is concerned you don't need permission to reproduce a frame 
from a film, as long as you don't ask. Some organisations, like the Warhol 
Foundation, pursue everyone for anything, however small, but it's unlikely in 
this case, I would have thought. This is based on my own experience of 
publishing a book which contained, e.g. a frame enlargement from Blowup,


Nicky.



-Original Message-
From: Gregory Zinman gzin...@mac.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 18 Feb 2015 15:12
Subject: [Frameworks] Francis Lee?


Hello,


I’m publishing an essay and would like to use an image from Francis Lee’s film 
1941. Does anyone know who might hold the rights to the film? I know that it 
was included in the Unseen Cinema set from several years ago. Thanks in advance 
for your help!


Best,


Greg
 
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Re: [Frameworks] Optical sound - Structural film

[nicky . hamlyn]

Lis Rhodes: Light Music for two projectors facing each other. It's very intense!

Nicky.

 

 

 

-Original Message-
From: Amanda Christie ama...@amandadawnchristie.ca
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 11 Feb 2015 13:00
Subject: Re: [Frameworks] Optical sound - Structural film


Norman McLaren made several films by animating directly onto the optical track.
There is even a short documentary of him doing this in the film called Pen 
Point Percussion where they film him working on a film called Dots
You can view his work online on the National Film Board website: 
https://www.nfb.ca/explore-all-directors/Norman-McLaren/


Is there a reason that you're keeping it to the 60s and 70s?


I can think of other artists, such Richard Reeves, as well as myself, who have 
done work directly on optical tracks in the last 20 years.


adc









Amanda Dawn Christie

506-871-2062
www.amandadawnchristie.ca
ama...@amandadawnchristie.ca
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On 2015-02-11, at 7:02 AM, Peter Mudie wrote:



Rarely discussed, but a fantastic film – one of the best from the LFMC.
Peter
(Perth)


From:  Pip Chodorov framewo...@re-voir.com
Reply-To:  Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date:  Wednesday, 11 February 2015 6:31 pm
To:  Albert Alcoz albertalc...@yahoo.es, Experimental Film Discussion List 
frameworks@jonasmekasfilms.com
Subject:  Re: [Frameworks] Optical sound - Structural film




There's Ten Drawings by Steve Farrer (1976)
http://lightcone.org/fr/film-477-10-drawings




At 8:46 + 11/02/15, Albert Alcoz wrote:
Does anybody know structural or structural-materialist or minimal/abstract 
films from the sixties or seventies where the sound of the film comes directly 
from the graphic treatment on the optical sound area of the celluloid?

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

[nicky . hamlyn]

Lots of Lumiere films,

Nicky.

 

 

 

-Original Message-
From: Benjamin Léon benj.l...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sat, 7 Feb 2015 10:54
Subject: Re: [Frameworks] Single-shot fixed camera landscape/cityscape films


You could find something in some Peter Hutton's landscape films: 


New York Portrait Part 1, 2 ,3


Landscape for Manon 


Boston Fire


...


It's more like some extended single shots during the film process, but taken 
from a fixed position. 


You can find some essays about him in La Furia Umana (LFU/21) : 


Enrico Camporesi 
Urban Sensuality. Five Notes Around Peter Hutton's New York Portrait Trilogy



http://www.lafuriaumana.it/?id=258



Benjamin Léon 
Peter Hutton et les fantômes de l'Hudson River School : L’image suspendue 
(espace, regard, mythe)



http://www.lafuriaumana.it/?id=228



And La Furia Umana paper #6 : 


http://www.lafuriaumana.it/?id=251



...


Best. 
...





2015-02-06 19:15 GMT+01:00 Daniel Hess danielh...@gmail.com:

Nathaniel Dorsky!

On Feb 2, 2015 9:43 AM, _blank bl...@null66913.net wrote:

Hi,

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

Any suggestions?

Thank you!
Blanca

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

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Benjamin

Benjamin Léon
benj.l...@gmail.com
twitter: @ben750
skype : benjil75
(Fr) + 33 (0)6 28 07 18 00
http://ben-newhorizons.tumblr.com/

 
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Re: [Frameworks] loop printing at lab

[nicky . hamlyn]

What does that mean? I have work at Niagara! Can anyone shed light on this?

Nicky.

 

 

 

-Original Message-
From: Jorge Lorenzo Flores Garza jorgelore...@hotmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 3 Feb 2015 16:56
Subject: Re: [Frameworks] loop printing at lab


I am pretty sure Niagara dies too.



Date: Mon, 2 Feb 2015 20:14:12 -0500
From: sasha.jane...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] loop printing at lab


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


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Re: [Frameworks] Books on the History of Avant-Garde film in US

[nicky . hamlyn]

Not sure if anyone has already mentioned Scott MacDonald: The Garden in the 
Machine.

Nicky.

 

 

 

-Original Message-
From: Dave Tetzlaff djte...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sat, 31 Jan 2015 6:25
Subject: Re: [Frameworks] Books on the History of Avant-Garde film in US


Juan Suarez, Bike Boys, Drag Queens and Superstars, Indiana U Press, 1996 
[essential, imho]
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Re: [Frameworks] Elf service

[Nicky Hamlyn]

Hi Graham,  would be great if you could service my Elfs. I need them for early 
March.  Best, Nicky 

 graemeh...@irational.org wrote 

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Re: [Frameworks] Elf service

[Nicky Hamlyn]

Great, yes I remember.  The take ups and focus knob: usual things but also a 
lube service would be good.  Nicky.

 graemeh...@irational.org wrote 

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[Frameworks] Elf service

[nicky . hamlyn]

Does anyone know anyone in the UK who services Elf projectors? Alternatively 
can anyone give me some advice on how to do it myself?

Thanks,

Nicky.
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Re: [Frameworks] A.L. Rees, 1949­2014

[nicky . hamlyn]

My blog address was wrong. It should be www.nickyhamlyn.com

NIcky.

 

 

 

-Original Message-
From: Peter Mudie peter.mu...@uwa.edu.au
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 3 Dec 2014 22:23
Subject: Re: [Frameworks] A.L. Rees, 1949­2014


Very sad news.
Vale – A. L. Rees.
Peter
(Perth)


From:  nicky.ham...@talktalk.net nicky.ham...@talktalk.net
Reply-To:  Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date:  Thursday, 4 December 2014 5:26 am
To:  Experimental Film Discussion List frameworks@jonasmekasfilms.com
Subject:  Re: [Frameworks] A.L. Rees, 1949–2014



I posted a short obituary on Facebook and on my blog; www.nicky.hamlyn.com.


 Jonathan Walley wrote 

Dear Deke,

Thank you for sharing this very sad news. I’ve long admired Al’s work - his 
book and numerous articles on experimental film are never far from my reach 
when I’m writing, and I’m sure many other scholars would say the same. He was 
encouraging of my own work, which meant a lot to me. He’ll continue to be a 
force to be reckoned with.
All best wishes,
Jonathan

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


 On Dec 3, 2014, at 10:57 AM, Deke Dusinberre de...@orange.fr wrote:
 
 I'm sorry to report that the avant-garde film community, and the British 
 scene in particular, has lost a valiant, witty champion. Al Rees died at home 
 in London last Friday after a long illness. He was an inspiring teacher, 
 insightful critic, and elegant writer—his History of Experimental Film and 
 Video has deservedly been reprinted several times since it was first 
 published in 1999. 
 He was also a warm and loyal friend.  
 
 Bereft,
 
 Deke Dusinberre
 (Paris)
 
 
 de...@orange.fr
 Tel: (33-1) 42.54.38.05
 
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Re: [Frameworks] experimental/handcrafted animation

[nicky . hamlyn]

Vicky Smith's work is very interesting and innovative. Her work is represented 
on the new No.w.here ten year anniversary compilation DVD, out next week!

Nicky.

 

 

 

-Original Message-
From: Esperanza Collado esperanzacolla...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 12 Nov 2014 19:39
Subject: [Frameworks] experimental/handcrafted animation


You probably already knwo the work of Jodie Mack?

On Wednesday, November 12, 2014, Gary Thomas gary.tho...@mac.com wrote:


From the UK...


Kayla Parker
http://www.animateprojects.org/films/by_date/1995_98/sunset_strip
http://www.animateprojects.org/films/by_date/1991_1994/cage_of


Elizabeth Hobbs
http://www.animateprojects.org/films/by_date/2013/imperial_provisor_frombald


Mandy McIntosh
http://www.animateprojects.org/films/by_date/2005_06/oompie


The elements of Oliver Harrison's Love is All are arranged digitally, but all 
analogue crafted, and shot on film..(only an extract here) 
http://www.animateprojects.org/films/by_date/1999_2001/love_is



On 12 Nov, 2014,at 02:22 PM, Amanda Christie ama...@amandadawnchristie.ca 
wrote:




Check out 


Assembled by Becka Barker
she manually cut super 8 frame holes into 35mm film, and spliced in the super 8 
frames into the 35mm film, frame by frame, and then scratched animation around 
on the remaining 35mm film frames.  


She recently completed a more digital project involving 3-D projection on a 
sphere called map-of-the-world, where she had people draw maps of the world 
from memory and then animated them all together, you could walk all the way 
around the sphere and watch the map of the world shift an morph as she animated 
people's remembered and imagined maps sequentially.  that was also quite 
beautiful!  hard to show in a class though, and i don't know if there is 
documentation.


It's beautiful!





xoadc


 



On 2014-11-12, at 10:16 AM, Anna Swanson wrote:


Hi Kelly,


For contemporary work by very cool ladies:
Definitely check out the work of Britta Johnson (http://www.thekmpi.net/) and 
the SEAT folks (Seattle Experimental Animation Team) in general.
Also, Picture Start by Hannah White (https://vimeo.com/91560907)


Best,
Anna




On Tue, Nov 11, 2014 at 3:24 PM, Dave Tetzlaff djte...@gmail.com wrote:

Kelly:
 
 I highly recommend the work of Jeanne Stern: http://jeannestern.com/films.html 
 
  I'm finalizing a syllabus for an upcoming handcrafted animation course... 
  I'm especially looking for work made by women...





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-- 
Esperanza Collado
- - - - - - - - - - - - - - 

www.esperanzacollado.org



 
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Re: [Frameworks] Films incorporating déjà vu

[nicky . hamlyn]

Rivette: Celine and Julie go Boating (if memory serves)? Bunuel: The 
Exterminating Angel (ditto)? Hitchcock: Vertigo,

Nicky.

 

 

 

-Original Message-
From: David Sherman davidgatessher...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Fri, 7 Nov 2014 15:47
Subject: Re: [Frameworks] Films incorporating déjà vu


Bela Tarr's Satan Tango has an early scene that is repeated about 4 hours 
latter (the film is 450 mins)  in the film that is exactly the same, just done 
as a reverse shot of the same action (tracking).-David


On Fri, Nov 7, 2014 at 12:05 AM, Daniel Maldonado gashousefi...@gmail.com 
wrote:

Looking for examples of films that have made attempts at visually capturing ( 
even narratively) this unique sensation

Thanks in advance
Daniel
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-- 

David Sherman


646 E. 5th Street
Tucson, AZ 8705
 520-366-1573
www.explodedviewgallery.org

www.davidshermanfilms.com



 
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Re: [Frameworks] advice on Europen film labs

[nicky . hamlyn]

I think you're worrying unnecessarily about losing film at the lab. These labs 
are professional outfits you know, not amateurs with bathtubs!
You could also try Haghe Film in Amsterdam or Prestech in London for prints, 
iDailies in London if you just want dev and T'fer to ProRes HQ.

