[Frameworks] Free Copy of Introduction to Documentary (1st ed.) by Bill Nichols

[Ken Paul Rosenthal]

I just ordered the new, 3rd edition of Bill Nichols' seminal, Introduction to 
Documentary. So I'm happy to give away my 1st edition to anyone who would like 
to pick it up in person, here in San Francisco. The book is in excellent 
condition, save some yellow highlighting in the section on The Poetic Mode, 
which I was researching for my MFA thesis project, back in the day. First come, 
first served.


Ken

www.kenpaulrosenthal.com

www.whisperrapture.com
www.maddancementalhealthfilmtrilogy.com

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Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations

[Esperanza Collado]

Dear John,

Excuse my arrogance, but I can't help identifying very strongly what you're
looking for, and «especially expanded cinema works, and more contemporary
efforts, ones that split these relations even further: between image
capture and image playback», with my own *We Only Guarantee The Dinosaurs*,
a performance-environment piece (for lack of a better word) that has shown
widely. Here you can find a bit of info about it (photos and some written
impressions). I can provide more documentation if needed.

http://esperanzacollado.org/WORKS/weonlyguaranteethedinosaurs.html

Best

esperanza

2017-05-23 17:45 GMT+02:00 Dave Tetzlaff :

> Belaboring the obvioius perhaps, but Hollis Frampton ‘Critical Mass’ and
> ‘(nostalgia)’ [each shot is one 100’ load]; Owen Land ‘Film in which…’;
> Robert Nelson ‘Bleu Shut’; Barbara Rubin ‘Christmas on Earth’ [non fixed
> image-iaage and image-sound relationships]; Michael Snow ‘<—>’...
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-- 
Esperanza Collado
- - - - - - - - - - - - - -
www.esperanzacollado.org
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Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations

[Dave Tetzlaff]

Belaboring the obvioius perhaps, but Hollis Frampton ‘Critical Mass’ and 
‘(nostalgia)’ [each shot is one 100’ load]; Owen Land ‘Film in which…’; Robert 
Nelson ‘Bleu Shut’; Barbara Rubin ‘Christmas on Earth’ [non fixed image-iaage 
and image-sound relationships]; Michael Snow ‘<—>’...
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[Frameworks] You are under 15 and you make films ?

[VICTOR]

Hi there, 

If you know some children who make films, can you please share with them the 
call below ? 

It’s for our next Festival des cinémas différents de Paris  (October 2017). 

Thanks in advance, 

Best, 


Victor Gresard

COLLECTIF JEUNE CINÉMA
c/o Commune Image
8, rue Godillot
93400 Saint-Ouen  - France
Website  |  Facebook 
   |  Twitter 
  |  Vimeo 
  |  Newsletter 


FESTIVAL DES CINÉMAS DIFFÉRENTS
ET EXPÉRIMENTAUX DE PARIS
19th edition - october 2017
Facebook  

WHAT’S YOUR FLAVOR?
LGBTIQ experiments
Facebook 



> 
> 
> VOUS AVEZ MOINS DE 15 ANS ET VOUS FAITES DES FILMS ?  
> 
> Envoyez-les au Festival des cinémas différents et expérimentaux de Paris et 
> participez à la troisième édition des Films des moins de 15 ans  !
>  
> Les films peuvent durer d'une minute à moins d'une heure. Il n'y a pas de 
> thèmes imposés et vous n'êtes pas obligés de raconter une histoire. Une 
> sensation, une impression, des images que vous trouvez belles ou 
> intéressantes, le désir d'essayer un montage particulier, de raconter à votre 
> manière, sans avoir peur des imperfections de l'image ou du son, un jeu avec 
> les formes suivant vos envies, sont autant de possibilités pour commencer à 
> tourner. Les films retenus seront projetés lors du 19ème Festival des cinémas 
> différents et expérimentaux de Paris au début du mois d'octobre 2017. 
> 
> >>>INSCRIRE UN FILM  
> >>>
> 
> 
> FESTIVAL
>  DES CINÉMAS  DIFFÉRENTS 
>  ET EXPÉRIMENTAUX DE PARIS 
> 19ème édition - octobre 2017 
> 
>  <>
> 
> 
>  
> 
> YOU ARE UNDER 15 AND YOU MAKE FILMS?
> 
> 
> Submit them to the Festival des cinémas différents et expérimentaux de Paris 
> and take part in the third edition of the Films by under 15 !
>  
> The films submitted must be at least one minute long, up to less than one 
> hour. There is no imposed theme and you are not obliged to tell a story. A 
> sensation, an impression, images that you find beautiful or interesting, your 
> desire to try a specific kind of editing or to narrate in your own way 
> without fearing imperfection or failures of the sound and image, a game with 
> shapes that inspire you: all of these are some of the multiple possibilities 
> to start to make your own film. The selected films will be screened during 
> the 19th Festival des cinémas différents et expérimentaux de Paris in early 
> October 2017. 
> 
> SUBMIT A FILM 
> <
> 
> 
> 
> 
> 
> 
> 
>   
> 
> 
> 
> 
> 
> 
> 
> 
> This email was sent to victor.gres...@cjcinema.org 
>  
> why did I get this? 
> 
> unsubscribe from this list 
> 
> update subscription preferences 
> 
>  
> COLLECTIF JEUNE CINEMA · 71 Rue Robespierre, Montreuil, France · Montreuil 
> 93100 · France 
> 
>  
> 
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Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations

[Jonathan Walley]

Hi John,

William Raban’s 2’45” (1973, recreated on 35mm as 4’22” in 2008) and Tony 
Conrad’s Film Feedback (1974) collapse those times. Conrad’s literally merges 
all of them into one moment - if I understand your different “times” correctly. 
Projection performances in general (in which one could possibly include both 
the aforementioned films) are often understood as a form of “live” filmmaking, 
the idea being not only that distinct “times” are collapsed, but that, in so 
collapsing, they bring together the people usually separated by those temporal 
boundaries - filmmaker and audience. 

Of course, there are lots of expanded cinema works that dispense with some of 
these times, too. 

all best,
JW

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



> On May 22, 2017, at 9:13 PM, John Muse  wrote:
> 
> Hive mind!  I’m beginning research on moving image media works that