Nicky.

 

 

 

-Original Message-
From: Jason Halprin jihalp...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 20 Oct 2014 20:11
Subject: Re: [Frameworks] advice on Europen film labs



Marco,

Not to be a buzzkill, but its likely that you'll already have some variability 
if some of your film has been sitting around a few years after shooting it. 
Letting film sit after exposure will usually cause fogging, though it may not 
necessarily create a look that is displeasing to you. This would mean that the 
fogging levels on your film would vary depending on just how long it has been 
since shooting, and how they've been stored since.

That being said, if you've been shooting negative film, there's not too much to 
worry about from a reputable lab (which both DeJonghe and Andec are). Even if 
the development causes slight shifts in density and/or color balance, this can 
be worked out in printing or scanning (depending on your workflow). You'd be 
better off getting it all in at once so that it has a consistent look 
throughout. Everyone I know who has sent enough films to labs has a story of a 
batch getting damaged or not processed perfectly, but this is the exception 
rather than the norm.


Of course, if you're shooting reversal, you'd also want to get it all in 
together for a consistent look, even though corrections can't be made unless 
you're scanning and/or creating an internegative for later.


-Jason Halprin




Jason Halprin
jihalp...@gmail.com



On Mon, Oct 20, 2014 at 11:46 AM, Marco Poloni mar.pol...@gmail.com wrote:

Dear frameworkers,

I'm back from a shooting with 25 rolls of 16mm film and many more S8mm
film. Three years of painstaking work that will go into a movie.

All this material has to go to a lab for development and I'm really
nervous about the possibility of making the wrong choice.

I addressed this question about one month ago and received some goof
tips from some of you. So right now I am thinking of DeJonghe in
Brussels or TaunusFilm/Cinenova in Wiesbaden for 16mm and AndecFilm in
Berlin for S8mm.

Is there any other lab you can think of that comes to mind? What I am
looking for is reliability and constancy throughout the whole
development chain: strict control of temperatures, of times, etc.

Also, I was thinking of delivering the film rolls in batches of 4 or 5
to minimize the risk of damage (that is, to avoid that all the rolls
be lost because of some serious issue with the development machine)
but on the other hand this means more variability throughout the
process. What would you advise?

Finally, AndecFilm with whom I have a good experience with S8mm have
had some residual jet rem as of lately. What should I say to Mr Draser
(the owner, a great guy) about this?

Many thanks in advance!

Very best,
Marco



--



marco poloni
usedomer strasse 8
d – 13355 berlin
gsm de +49.163.6294080
gsm ch +41.78.6322028
skype marcopoloni
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Re: [Frameworks] Kodak NYC office closing

[nicky . hamlyn]

Polaroid made a Super 8 polaroid camera in the 80s. One of the Dutch pro 
cycling teams used to use one to film the races so they could analyse them 
straight after they finished. Maybe they could join forces with Kodak. Shoot S8 
or some other format, instant process then TX to Pro Res HQ.
 

 

-Original Message-
From: Bill Seery b...@mercermedia.com
To: frameworks@jonasmekasfilms.com
Sent: Wed, 15 Oct 2014 14:13
Subject: Re: [Frameworks] Kodak NYC office closing


Isn't that what they call a video camera?

(just kidding)

Best

Bill Seery
b...@mercermedia.com
212.627.8070




On Oct 15, 2014, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

 if Kodak created quick self developing film and a camera that digitized that 
developed film while still within the camera, things would be different.
 
 Owen 

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Re: [Frameworks] super8 in europe,

[nicky . hamlyn]

Andec both sell and process Super 8:

 http://www.andecfilm.de/en/e_start.htm

Nicky.

 

 

 

-Original Message-
From: Stefan Grabowski ste...@radonlake.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 13 Oct 2014 5:24
Subject: Re: [Frameworks] super8 in europe,


I don't know what the going rate is in Europe, but I know Wittner carries a 
number of black and white stocks in Super-8 format: 
http://www.wittner-kinotechnik.de/katalog/04_filmm/s8_filmm.php

-Stefan Grabowski



From: lea...@hotmail.com
To: frameworks@jonasmekasfilms.com
Date: Mon, 13 Oct 2014 01:23:16 +0200
Subject: [Frameworks] super8 in europe,



hello,
someone can tell us the cheapest way to buy super8 black/white in europe, 
with and without development included,
thank you,
lea,


  

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Re: [Frameworks] Zoom lens and camera used for Wavelength

[nicky . hamlyn]

Probably combined with an Arri BL, which was the ubiquitous camera that went 
with the lens, as used by TV news crews all over the place, and certainly by 
the BBC, before they switched to the Arri SR with Zeiss Distagon lenses in the 
mid 1980s,

Nicky.

 

 

 

-Original Message-
From: Scott Dorsey klu...@panix.com
To: frameworks@jonasmekasfilms.com
Sent: Sun, 12 Oct 2014 5:50
Subject: Re: [Frameworks] Zoom lens and camera used for Wavelength


In the early seventies, the 12-120 was the lens to have, and all of the
TV guys were desperate for the things because they had such a huge range
of focal lengths.  They were ubiquitous for a good while, but they really
weren't very sharp.

Angenieux made hundreds of different lenses back then... and some of them
were better than others but if someone said french zoom your first
thought was probably that 12-120.
--scott
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Re: [Frameworks] Experimental + Documentary Apps

[nicky . hamlyn]

There's a terrible one for Android called AR Effect.

Nicky.

 

 

 

-Original Message-
From: Shane Eason shaneea...@yahoo.ca
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 9 Oct 2014 23:22
Subject: [Frameworks] Experimental + Documentary Apps


H-e-l-l-o...E-v-e-r-y-o-n-e...


I’m conducting some preliminary research on Experimental and Documentary apps 
(individual and collective) for Android, iOS, and other platforms such as PS4 
(Orbis OS),
Xbox One (Windows 8 Partition; upgrade to Windows 10 upcoming) and Linux. I 
know of a few, but does anyone have additional info on other apps? Or, whom may 
have one 
in development? Further, I'm curious as to how some of you view apps (mobile, 
live, or web) as both form and as tributary for content. 


I’m far more savvy with Apple and iOS, but here’s what I’ve collected so far, 
aside from the regular corporate stuff like Hulu, Amazon, Netflix, et cetera, 
et cetera... 


Documentary Film/Media/Sound: Fandor, The Doc Blog, PBS POV, NFB, Docurama, 
Sundance Now, Documentary.net, CodeBarre.tv
Experimental Film/Media/Sound: Michael Betancourt, ATA, Energy Flow, Miranda 
July


Muy apreciado,


-Shane
__
Shane Christian Eason, MFA  
Asst. Prof. of Exp.  Doc. Film | Multimedia Production Coordinator | MFA MTE 
Director 
School of Communication  Multimedia Studies, Florida Atlantic University
Miami/Fort Lauderdale | www.blackironfilms.com


 
 
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Re: [Frameworks] tableau vivante : experimental film and single frames

[nicky . hamlyn]

And Kitchen, Vinyl, Horse and other Warhol films if you went through them 
methodically,

Nicky.

 

 

 

-Original Message-
From: Jared Ashburn ashburn.ja...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 7 Oct 2014 2:38
Subject: Re: [Frameworks] tableau vivante : experimental film and single frames


Warhol: Haircut, Sleep, Beauty #2 and portions of Chelsea Girls. Jack 
Smith's Flaming Creatures would be good too. 

On Oct 6, 2014, at 5:08 PM, Rebekka Erin Moran rebekka.mo...@gmail.com wrote:



Hi,


I am researching a project of the use of the Tableau Vivant in experimental or 
avant-garde filmmaking (history, theory, etc).
I am particularly interested in any examples of filmmakers that were 
investigating the tableau vivant as a reference to a film frame and not to a 
painting.
Also any sub themes that may relate to tableau vivant as a durational film 
frame or living freeze frame, or a tableau vivant as a non-active scene/image 
shot stop motion or frame by frame (in camera or optical printed). 


Any suggestions for readings or names would be greatly appreciated!


best,
Rebekka








Rebekka Moran




rebekka.mo...@gmail.com
http://www.rebekkamoran.com
tel:+345 849 5978










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Re: [Frameworks] tableau vivante : experimental film and single frames

[nicky . hamlyn]

See Jonathan Walley's essay in Millennium Film Journal issue 59, which is on 
this topic,

Nicky. 
 

 

 

-Original Message-
From: Rebekka Erin Moran rebekka.mo...@gmail.com
To: frameworks@jonasmekasfilms.com
Sent: Mon, 6 Oct 2014 22:10
Subject: [Frameworks] tableau vivante : experimental film and single frames


Hi,


I am researching a project of the use of the Tableau Vivant in experimental or 
avant-garde filmmaking (history, theory, etc).
I am particularly interested in any examples of filmmakers that were 
investigating the tableau vivant as a reference to a film frame and not to a 
painting.
Also any sub themes that may relate to tableau vivant as a durational film 
frame or living freeze frame, or a tableau vivant as a non-active scene/image 
shot stop motion or frame by frame (in camera or optical printed). 


Any suggestions for readings or names would be greatly appreciated!


best,
Rebekka








Rebekka Moran




rebekka.mo...@gmail.com
http://www.rebekkamoran.com
tel:+345 849 5978









 
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Re: [Frameworks] FILM Ferrania Kickstarter: potential new color reversal film stock

[nicky . hamlyn]

Is reversal really what people want? If you want a projection print you either 
need a reversal print, a currently unavailable option, or you need an interneg 
then a print, in which case you're surely better off shooting on neg, which is 
what I do. I've never needed internegs, because I've never needed more than 
five or six prints max.

Can someone elucidate? Is it the colour?

Thanks,

Nicky.

 

 

 

-Original Message-
From: Matt Whitman i...@mawhitman.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sat, 4 Oct 2014 0:16
Subject: [Frameworks] FILM Ferrania Kickstarter: potential new color reversal 
film stock



Many of you have probably already seen this, but in contrast to much of the bad 
news we hear regarding film stocks, here is some potentially good news and a 
Kickstarter campaign to begin production of Super8 and 16mm color reversal film 
stocks (link below). In return for a pledge, you can receive film from their 
first batch of film (scheduled for Spring 2015). So far the campaign seems to 
be 
doing well, in 3 days the goal is about 65% met. Take it for what you will...

https://www.kickstarter.com/projects/filmferrania/100-more-years-of-analog-film


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Re: [Frameworks] If you want Kodak hicon, order it now

[nicky . hamlyn]

Try Agfa ST8. It's an orthochromatic sound recording stock. You can get it 
direct from Agfa in 2 x 2000' cans. They usually want you to buy some 
astronomical quantity, ie 105 cans, but they can be talked down,

NIcky.

 

 

 

-Original Message-
From: Ruth Hayes randomr...@comcast.net
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 30 Sep 2014 16:03
Subject: Re: [Frameworks] If you want Kodak hicon, order it now


I received my order and when I called yesterday to see if I could place an 
order for film for my students was told that they stopped taking orders for 
7363 on August 29th. So I guess it's gone!


I'm interested in finding a  16mm stock for photograms that is similarly easy 
to expose and hand-process (meaning with a safe light and not-so-toxic 
chemistry).  If anyone has any leads, please let me know!


Ruth Hayes


http://www.randommotion.com
blogs.evergreen.edu/hayesr



On Sep 29, 2014, at 11:40 AM, 40 Frames wrote:




I received my back ordered 7363 last week. Are others receiving their back 
orders? 


Are others still placing B/Os of 7363? 


Alain




On Wed, Aug 27, 2014 at 2:29 PM, Mark Toscano filmobj...@gmail.com wrote:

Just heard from Kodak, and indeed, the 35mm hicon (5363) is NOT currently being 
discontinued, so no worries (for now!)


Mark





On Wed, Aug 27, 2014 at 12:42 PM, lindsay mcintyre email.li...@gmail.com 
wrote:

Hi Mark

Are you sure about the 5363? You were right about everything else but
I hadn't heard about 5363.  I've got my order in for 7363 but just
wondering if I need to worry about this one too.
Thanks

Lindsay McIntyre





On Tue, Aug 26, 2014 at 11:54 AM, Mark Toscano fiddy...@gmail.com wrote:
 Hi all,

 I spoke to the L.A. Kodak rep yesterday, and 7363 16mm hicon is on back
 order, but the current plan is for Kodak to most likely fill any order as
 long as it comes in basically NOW.

 So if you want any of this stuff, call 1-800-621-FILM and place an order
 while you can.  You will likely be told it's on back order, but you should
 be able to place an order anyway.  It's not a 100% guarantee at this point
 that you'll get the stock, but it's very likely.

 The same should be the case for 5363 35mm hicon, which I believe is also
 being discontinued.

 All the best,

 Mark Toscano

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Re: [Frameworks] If you want Kodak hicon, order it now

[nicky . hamlyn]

I found it very difficult to contact them as they don't have an office in the 
UK. I emailed head office in Belgium (?) and eventually, after a few weeks, 
someone from Pinewood studios, whose name I forget now -this was in about 2010- 
called and asked me a few questions; who was I, what was the film for etc. I 
answered all these and two days later a courier arrived with a can of ST8, all 
free of charge! Subsequently it was harder to get, and someone from my college 
was told initially that he could only order 105 cans. Perhaps the thing is to 
try to do a bulk buy and then sell it on, as someone else here suggested. They 
will consider selling smaller quantities: I guess they are used dealing with 
big labs but once they know who you are, ie a college department, they are 
quite amenable.

Nicky.

 

 

 

-Original Message-
From: 40 Frames i...@40frames.org
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 30 Sep 2014 17:40
Subject: Re: [Frameworks] If you want Kodak hicon, order it now






On Tue, Sep 30, 2014 at 9:06 AM,  nicky.ham...@talktalk.net wrote:

Try Agfa ST8. It's an orthochromatic sound recording stock. You can get it 
direct from Agfa in 2 x 2000' cans. They usually want you to buy some 
astronomical quantity, ie 105 cans, but they can be talked down,








Nicky, 


Who is you contact at Agfa? I've pretty much avoided Agfa because of the high 
minimums; and this
was a few years back when HFC, the US distributors, required a 10 (2000') roll 
minimum. 


If Afga will allow ordering  shipping two rolls at a time, this will be good 
news to Mr. Tuohy (Richard your 2000' mag will be waiting for you in BC in 
November), as well as other craft labers around North
America... Cineworks Film Annex, etc. 


Not to mention those doing photograms...


Alain






 


 

-Original Message-
From: Ruth Hayes randomr...@comcast.net
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com

Sent: Tue, 30 Sep 2014 16:03
Subject: Re: [Frameworks] If you want Kodak hicon, order it now


I received my order and when I called yesterday to see if I could place an 
order for film for my students was told that they stopped taking orders for 
7363 on August 29th. So I guess it's gone!


I'm interested in finding a  16mm stock for photograms that is similarly easy 
to expose and hand-process (meaning with a safe light and not-so-toxic 
chemistry).  If anyone has any leads, please let me know!


Ruth Hayes


http://www.randommotion.com
blogs.evergreen.edu/hayesr



On Sep 29, 2014, at 11:40 AM, 40 Frames wrote:




I received my back ordered 7363 last week. Are others receiving their back 
orders? 


Are others still placing B/Os of 7363? 


Alain




On Wed, Aug 27, 2014 at 2:29 PM, Mark Toscano filmobj...@gmail.com wrote:

Just heard from Kodak, and indeed, the 35mm hicon (5363) is NOT currently being 
discontinued, so no worries (for now!)


Mark





On Wed, Aug 27, 2014 at 12:42 PM, lindsay mcintyre email.li...@gmail.com 
wrote:

Hi Mark

Are you sure about the 5363? You were right about everything else but
I hadn't heard about 5363.  I've got my order in for 7363 but just
wondering if I need to worry about this one too.
Thanks

Lindsay McIntyre





On Tue, Aug 26, 2014 at 11:54 AM, Mark Toscano fiddy...@gmail.com wrote:
 Hi all,

 I spoke to the L.A. Kodak rep yesterday, and 7363 16mm hicon is on back
 order, but the current plan is for Kodak to most likely fill any order as
 long as it comes in basically NOW.

 So if you want any of this stuff, call 1-800-621-FILM and place an order
 while you can.  You will likely be told it's on back order, but you should
 be able to place an order anyway.  It's not a 100% guarantee at this point
 that you'll get the stock, but it's very likely.

 The same should be the case for 5363 35mm hicon, which I believe is also
 being discontinued.

 All the best,

 Mark Toscano

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www.16mmdirectory.org



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Re: [Frameworks] CAPTURING DVD

[nicky . hamlyn]

If you want to capture footage from a DVD you can insert a DVD into the disc 
drive of your machine (I'm assuming MAC), wait for the DVD player to start then 
stop the disc playing and  close DVD player. Then in FCP you go: 
File-import-files then go to the DVD folder on your desktop. Inside there are 
two folders called Audio_TS and Video_TS. Open the folder and import the 
individual files from there into FCP (some of these will be title sequences and 
copyright warnings etc). You have to render them in FCP before they're playable.

Nicky.

 

 

 

-Original Message-
From: Rajesh Barnabas rbarna...@gmail.com
To: Gene Youngblood ato...@comcast.net; Experimental Film Discussion List 
frameworks@jonasmekasfilms.com
Sent: Sat, 13 Sep 2014 16:57
Subject: Re: [Frameworks] CAPTURING DVD


it is free and open source...mpeg streamclip


On Sat, Sep 13, 2014 at 11:57 AM, Rajesh Barnabas rbarna...@gmail.com wrote:

Mpeg Streamclip is the bomb! try that!


On Sat, Sep 13, 2014 at 11:29 AM, Gene Youngblood ato...@comcast.net wrote:


There are numerous software packages listed online that capture clips from 
DVDs. I’m not talking about screen capture. I don’t know what to call it, so 
I’ll just say “signal capture.” Do any of them (for example, VLC) capture the 
signal before it is converted to analog?


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Re: [Frameworks] Processing Plus X negative in D76

[nicky . hamlyn]

Thanks, that's interesting, and it's actually the same timing as for 7222. When 
you say better grays do you mean lower contrast too?

Nicky.

 

 

 

-Original Message-
From: David_Kidman david.kid...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 11 Sep 2014 21:41
Subject: Re: [Frameworks] Processing Plus X negative in D76


Or at 1+1 at 11 minutes and 20°C, if you are short on chemicals, it also seems 
to give a better regular range of greys.
All the best
David

Le 11 sept. 2014 à 22:10, nicky.ham...@talktalk.net a écrit :


Thanks, that's very helpful,

Nicky.

 

 

 

-Original Message-
From: Robert Schaller rob...@ontosmedia.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 11 Sep 2014 19:21
Subject: Re: [Frameworks] Processing Plus X negative in D76


I've always processed Plus X negative with undiluted D76 for 6 minutes @20
degrees C.  I can't really speak to reducing contrast -- I haven't really
had that problem!  Diluting the developer would reduce the contrast, it
seems, but then I can't recommend a time.

On Thu, September 11, 2014 9:09 am, nicky.ham...@talktalk.net wrote:


 Can anyone suggest processing times for developing Plus X negative / 7231
 in D76 please? I can't find anything online, other than for stills film,
 which is apparently not the same.

 A recommendation as to whether stock or 1:1 dilution would also be
 appreciated, given it's quite contrasty,

 Thanks,


 nicky.







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[Frameworks] Processing Plus X negative in D76

[nicky . hamlyn]

 Can anyone suggest processing times for developing Plus X negative / 7231 in 
D76 please? I can't find anything online, other than for stills film, which is 
apparently not the same.

A recommendation as to whether stock or 1:1 dilution would also be appreciated, 
given it's quite contrasty,

Thanks,

nicky.

 

 



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Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC Talking Movies

[nicky . hamlyn]

Don't despair, because it won't tell you anything you didn't already know, so 
you're not losing out, on the contrary, it's a very partial, misleading and 
incomplete account.

Nicky.

 

 

 

-Original Message-
From: jaime cleeland ethnom...@yahoo.co.uk
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 10 Sep 2014 11:52
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies


BBC Worldwide (International Site)

We're sorry but this site is not accessible from the UK as it is part of our 
international service and is not funded by the licence fee. It is run 
commercially by BBC Worldwide, a wholly-owned subsidiary of the BBC, the 
profits 
made from it go back to BBC programme-makers to help fund great new BBC 
programmes. You can find out more about BBC Worldwide and its digital 
activities 
at www.bbcworldwide.com.


On Tue, 9/9/14, Adam Hyman a...@lafilmforum.org wrote:

 Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Date: Tuesday, 9 September, 2014, 16:54
 
 Re: [Frameworks]
 Fantastic Focus on Experimental Filmmaking On BBC Talking
 Movies
 Here’s a link to one of them,
 not requiring Facebook, focusing on England:
 
 http://www.bbc.com/culture/story/20140829-are-experimental-films-elitist
 
 
 
 And the overall webpage
 
 http://www.bbc.com/culture/tv/talking-movies
 
 
 
 But the one on the Film-makers Coop and Indian films
 doesn’t seem to be on that page yet.
 
 
 
 
 
 
 
 On 9/9/14 2:21 AM, Elizabeth McMahon
 elizmcma...@gmail.com wrote:
 
 
 
 If you love
 experimental/avantgarde filmmaking, you'll eat up these
 two episodes focused on its history! Unfortunately, it's
 only available on Facebook, on BBC Talking Movies page,
 under videos, so I suspect you'll need a FB account (or
 maybe not). The episodes are the first two on the top left.
 Great stuff! Big shout out to Film-Maker's Cooperative
 in NYC, in the second episode. That's M.M Serra, its
 Executive Director, in the stacks. 
 
 
 
 
 
 
 
 https://www.facebook.com/media/set/?set=vb.115246171845694type=2
 https://www.facebook.com/media/set/?set=vb.115246171845694amp;type=2
 
 
  
 
 Best,
 
 
 
 Elizabeth McMahon
 
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
 
 
 
 -Inline Attachment Follows-
 
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Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC Talking Movies

[nicky . hamlyn]

Yes, sorry, I should have made it clear that my moan was to do with the second 
half of the first episode,

Nicky.

 

 

 

-Original Message-
From: o...@thenowcorporation.com o...@thenowcorporation.com
To: elizabeth mcmahon elizmcma...@yahoo.com; Experimental Film Discussion 
List frameworks@jonasmekasfilms.com
Sent: Wed, 10 Sep 2014 13:30
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies


FMC yay!

Owen's iphone




On Sep 10, 2014, at 7:32 AM, elizabeth mcmahon elizmcma...@yahoo.com wrote:




I pasted it primarily for the spotlight on Film Makers Cooperative and the role 
it has played in experimental film for over 40 years., and the tireless 
champion of experimental and avant garde filmmaking, MM Serra.  In addition, 
given the audience it was intended for and would reach, a mainstream one, I 
found it impressive that there was any attention paid at all.  So sorry to have 
offended you, Nick.

 


Elizabeth


  
 
 
 
   From: nicky.ham...@talktalk.net nicky.ham...@talktalk.net
 To: frameworks@jonasmekasfilms.com 
 Sent: Wednesday, September 10, 2014 7:11 AM
 Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies
  
 


Don't despair, because it won't tell you anything you didn't already know, so 
you're not losing out, on the contrary, it's a very partial, misleading and 
incomplete account.

Nicky.

 

 

 


-Original Message-
From: jaime cleeland ethnom...@yahoo.co.uk
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 10 Sep 2014 11:52
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies


BBC Worldwide (International Site)

We're sorry but this site is not accessible from the UK as it is part of our 
international service and is not funded by the licence fee. It is run 
commercially by BBC Worldwide, a wholly-owned subsidiary of the BBC, the 
profits 
made from it go back to BBC programme-makers to help fund great new BBC 
programmes. You can find out more about BBC Worldwide and its digital 
activities 
at www.bbcworldwide.com.


On Tue, 9/9/14, Adam Hyman a...@lafilmforum.org wrote:

 Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Date: Tuesday, 9 September, 2014, 16:54
 
 Re: [Frameworks]
 Fantastic Focus on Experimental Filmmaking On BBC Talking
 Movies
 Here’s a link to one of them,
 not requiring Facebook, focusing on England:
 
 http://www.bbc.com/culture/story/20140829-are-experimental-films-elitist
 
 
 
 And the overall webpage
 
 http://www.bbc.com/culture/tv/talking-movies
 
 
 
 But the one on the Film-makers Coop and Indian films
 doesn’t seem to be on that page yet.
 
 
 
 
 
 
 
 On 9/9/14 2:21 AM, Elizabeth McMahon
 elizmcma...@gmail.com wrote:
 
 
 
 If you love
 experimental/avantgarde filmmaking, you'll eat up these
 two episodes focused on its history! Unfortunately, it's
 only available on Facebook, on BBC Talking Movies page,
 under videos, so I suspect you'll need a FB account (or
 maybe not). The episodes are the first two on the top left.
 Great stuff! Big shout out to Film-Maker's Cooperative
 in NYC, in the second episode. That's M.M Serra, its
 Executive Director, in the stacks. 
 
 
 
 
 
 
 
 https://www.facebook.com/media/set/?set=vb.115246171845694type=2
 https://www.facebook.com/media/set/?set=vb.115246171845694amp;type=2
 
 
  
 
 Best,
 
 
 
 Elizabeth McMahon
 
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
 
 
 
 -Inline Attachment Follows-
 
 ___
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 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
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Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC Talking Movies

[nicky . hamlyn]

Sorry to spoil the mood, but the first programme's a really bad mash up, eg 
clips from Berlin Horse overlaid with the music track from Peter Greenaway's 
The Draughtsman's Contract. All but one of the so-called artist filmmakers 
discussed in the UK section are those who have crossed over to more or less big 
budget, more or less feature-film making; Steve McQueen, Clio Barnard, Ben 
Rivers. None of the clips is dated, so there's no way one could get a sense of 
chronology, let alone history. I realise there's a limit to how much can be 
achieved in 12 minutes, but even so. Despite the calculatedly un-patronising 
attitude of the presenter, the programme seems to have been tailored to the 
assumption, shared with the TV audience, that real filmmaking is really feature 
filmmaking.

Nicky.


 

 

 

-Original Message-
From: Adam Hyman a...@lafilmforum.org
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Tue, 9 Sep 2014 16:54
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies


Here’s a link to one of them, not requiring Facebook, focusing on England:
http://www.bbc.com/culture/story/20140829-are-experimental-films-elitist

And the overall webpage
http://www.bbc.com/culture/tv/talking-movies

But the one on the Film-makers Coop and Indian films doesn’t seem to be on that 
page yet.



On 9/9/14 2:21 AM, Elizabeth McMahon elizmcma...@gmail.com wrote:


If you love experimental/avantgarde filmmaking, you'll eat up these two 
episodes focused on its history! Unfortunately, it's only available on 
Facebook, on BBC Talking Movies page, under videos, so I suspect you'll need a 
FB account (or maybe not). The episodes are the first two on the top left. 
Great stuff! Big shout out to Film-Maker's Cooperative in NYC, in the second 
episode. That's M.M Serra, its Executive Director, in the stacks. 



https://www.facebook.com/media/set/?set=vb.115246171845694type=2 
https://www.facebook.com/media/set/?set=vb.115246171845694amp;type=2; 
 
Best,

Elizabeth McMahon


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[Frameworks] 7222 versus 7231

[nicky . hamlyn]

I am intending to shoot the night sky in BW with a Tobin motor and Bolex. I've 
been strongly advised to use 7231, NOT 7222, but I wondered if anyone else had 
opinions about this,

Thanks,

Nicky. 

 

 

 



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Re: [Frameworks] Daylight Spools, and 16mm activism: Anyone? (Buehler?)

[nicky . hamlyn]

There are lots of good suggestions here, especially a symposium. Here in the UK 
No.w.here have BW processing, contact and optical printing facilities, and run 
regular courses, which are very hands-on in nature. Their activities have 
stimulated a new generation of young filmmakers to work with 16mm. Mich of the 
work is performance-based and uses small amounts of film, for obvious reasons, 
although there are also the high-end gallery artists still using it; Rosa 
Barba, Runa Islam, Daria Martin, Tacita Dean etc -mostly women, interestingly.

There are also several artist-run labs scattered throughout Europe, and at 
least two labs in London, iDailies and Cinelab, are considering starting to 
print 16mm, in addition to the two that have been doing so continuously for 
many years; Prestech (mainly a conservation/restoration lab that also does 
16mm) and Film and Photo. Perhaps a start would be to compile a directory of 
existing facilities and resources to get a picture of what's out there and 
what's viable. Frameworks members' collective knowledge and expertise should 
make this easy!

Nicky.


 

 

 

-Original Message-
From: Dave Tetzlaff djte...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sun, 31 Aug 2014 21:10
Subject: [Frameworks] Daylight Spools, and 16mm activism: Anyone? (Buehler?)


 The daylight spool issue is important. I always try to remember to ask the 
 lab 
to return them otherwise they keep them and sell them.
 

I don't know how things are in the UK or US at present, but back in the last 
decade when I was spooling off 400' cores onto 100' daylight loads for my 
students, there were several labs (can't remember which, sorry) that would send 
me as many 100' daylight spools as I asked for for the cost of shipping alone. 
The labs that processed lots of 100' loads for schools etc. always had more 
empty daylight spools than they wanted to store, since they always returned the 
processed film on those white plastic reels. I suppose (sigh) when labs have 
gone under, their stock of daylight spools have mostly gone into the recycling 
bin. But there might be a bunch in a storage locker somewhere.

It would certainly be worth contacting any and all labs that still process any 
significant amount of 100' loads to find out what they do with the empty 
daylight spools, and under what conditions they're willing to part with them.

..

Which brings me back to the subject of 16mm makers and teachers organizing to 
deal with issues related to keeping the format viable. I'm disappointed (though 
not at all surprised) that there has been zero response on this list to Alex 
Belkam's original suggestion about this, or my reply. The idea of Organizing 
experimental film folks may seem like herding cats, but it had to have been 
possible to some degree at one time at least, or else the Coops wouldn't exist, 
right?

The 'vibe' I'm getting from the comments in the [Frameworks] Kodak Film Stocks 
to be Discontinued, Announced in December thread is 'someone will pick up the 
slack of stock production when Kodak folds, so we don't have to do anything, at 
least not collectively.' IMHO, any such thought is painfully naive. The 16mm 
ship has been sinking steadily through our young century. The first big blows 
were the discontinuation of 7240 and Fuji stepping out of the game, and the 
situation just keeps getting worse every year. You can't look at the actual 
trends over time, and the continuing relevance of the reasons behind them, and 
realistically imagine things are going to level off at some point, or even slow 
down, more or less by themselves. You can search the Frameworks archives going 
back 15 years, in the endless 'film vs. video' threads, and you'll find the 
posts about 16mm viability and the future prospects of 16mm to overwhelmingly 
dominated by what has proved to be sad wishful thinking.

The time to organize is not now. It was 15 years ago, but at that point in time 
a little foresight would have been required. But by 2005, the need for 
collective action should have been obvious. Now it's screaming at the top of 
it's lungs, flailing it's arms and jumping up and down. Is anybody paying 
attention?

The daylight spool issue Nicky raises is pretty damn important, but it's just 
the tippy-top of a very big iceberg. Who's the youngest tech anyone can name 
who 
can fix a Bolex or Beaulieu? If you came name anyone who'll service a Filmo or 
K100, same question. Can you name anyone under 30 who's learning this trade? 
How 
do you imagine the knowledge and skills of Dieter, Jean-Louis, Bernie, Andrew, 
Dwight et. al. are going to be passed on to the next generation?

If we don't hang together, we will surely all hand separately - Benjamin 
Franklin.

Given that 'you should organize' is a fairly vague proposition, I shall suggest 
a possible concrete step in that direction. A 16mm maker/teacher on the 
full-time faculty of a well-regarded 

Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in December

[nicky . hamlyn]

Their website is wonderful. Beautiful factory. They claim they'll be 
manufacturing in all movie formats and 35mm slides etc,

Nicky.

 

 

 

-Original Message-
From: Francisco Torres fjtorre...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sat, 30 Aug 2014 19:57
Subject: Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in 
December


forza ferrania!

http://www.filmferrania.it/




2014-08-30 14:50 GMT-04:00  nicky.ham...@talktalk.net:

When I was a student in the mid 1970s, Ferrania used to make a good colour 
reversal film and five bath processing kit. This was in the days, now mostly 
long gone, when people did things; knitting, sewing, repairing, developing etc. 
The colour was beautiful: soft and subtle, but hard to control in processing. 
Amazing they're still around,

Nicky.

 

 

 


-Original Message-
From: 40 Frames i...@40frames.org
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sat, 30 Aug 2014 19:22
Subject: Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in 
December









On Sat, Aug 30, 2014 at 9:53 AM, Jean-Louis Seguin bolext...@gmail.com wrote:




Cheap shot? Maybe. I'm just so disappointed in Kodak, personally.


I meet filmmakers all the time and it's surprising how many completely ignore 
the fact that there are other manufacturers in the world apart from Kodak that 
produce motion picture film stock. Some are truly amazed when I mention this to 
them.
True, when it comes to color negative stocks, Kodak are the only source at the 
moment. For everything else, there are options out there, luckily. 







It is a little complicated with Kodak's recent discontinuation of stocks. 


I like ORWO, however ORWO stocks -- both UN54 and N74 -- do not run through one 
of my cameras without needing
to make adjustments for running color vs. BW. I've had issues with ORWO in 
another camera as well. I've had few issues
like this with Kodak BW stocks. 


Also, with Kodak, being in education, I get a discount which makes it lower in 
cost than ORWO. 


I've been shooting a project that uses Double-X (7222), Tri-X (7266) processed 
as negative and ORWO's UN54 and N74. When all of these stocks are printed to 
7203 the differences are pretty slight. I don't know what labs are printing to 
ORWO's
BW print stocks... though I would be curious to know, since 7203 and 3302 may 
be put on the chopping block soon. 


Ferrania (http://www.filmferrania.it/) might be starting production of color 
film stocks, but I have yet to see anything...and 
who knows when such a stock will become available in North America. 


I'm not disagreeing with you necessarily, I just think that ORWO and Ferrania 
will have to prove they have the same level
of QC as Kodak does (and Fuji did). Not that Kodak is/was flawless, but it's 
amazing how close to perfect they can get in 
manufacturing their stocks. 


Alain






 






On 2014-08-30, at 12:21 PM, Edward Choi wrote:



I'm a little confused about the discontinuation of 7203 and 7207 in 100' rolls. 
Does it really save them that much at the margins when they're continuing to 
manufacture the stock itself and offer it in larger quantities? If someone who 
knows more about the way their manufacturing chain is set up could explain 
this, and perhaps disabuse me of my naivety, I would be most grateful!


edo




On Sat, Aug 30, 2014 at 12:04 PM, Pablo Marin pamari...@yahoo.com wrote:


Although I agree with many of your points, Jean-Louis, I think that implying 
that Kodak doesn't have a firm commitment to analog filmmaking is kind of a 
cheap shot... when the issue is more complicated than that.


Would hate to be mistaken for a capitalist/industry supporter here but the fact 
is I´m kind of afraid of what some of these committed firms will start 
charging for film once the big old dinosaurs are gone... not to mention I don't 
see a discount price for students being offered in most of these devoted 
manufacturers... 


All best, 
Pablo.

 



 
 
 
  On Saturday, August 30, 2014 12:52 PM, Jean-Louis Seguin 
bolext...@gmail.com wrote:
  
  

 





I wouldn't be too dismayed at the disappearance of Tri-X.
Both ADOX and ORWO produce black and white reversal that is at least equal in 
quality to Tri-X. The new ADOX CHS-II in Super8 has received rave reviews since 
it's introduction and most users seem to find it superior to Tri-X.


I would prefer to support companies that have a firm commitment to analog 
filmmaking rather then those that can't wait to pull the plug on everything.


Jean-Louis














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Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.org
www.16mmdirectory.org
www.emptyquarterfilm.org

Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in December

[nicky . hamlyn]

Agfa only really want to supply in very large quantities, ie 105 4000' cans at 
a time, though they can be persuaded to sell fewer, IF you can contact them, 
which is not straighforward. ST8 has a slightly bluish base, but it's a nice 
stock, about 6asa,

Nicky.

 

 

 

-Original Message-
From: Scott Dorsey klu...@panix.com
To: frameworks@jonasmekasfilms.com
Sent: Sat, 30 Aug 2014 22:02
Subject: Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in 
December


Well, if 3378 goes away, there is always the Agfa ST-8 replacement.

But I can see 3378 disappearing as projection prints become less and less
in demand, and I can see an age where electroprinting returns.
--scott
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Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in December

[nicky . hamlyn]

Ilford are reportedly thinking of re-starting: they still have all the 
equipment to produce film. They made a range of beautiful BW negs, broadly 
superior to anything Kodak has produced.

Nicky.

 

 

 

-Original Message-
From: Jean-Louis Seguin bolext...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sun, 31 Aug 2014 2:08
Subject: Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in 
December


Current manufacturers 
(Other than Kodak):

Agfa
Orwo
Adox
Kahl

What format do you need?
BW color, negative or reversal?

Jean-Louis

Sent from my iPod

 On Aug 30, 2014, at 8:24 PM, Fred Smith fsmit...@rcn.com wrote:
 
 I'll have to admit, I know of no other   film manufacturer other than 
Kodak, probably because they have dominated the US market for years. Any 
recomendation on how to locate the others for those who are like me?
 
 On 8/30/2014 12:53 PM, Jean-Louis Seguin wrote:
 
 Cheap shot? Maybe. I'm just so disappointed in Kodak, personally.   
 
 I meet filmmakers all the time and it's surprising how many completely 
 ignore 
the fact that there are other manufacturers in the world apart from Kodak that 
produce motion picture film stock. Some are truly amazed when I mention this to 
them.
 True, when it comes to color negative stocks, Kodak are the only source at 
the moment. For everything else, there are options out there
 ___
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Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in December

[nicky . hamlyn]

When I was a student in the mid 1970s, Ferrania used to make a good colour 
reversal film and five bath processing kit. This was in the days, now mostly 
long gone, when people did things; knitting, sewing, repairing, developing etc. 
The colour was beautiful: soft and subtle, but hard to control in processing. 
Amazing they're still around,

Nicky.

 

 

 

-Original Message-
From: 40 Frames i...@40frames.org
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sat, 30 Aug 2014 19:22
Subject: Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in 
December







On Sat, Aug 30, 2014 at 9:53 AM, Jean-Louis Seguin bolext...@gmail.com wrote:




Cheap shot? Maybe. I'm just so disappointed in Kodak, personally.


I meet filmmakers all the time and it's surprising how many completely ignore 
the fact that there are other manufacturers in the world apart from Kodak that 
produce motion picture film stock. Some are truly amazed when I mention this to 
them.
True, when it comes to color negative stocks, Kodak are the only source at the 
moment. For everything else, there are options out there, luckily. 







It is a little complicated with Kodak's recent discontinuation of stocks. 


I like ORWO, however ORWO stocks -- both UN54 and N74 -- do not run through one 
of my cameras without needing
to make adjustments for running color vs. BW. I've had issues with ORWO in 
another camera as well. I've had few issues
like this with Kodak BW stocks. 


Also, with Kodak, being in education, I get a discount which makes it lower in 
cost than ORWO. 


I've been shooting a project that uses Double-X (7222), Tri-X (7266) processed 
as negative and ORWO's UN54 and N74. When all of these stocks are printed to 
7203 the differences are pretty slight. I don't know what labs are printing to 
ORWO's
BW print stocks... though I would be curious to know, since 7203 and 3302 may 
be put on the chopping block soon. 


Ferrania (http://www.filmferrania.it/) might be starting production of color 
film stocks, but I have yet to see anything...and 
who knows when such a stock will become available in North America. 


I'm not disagreeing with you necessarily, I just think that ORWO and Ferrania 
will have to prove they have the same level
of QC as Kodak does (and Fuji did). Not that Kodak is/was flawless, but it's 
amazing how close to perfect they can get in 
manufacturing their stocks. 


Alain






 






On 2014-08-30, at 12:21 PM, Edward Choi wrote:



I'm a little confused about the discontinuation of 7203 and 7207 in 100' rolls. 
Does it really save them that much at the margins when they're continuing to 
manufacture the stock itself and offer it in larger quantities? If someone who 
knows more about the way their manufacturing chain is set up could explain 
this, and perhaps disabuse me of my naivety, I would be most grateful!


edo




On Sat, Aug 30, 2014 at 12:04 PM, Pablo Marin pamari...@yahoo.com wrote:


Although I agree with many of your points, Jean-Louis, I think that implying 
that Kodak doesn't have a firm commitment to analog filmmaking is kind of a 
cheap shot... when the issue is more complicated than that.


Would hate to be mistaken for a capitalist/industry supporter here but the fact 
is I´m kind of afraid of what some of these committed firms will start 
charging for film once the big old dinosaurs are gone... not to mention I don't 
see a discount price for students being offered in most of these devoted 
manufacturers... 


All best, 
Pablo.

 



 
 
 
  On Saturday, August 30, 2014 12:52 PM, Jean-Louis Seguin 
bolext...@gmail.com wrote:
  
  

 





I wouldn't be too dismayed at the disappearance of Tri-X.
Both ADOX and ORWO produce black and white reversal that is at least equal in 
quality to Tri-X. The new ADOX CHS-II in Super8 has received rave reviews since 
it's introduction and most users seem to find it superior to Tri-X.


I would prefer to support companies that have a firm commitment to analog 
filmmaking rather then those that can't wait to pull the plug on everything.


Jean-Louis














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







-- 
40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.org
www.16mmdirectory.org
www.emptyquarterfilm.org


 
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Re: [Frameworks] cat films

[nicky . hamlyn]

Beautiful film by a wonderful filmmaker. I'm guessing 'De Poes' means 'The 
Puss' ?

Nicky.

 

 

 

-Original Message-
From: jembere janinejemb...@gmail.com
To: frameworks@jonasmekasfilms.com
Sent: Mon, 18 Aug 2014 17:39
Subject: Re: [Frameworks] cat films


very interesting topic! one of my favourite films is all on cats and live:


de poes (the cat) by johan van der keuken: http://vimeo.com/79608970


janine


 
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Re: [Frameworks] This week [August 16 - 24, 2014] in avant garde cinema

[nicky . hamlyn]

This listing arrives as a massive block of text: single spaced lines with 
around thirty words per line, rendering it so difficult to read that I 
sometimes can't be bothered. Any chance of returning to something like the 
previous format?

Thanks,

Nicky.

 

 

 

-Original Message-
From: Weekly Listing weeklylist...@hi-beam.net
To: frameworks@jonasmekasfilms.com
Sent: Sun, 17 Aug 2014 22:51
Subject: [Frameworks] This week [August 16 - 24, 2014] in avant garde cinema


This week [August 16 - 24, 2014] in avant garde cinemaTo subscribe/unsubscribe 
to the weekly listing, go 
tohttp://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribeor send an email to 
weeklylist...@hi-beam.net.Enter your announcements (calls for entries, new 
work, screenings,jobs, items for sale, etc.) 
at:http://www.hi-beam.net/cgi-bin/ann.plNEW FILM/VIDEO: 
FEATURE:===What I Love About Concrete by Katherine Dohan  
http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkfreadfile=141.annNEW CALLS 
FOR ENTRIES:=the8fest (Toronto, Canada; Deadline: September 
30, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1718.ann22nd Chicago 
Underground Film Festival (Chicago, IL USA; Deadline: December 15, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1720.annBASEMENT 
Media Fest (NY, NY, USA; Deadline: December 31, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1721.annExperiments 
in Cinema (Albuquerque, New Mexico, USA; Deadline: November 01, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1722.annBig Muddy 
Film Festival (Carbondale, IL, USA; Deadline: September 15, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1723.annDEADLINES 
APPROACHING:=BELOIT INTERNATIONAL FILM FESTIVAL (Beloit, 
WI, USA; Deadline: August 31, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1691.annAlchemy 
Festival Touring Programme: Works from Scotland (Hawick, Scotland, UK; 
Deadline: September 01, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1708.annMADATAC 
(Madrid, SPAIN; Deadline: September 08, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1714.annAnchorage 
Museum of Art (Anchorage, AK United States; Deadline: September 01, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1717.ann2014 
Transient Visions: Festival of the Moving Image (Johnson City, NY, USA; 
Deadline: August 24, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1719.annBig Muddy 
Film Festival (Carbondale, IL, USA; Deadline: September 15, 2014)  
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1723.annTHIS WEEK'S 
PROGRAMS (SUMMARY):==  *  New Works Salon: 
Brookbank, Marin, Sweeney, Toscano [August 16, Los Angeles, California]  *  A 
Minor Cinema [August 16, Washington, DC]  *  Art World Crossover [August 17, 
Washington, DC]  *  Steve Cossman's Rituals of Restoration  [August 18, Durham, 
NC]  *  George Kuchar's Secrets of the Shadow World [August 19, Brooklyn, NY]  
*  Late Night With Carl Sagan By Shanna Maurizi [August 20, New York, New York] 
 *  Vinegar Syndrome! Selections From the Epfc Film Library [August 21, Los 
Angeles, California]  *  Essential Cinema: Jean Genet/Robert Frank  Alfred 
Leslie Program [August 21, New York, New York]  *  Soundwave ((6)) (Sub)Mersion 
[August 21, San Francisco, California]  *  Essential Cinema: Une Simple 
Histoire [August 22, New York, New York]  *  San Francisco Beat Films of the 
50's [August 22, San Francisco, California]  *  Recent videos By Suzy Poling 
[August 23, Los Angeles, California]  *  Archival Finds [August 23, Washington, 
DC]  *  Russell Etchen Presents An Breakpoint [August 24, Austin, TX]  *  
Essential Cinema: Crockwell/Grant/Jacobs  Fleischner Program  [August 24, New 
York, New York]  *  Sential Cinema: Jerome Hill Program  [August 24, New York, 
New York]Events are sorted by CITY within each 
DATE.-SATURDAY, AUGUST 16, 
2014-8/16Los Angeles, California: Echo Park Film 
Centerhttp://www.echoparkfilmcenter.org/8 pm, 1200 N. Alvarado St.  NEW WORKS 
SALON: BROOKBANK, MARIN, SWEENEY, TOSCANO   The New Works Salons series is a 
casual forum for the presentation and   discussion of new works in film and 
video, with local and visiting   artists in-person to introduce their work. 
Nora Sweeney will show her   new film Sweet Oranges (2014, 16mm, 18.5 minutes): 
�Heading west from   my house, I explore the back roads off of California 
State Route 126,   finding small, historic towns, farms, and railway tracks 
nestled between   mountains and orchards - a landscape that evokes a dream of   
California�s past. Along the way, I meet Jaime, Blanca, and Hugo, a   group 
of orange pickers from Michoacan, Mexico, who share with me their   songs, 
dreams, aspirations, and thoughts about work.� Ursula Brookbank   will 

Re: [Frameworks] This week [August 16 - 24, 2014] in avant garde cinema

[nicky . hamlyn]

Webmail via Firefox.
 

 

 

-Original Message-
From: Pip Chodorov framewo...@re-voir.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 18 Aug 2014 13:06
Subject: Re: [Frameworks] This week [August 16 - 24, 2014] in avant garde cinema


Hi Nicky,


That's not how I receive it.
It's quite readable in Eudora. (sample below)
What e-mail software are you using?


Pip





Events are sorted by CITY within each DATE.

-
SATURDAY, AUGUST 16, 2014
-

8/16
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.

 NEW WORKS SALON: BROOKBANK, MARIN, SWEENEY, TOSCANO
  The New Works Salons series is a casual forum for thepresentation and
  discussion of new works in film and video, with local andvisiting
  artists in-person to introduce their work. Nora Sweeney willshow her
  new film Sweet Oranges (2014, 16mm, 18.5 minutes):ï¿1Ž2Heading west from
  my house, I explore the back roads off of California StateRoute 126,
  finding small, historic towns, farms, and railway tracksnestled between
  mountains and orchards - a landscape that evokes a dream of
  Californiaï¿1Ž2s past. Along the way, I meet Jaime,Blanca, and Hugo, a
  group of orange pickers from Michoacan, Mexico, who share withme their
  songs, dreams, aspirations, and thoughts about work.ï¿1Ž2Ursula Brookbank
  will show Crystallography and the She World Archive: Theprincipals of
  X-ray Crystallography used by biochemist Dorothy Hodgkin tostudy
  molecular structures applied to film projection. Ms. Hodgkinwas awarded
  the Nobel Prize in chemistry in 1964 for confirming themolecular
  structure of insulin using X-ray Crystallography where acrystal is
  gradually rotated while being bombarded with X-rays producingrefraction
  patterns and molecular data for study. For this salon, recentlyacquired
  16mm film from the SHE WORLD ARCHIVE similarly becomes a lightbeam
  projected through gradually rotating crystals. PabloMarï¿1Ž2n, in town
  from Buenos Aires, will show his brand new Angelus novus, andwe'll have
  a selection of new items by Mark Toscano.









At 8:00 -0400 18/08/14, nicky.ham...@talktalk.net wrote:
This listing arrives as a massive block of text:single spaced lines with around 
thirty words per line, rendering it sodifficult to read that I sometimes can't 
be bothered. Any chance ofreturning to something like the previous format?
BLONDE COBRA 1959-63, 35 min, 16-to-35mm blow-up,bw/color. With Jack Smith. 
Preserved by Anthology, with thegenerous support of The Film Foundation. 
BLONDE COBRA is anerratic narrative no, not really a narrative, it's only 
stretched outin time for convenience of delivery. It's a look in on an 
explodinglife, on a man of imagination suffering pre-fashionable Lower EastSide 
deprivation and consumed with American 1950s, 40s, 30s disgust.Silly, 
self-pitying, guilt-strictured and yet triumphing on one levelover the 
situation with style - enticing us into an absurd moralposture the better to 
dismiss us with a regal 'screw off.' K.J.Total running time: ca. 85 min. 8/24 
New York, New York: AnthologyFilm Archives 
http://www.anthologyfilmarchives.org/ 8:00 pm, 32 2nd AvenueESSENTIAL CINEMA: 
JEROME HILL PROGRAM These 35mm prints are the resultof a recent preservation 
project undertaken by the Museum of ModernArt. DEATH IN THE FORENOON (1934/66, 
2 minutes, 35mm, color) CANARIES(1969, 4 minutes, 35mm, color)  FILM PORTRAIT 
1971, 81 minutes,35mm, color. A pioneering work in autobiographical cinema; 
masterfullycombines actual and staged footage and painting over 
images.Filmmaker, painter, and composer Jerome Hill was descended from 
thefamous railroad-building family and lived on the same street with F.Scott 
Fitzgerald. Here he re-creates wonderfully with old familyfootage the period 
and milieu of the American upper class at thebeginning of this century. Total 
running time: ca. 90 minutes. Enteryour event announcements by going to the 
Flicker Weekly Listing Format http://www.hi-beam.net/cgi-bin/thisweek.pl The 
weekly listing is alsoavailable online at Flicker: 
http://www.hi-beam.net___ 
FrameWorks mailinglist FrameWorks@jonasmekasfilms.com 
https://mailman-mail5.webfaction.com/listinfo/frameworks



 
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Re: [Frameworks] cat films

[nicky . hamlyn]

Bell Book and Candle,

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

Nicky.

 

 

 

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


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



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

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

Nicky

 

 

 


-Original Message-
From: Peter Mudie peter.mu...@uwa.edu.au
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com

Sent: Sat, 16 Aug 2014 5:48
Subject: Re: [Frameworks] cat films




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

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

Peter
(Perth)

 What else could we shown in a Cat Film Fest?

As Ekrem mentioned, there's Cat Cradle and Fuses. Dunno if the amount of
kitteh-kontent is high enough for a feline fest, but the presence of the
pussy... er, scratch that [Meow!] I mean the context of the cat, is the
unraveling intertextual ball of string tying the two works together, or
maybe being batted away from StanCat by CaroleeCat, or maybe the mirrored
meowser is Schneeman's way of saying, 'my little furry pet is purring
because she just pounced on some wee bit of pickle, and by the way, did
you know that cats are independent creatures who do their own thing
instead of licking their masters fantasy boots, and cats have really
sharp claws they can dig into your untutored eye if you piss them off by
mixing up which human is owned by which cat, and somehow indicate you
think you own even one cat much less two, so go pine in the pines with
your poor putrefying pooch and leave my kitty alone!



You could show Marker's 'Case of the Grinning Cat' which also might be a
little light on actual kitty-kontent, but again the cat-concept is pretty
important, and any excuse to show Marker is always a good excuse.



Or you could go conceptual rather than representational:

I read somewhere that felines large and small are creatures who spend
most of the time sleeping between brief bursts of activity.

So I'm thinking you could show all 5 hours and 21 minutes of Sleep, in
a room filled with sofa and actual cats, so after puzzling over what do
do with themselves for awhile, instead of getting annoyed and heading to
the box office in angry mass protest to The Management, the viewers would
figure they can emulate the cats and sooner or later pretty much the
whole audience would be sleeping along with John Giorno, curled up on a
couch like Giorno, but with cuddling kitties, sometimes coming and going
but mostly sleeping as cats mostly do. Taking the cat cues, they might
conclude that 'Sleep' is not the title of a 'movie' you 'watch' but might
be a gentle imperative, like a Yoko Ono instruction, to stage the most
simple and mundane action as a form of Art. Or not. Either way, they're
in cat-mode, so it's basically nappy time whenever they feel like it no
matter what else is going on in the room, and from time to time they'll
wake up, yawn, stretch, look around a little bit ‹ maybe watch the screen
for awhile, maybe watch the other people sleeping, maybe think about how
many hours John Giorno has spent sleeping since 1963, maybe wonder how
many hours of sleep they'll have before they join Warhol in eternal
slumber, maybe think about what a room of people sleeping because a
silent black and white film of a man dozing on a couch can't keep them
awake means in light of Warhol's claimed intent of documenting sleep for
historical purposes since no one slept anymore due to the miracles of
modern chemistry. But, being cat-people for the evening, they wouldn't
think about those things too long or too hard before slipping back into a
REM state with a dreamy revelation that the proper nouns 'Walter' White'
and 'Warhol' all begin with a 'W'. Then, maybe 90 minutes later, they
wake up since the man-cat on the next couch is shattering the silence
with loud 

Re: [Frameworks] cat films

[nicky . hamlyn]

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

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

Nicky.

 

 

 

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


here kitty...

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




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

Bell Book and Candle,

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

Nicky.

 

 

 


-Original Message-
From: Benjamin Leon benj.l...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com


Sent: Sat, 16 Aug 2014 9:19
Subject: Re: [Frameworks] cat films


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



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

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

Nicky

 

 

 


-Original Message-
From: Peter Mudie peter.mu...@uwa.edu.au
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com

Sent: Sat, 16 Aug 2014 5:48
Subject: Re: [Frameworks] cat films




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

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

Peter
(Perth)

 What else could we shown in a Cat Film Fest?

As Ekrem mentioned, there's Cat Cradle and Fuses. Dunno if the amount of
kitteh-kontent is high enough for a feline fest, but the presence of the
pussy... er, scratch that [Meow!] I mean the context of the cat, is the
unraveling intertextual ball of string tying the two works together, or
maybe being batted away from StanCat by CaroleeCat, or maybe the mirrored
meowser is Schneeman's way of saying, 'my little furry pet is purring
because she just pounced on some wee bit of pickle, and by the way, did
you know that cats are independent creatures who do their own thing
instead of licking their masters fantasy boots, and cats have really
sharp claws they can dig into your untutored eye if you piss them off by
mixing up which human is owned by which cat, and somehow indicate you
think you own even one cat much less two, so go pine in the pines with
your poor putrefying pooch and leave my kitty alone!



You could show Marker's 'Case of the Grinning Cat' which also might be a
little light on actual kitty-kontent, but again the cat-concept is pretty
important, and any excuse to show Marker is always a good excuse.



Or you could go conceptual rather than representational:

I read somewhere that felines large and small are creatures who spend
most of the time sleeping between brief bursts of activity.

So I'm thinking you could show all 5 hours and 21 minutes of Sleep, in
a room filled with sofa and actual cats, so after puzzling over what do
do with themselves for awhile, instead of getting annoyed and heading to
the box office in angry mass protest to The Management, the viewers would
figure they can emulate the cats and sooner or later pretty much the
whole audience would be sleeping along with John Giorno, curled up on a
couch like Giorno, but with cuddling kitties, sometimes coming and going
but mostly sleeping as cats mostly do. Taking the cat cues, they might
conclude that 'Sleep' is not the title of a 'movie' you 'watch' but might
be a gentle imperative, like a Yoko Ono instruction, to stage the most
simple and mundane action as a form of Art. Or not. Either way, they're
in cat-mode, so it's basically nappy time whenever they feel like it no
matter what else is going on in the room, and from time to time they'll
wake up, yawn, stretch, look around a little bit ‹ maybe watch the screen
for awhile, maybe watch the other people sleeping, maybe think about how
many hours John Giorno has spent sleeping since 1963, maybe wonder how
many hours of sleep they'll have before they join Warhol in eternal
slumber, maybe think about what a room of people sleeping because a
silent black and white film of a man dozing on a couch can't keep them
awake means in light of Warhol's claimed intent 

Re: [Frameworks] 'oxide' E165

[nicky . hamlyn]

LUX and the BFI shop are good retailers to place your work with,

Nicky.

 

 

 

-Original Message-
From: Ben Gwilliam i...@thosesoundsbetween.co.uk
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 11 Aug 2014 12:10
Subject: [Frameworks] 'oxide' E165


Hi all,I thought that i'd let the framework community know that my film 
performance work 'oxide ii +iii' has been released as new work 'oxide' on DVD 
through editions entr'acte Belgium.Oxide was the resultant work developed from 
my 6 month residency at no.w.here labs London (2011).  The piece is a process 
lead work of growing rust on outdated  unexposed camera/print stock, growing a 
sound base on the image track that is recorded and manilpulated as a live sound 
to the film. This DVD the  single screen version of its original dual screen 6 
projector work with live sound, here re-edited  mastered as a new piece. In 
the meantime, the original film stock is continuing to rust up.You can read 
more about it on the entracte website 
here:http://entracte.co.uk/projects/ben-gwilliam-e165/With this being my first 
Image-based  release (since everything else previous has been audio only), I am 
trying to gather suggestions of outlets that specialise more in film  video 
that may distribute it, as entracte  mainly works with european/asian music 
distributors.Thanks muchoBen Gwilliam-- 
http://thosesoundsbetween.co.ukhttp://timeinbetweenspace.tumblr.comIt takes 
along as it takes___FrameWorks 
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Re: [Frameworks] films using the optical printer

[nicky . hamlyn]

Coming late to this. Has anyone mentioned Klaus Wyborny's films?

Nicky.

 

 

 

-Original Message-
From: John Warren johnwar...@alum.calarts.edu
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Fri, 8 Aug 2014 13:46
Subject: Re: [Frameworks] films using the optical printer


Has anyone mentioned L'Ange (Patrick Bokanowski, 70 min, 1982)?


peace, jw





On Aug 6, 2014, at 11:06 AM, Caryn Cline carynycl...@gmail.com wrote:




Dear Frameworkers,


If I were going to undertake a series of screenings showcasing optical printer 
techniques, what work would you recommend?  What is the best work for 
understanding the cinematic potential in optical printing?  Are there any texts 
that could be included?  I'm asking for my own enlightenment and to take my own 
OP work to another level, but I might also try to put together a public 
screening at some point.


Many thanks, as always, for your thoughts and advice.


CC   


-- 

Caryn Cline
Experimental Filmmaker  Teacher
vimeo.com/carynyc

Co-producer  cinematographer, Acts of Witness
www.actsofwitness.com







 
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Re: [Frameworks] films using the optical printer

[nicky . hamlyn]

that´s correct. she used the lfmc Debrie machine that is still in use at 
No.w.here. Nicky. 



-Original Message-
From: direc...@lift.on.ca
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 7 Aug 2014 17:02
Subject: Re: [Frameworks] films using the optical printer



And while we're at it... my understanding was that Annabel Nicholson's
Slides (also mentioned in this series of posts) was actually made on a
contact printer, sliding pieces of film along at different speeds. I think
her piece would be particularly hard to do in an optical printer, because
its so fluid.

Chris

 In the same spirit as Mark's post, I wanted to note that Peter
 Tscherkassky's Cinemascope trilogy is actually contact printed in short
 stretches (much of it using a laser pointer) rather than optically
 printed.  He must surely have used an optical printer in some of his films
 (maybe Happy End, for ex.), but since the previous poster only dropped
 his name without specific films, I thought it was a point worth
 clarifying...

 R.

 
 From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of
 Mark Toscano [fiddy...@gmail.com]
 Sent: Wednesday, August 06, 2014 8:04 PM
 To: Experimental Film Discussion List
 Subject: Re: [Frameworks] films using the optical printer

 Baillie's CASTRO STREET has no optical printing in it.  It's all in-camera
 matting or A/B/C lab printing.

 Also, it periodically needs to be said that Pat O'Neill's 7362 has NO
 optical printing in it whatsoever.  It's all contact printing and
 hand-processing.  A lot of people tend to talk about Pat's optical work,
 then show 7362 as an example in both public screenings and classes (sorry
 Jason!).  Pat's first foray into optical printing came approximately two
 years later in his installation piece SCREEN (1969), and then with RUNS
 GOOD, etc. after that.

 That said, Pat is, as has already been said, an unparalleled artist in the
 medium, and though optical printing was for him merely a technological
 tool for achieving quite advanced aesthetic ideals, he is unsurpassed in
 his artful and visionary use of the thing.  Probably the most convenient
 and exemplary short film of his for explaining, demonstrating, or teaching
 optical printing work is SAUGUS SERIES, which in some ways functions as
 both a notebook of incredible visual ideas pretty much without precedent,
 and an unintentional compendium of highly diverse suggestive uses for the
 optical printer.  But you pretty much can't go wrong with ANYTHING Pat's
 made.

 Mark Toscano



 On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski
 ste...@radonlake.commailto:ste...@radonlake.com wrote:
 Bruce Baillie's 'Castro Street' has some really beautiful optical printing
 work.

 
 From: bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com
 Date: Wed, 6 Aug 2014 13:32:24 -0600
 To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com

 Subject: Re: [Frameworks] films using the optical printer

 This is a great list! Barbara Hammer would be a good addition

 Sent from my iPhone

 On Aug 6, 2014, at 1:29 PM, Jason Halprin
 jihalp...@gmail.commailto:jihalp...@gmail.com wrote:

 Hi Carolyn,

 Below is the screening list from the last time I taught Optical Printing
 at Columbia College. I agree that Pat O'Neill is probably the greatest
 example of Optical Printing artistry, and include much of his work is
 available for purchase in DVD form. However, I would also stress that it
 was amazing to take the prints of his work and view them on rewinds with a
 light table so that students could really study how he created his
 looks. I love Water and Power too, and usually saved it until the last
 class in the semester.
 -Jason Halprin


 DAILY SCHEDULE



 Class 01 – January 25th

 Screening:   Pas de deux (Norman McLaren, 13 min, 1968)



 Class 02- February 1st

 Screening:   Passage à l'acte (Martin Arnold, 15 min., 1993)



 Class 03- February 8th

 Screening:   Piece Touche (Martin Arnold, 15 min., 1989)
 Zocalo (Richard Myers, 15 min, 1972)
 Spitting Image (Paula Froehle, 3 min., 1992)



 Class 04- February 15th

 Screeing: 7362 (Pat O’Neill, 10 min, 1967)
 Roseblood (Sharon Couzin, 7 min., 1974)



 Class 05- February 22nd


 Screening:   Watersmith (Will Hindle, 25 min, 1969)

 Film Wipe Film (Paul Glabicki, 32 min, 1984)



 Class 06

 Screening:   Wild Gunman (Craig Baldwin, 20 min, 1978)
 Television Assassination (Bruce Conner, 14 min,
 1964/95)
 Cosmic Ray (Bruce Conner, 4 min, 1961)



 Class 07- March 8th

 Screening:   Alone, Life Wastes Andy Hardy (Martin Arnold, 15 min,
 1998)
 Flicker: Unsteady Motion (Paula Frohele, 7 min,
 1995)





 Class 08- March 15th

 Screening:   Frame (Ken 

Re: [Frameworks] Did Kodak almost stop making all film?

[nicky . hamlyn]

I was told recently by a tele-cine operator at iDailies in London, which is 
digitising all the 35mm test rolls for the new Star Wars movie, that Kodak are 
continuing to make some stocks until at least 2017 as several studios want to 
go back to shooting on film.

Nicky. 
 

 

 

-Original Message-
From: Fred Camper f...@fredcamper.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 31 Jul 2014 1:20
Subject: [Frameworks] Did Kodak almost stop making all film?


http://online.wsj.com/articles/kodak-movie-film-at-deaths-door-gets-a-reprieve-1406674752?mod=WSJ_hp_RightTopStoriesAs
 I understand this, they were considering stopping all film manufacturing, in 
all gagues, including of print stock. Does anyone have more information?Fred 
CamperChicago___FrameWorks mailing 
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Re: [Frameworks] Paris + London

[nicky . hamlyn]

Widescreen Centre in central London sells most of the available 16mm and Super 
8 stocks. Not cheap though: https://www.widescreen-centre.co.uk/

Nicky.

 

 

 

-Original Message-
From: leandro listorti leandro.listo...@gmail.com
To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com
Sent: Mon, 7 Jul 2014 2:03
Subject: [Frameworks] Paris + London



Hi all frameworkers, 
my name is Leandro Listorti, from Argentina. I am going to be visiting Paris  
London from 7 to 24 July. I appeal to our common interests to ask you 
recommendations on places and small and lesser known venues I should visit. 
Also where to buy S8 and 16mm stock.


Thanks in advance. 



-- 
Leandro Listorti
--
m. leandro.listo...@gmail.com
c. +54.911.6754.0994
s. leandrolistorti


 
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Re: [Frameworks] shooting 16mm film in israel

[nicky . hamlyn]

Be prepared to be interrogated at length by customs officers on the exact 
nature of your project, on entering and leaving the country.

Nicky.

 

 

 

-Original Message-
From: Irene Lusztig ir...@komsomolfilms.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 7 Jul 2014 20:20
Subject: [Frameworks] shooting 16mm film in israel


Dear Frameworks,


I’m about to shoot a project partly on 16mm in Israel. Any advice / experience 
with bringing film stock in and out of the country? I'm assuming  airport 
security is more intense than average… not sure if anyone knows if I should be 
more worried about x-ray than normal (hand carry? ask for hand inspection? put 
film in checked luggage? try to process in the country? if so, where?). Any 
experienced suggestions would be much appreciated.


Thanks so much,


Irene






+ + + + + + + + + + 



http://www.komsomolfilms.com/








 
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Re: [Frameworks] Annette Michelson's collected essays

[nicky . hamlyn]

Some confusion between Annette Michelson and (Canadian novelist) Anne Michaels,

Nicky.

 

 

 

-Original Message-
From: Anderwald + Grond cont...@anderwald-grond.at
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 25 Jun 2014 20:58
Subject: Re: [Frameworks] Annette Michelson's collected essays


If in London, this might be the next opportunity to ask her:
http://www.londonreviewbookshop.co.uk/events/2014/7/correspondences-anne-michaels-and-gareth-evans


--
Ruth Anderwald + Leonhard Grond
Schüttelstrasse 21/14
1020 Vienna Austria
+43 699 10984551
http://www.anderwald-grond.at
@anderwaldgrond
http://www.hasenherz.at








Am 25.06.2014 um 21:22 schrieb Kathryn Siegel kathryn.sie...@gmail.com:



Hi Frameworks,


I've been researching the writing of Annette Michelson and was wondering what 
ever became of a book of her collected essays that was proposed but never 
published.  The working tittle was On the Eve of the Future: Essays  in 
Cinematic and Related Practices. I've seen the project referenced in Amy 
Newman's Art Forum book and a few other places and would love to know whether 
this is still going ahead or has been cancelled altogether.


Thanks in advance for any insight!


Kathryn Siegel




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Re: [Frameworks] Islands in experimental film and video

[nicky . hamlyn]

Neil Henderson's 'Tidal Island' is a study of an artificial island in the Wash 
in East Anglia. An earlier version is on the DVD Three Studies in Geography, 
available thorugh LUX,

NIcky.

 

 

 

-Original Message-
From: chris bravo iamdir...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 23 Jun 2014 1:58
Subject: Re: [Frameworks] Islands in experimental film and video


i would also be remiss if I didn't add my own (and Lindsey Schneider's) Rikers 
Island video The Island is Ridiculous. Now with 3 YT hits!


https://www.youtube.com/watch?v=LmM-xy0W2LI





On Sun, Jun 22, 2014 at 8:01 PM, franco base frenk.ca...@gmail.com wrote:

Alla short documentary by Vittorio de Seta. In the 50' he  filmed italian 
island.




Il 22/giu/2014 23:31 Pigott, Michael m.g.pig...@warwick.ac.uk ha scritto:

 Dear Frameworkers,

  

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


  

 Thanks in advance!

  

 Michael Pigott

  



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Re: [Frameworks] Islands in experimental film and video

[nicky . hamlyn]

Island Race is filmed on the Isle of Dogs, a bend in an old docks area of the 
River Thames in east London. It is technically an island as there are canals 
across the bend at its northern edge,

Nicky.

 

 

 

-Original Message-
From: Fred Truniger fred.truni...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Mon, 23 Jun 2014 9:27
Subject: Re: [Frameworks] Islands in experimental film and video


GB is an island:
William Raban: Island Race
andrew koetting: Gallivant: http://bfi.muvies.com/reviews/1485-gallivant




if you take into account more metaphoric islands you might also consider two 
animation films:
w  c lauenstein: Balance: http://www.youtube.com/watch?v=-flKGPW9QCwfeature=kp
Konstantin Bronzit: Au bout du monde: http://www.youtube.com/watch?v=7-tcJPIMwhk


cheers!
fred




Am 22.06.2014 um 23:31 schrieb Pigott, Michael:



Dear Frameworkers,
 
I'm putting together a piece about the use of islands as locations in recent 
experimental film and video. I'm focussing on Ben Rivers' Slow Action and Simon 
Faithfull's Stromness. I am building a list of other work that involves islands 
at the moment, and I would be very grateful for your suggestions of other 
experimental and artists' work (recent or historical) that are about islands or 
use islands as locations.
 
Thanks in advance!
 
Michael Pigott
 
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Re: [Frameworks] film undone series

[nicky . hamlyn]

David Larcher's videos are very discursive very open-ended: they don't 
conclude, on the contrary.

Most of Morgan Fisher's films, especially ( ) and Projection instructions.

Nicky.

 

 

 

-Original Message-
From: Joan Hawkins jchaw...@indiana.edu
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Sun, 1 Jun 2014 16:08
Subject: [Frameworks] film undone series


HI all- we're in the middle of planning our ongoing  experimental series for 
next year.
One of the programs has the working title of cinema undone and the idea for 
it was roughly films that 
don't observe the usual boundaries-- so films that don't necessarily have a 
logical end and one of the pieces we
wanted to show (or at least show excerpts from) was Nan Goldin's Ballad of 
Sexual Dependency.
We're having trouble locating Nan or getting permission to use the slides-- so 
my first question
is that-- does anyone know how to contact her or her representative?


The second question is do you have ideas for other pieces (we have Warhol's 
screen-tests; we showed Decasia last year
but might revisit parts of it). thanks-- Joan



Joan Hawkins
Associate Professor
Indiana University
Dept of Communication and Culture
800 E Third St.
Bloomington, IN 47405

812-855-1548
jchaw...@indiana.edu
Member Editorial board of Culture, Theory, 
Critique




 
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Re: [Frameworks] CBS goes Underground

[nicky . hamlyn]

Was it filmed in a lawyer's office? Willard van Dyke badly lets the side down 
by suggesting that 'there is the possibility that new techniques are being 
explored and that other filmmakers can benefit by these techniques'. The the 
whole film is redeemed by the glimpse of Brakhage's pipe!
 

 Nicky.


 

-Original Message-
From: Jeff Kreines j...@kinetta.com
To: Frameworks Discussion List frameworks@jonasmekasfilms.com
Sent: Sat, 31 May 2014 0:08
Subject: [Frameworks] CBS goes Underground


Thanks to Saul Levine for finding this.



Wow! Brakhage, Mekas, Warhol, Sedgwick, and the Velvets (without sound), and 
more -- along with a little bloviating from Willard Van Dyke.


The Making of an Underground Film from CBS Evening News with Walter CronkiteThe 
Making of an Underground Film from CBS Evening News with Walter Cronkite, 
broadcasted on 31st December 1965. Featuring Jonas Mekas, Piero Heliczer with 
V...


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




 
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Re: [Frameworks] New filmmaker

[nicky . hamlyn]

A few films without montage, or indeed any editing in the conventional sense: 
Lumiere films, All my Life, Serene Velocity, Sidewalk Shuttle, Wavelength, 
Central Region, Russian Ark,many films by James Benning, Malcolm LeGrice, Peter 
Gidal
 
NIcky.

 

 

-Original Message-
From: Francisco Torres fjtorre...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 21 May 2014 19:57
Subject: Re: [Frameworks] New filmmaker


''Which principles do I have to bear in mind?''


One principle-Montage. 
The stuff Cinema is made of.
Because films ARE made of clashing frames.


If there is a God, it is a God of Montage''.
David Cronenberg


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



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



https://www.youtube.com/watch?v=bXlzvvTHg7k





On Wed, May 21, 2014 at 2:11 PM, Julianna Schley julianna.sch...@gmail.com 
wrote:

I don't know where you live, but I know a great resource in Brooklyn is the 
public access channel. If you take an orientation and a class there (for under 
$100) you get to use their equipment. I imagine a lot of other cities have a 
similar set-up. That way you can try out a few different types of cameras, 
although it's possible that they will be out of date. I personally don't care 
about that. For me, just holding a camera and seeing a frame really changed how 
I thought about shooting. Good luck!



On Mon, May 5, 2014 at 4:42 PM, Eleni Philippou eleni_philip...@hotmail.com 
wrote:



Dear all,


I decided to start making my own films. Which camera shall I buy? Which 
principles do I have to bear in mind?
Any advice welcome.


Many many thanks,


Eleni Filippou
  



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

[nicky . hamlyn]

Walter Ruttmann's Weekend (1930) is a sound scape collage which was made on 
35mm film for Berlin Radio, and broadcast in July of that year, so a film if 
only in the material sense.

Ken McMullen's film Ghost Dance (1983, and starring the late Pascale Ogier), 
has people listening to the BBC shipping forecast on boom boxes that they carry 
around London. The shipping forecast is a regular radio broadcast of 
information important to sailors, and comprises a quasi-poetic recitation of 
local weather conditions in the seas around Britain.

Nicky. 

 

 

 

-Original Message-
From: Julia Gouin ad...@cjcinema.org
To: frameworks@jonasmekasfilms.com
Sent: Thu, 8 May 2014 19:08
Subject: [Frameworks] Looking for films about the radio and on air diffusion



Dear all, 


I am looking for films and videos that deal either thematically or technically 
with the idea of radio and radio diffusion. 

Any titles that come to your mind? 


Many thanks in advance for your thoughts




Julia Gouin
   Administratrice 


ATTENTION / / NOUVELLE ADRESSE / / 







 
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Re: [Frameworks] 16mm colour prints from negs

[nicky . hamlyn]

None of these is doing prints, in fact most of them closed down. 


 Try Prestech or Film and Photo, both in London,


Nicky.



-Original Message-
From: Scott Dorsey klu...@panix.com
To: frameworks@jonasmekasfilms.com
Sent: Fri, 9 May 2014 13:55
Subject: Re: [Frameworks] 16mm colour prints from negs


Cinelab London does prints.  Film Lab North in Leeds, Colour Film Services
in Middlesex.  Technicolor London, Soho Film Lab also.  Probably others.
--scott
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Re: [Frameworks] Infrared Film in Experimental Cinema

[nicky . hamlyn]

Kurt Kren: Tree Again,


Nicky.



-Original Message-
From: Heath Iverson h...@st-andrews.ac.uk
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thu, 1 May 2014 16:16
Subject: [Frameworks] Infrared Film in Experimental Cinema




Hi Frameworkers,


I've been trying to think of films made using infrared sensitive film stock, 
especially color stocks like Kodak's Aerochrome III. At the moment, the only 
examples I can think of are Richard Mosse's The Enclave (2013) and a section 
from Oliver Stone's Alexander. Surely there must be more?


Best,

Heath



-- 
Heath Iverson
PhD Student, Film Studies

University of St Andrews
99 North Street
St. Andrews, KY16 9AD
Scotland, UK




 
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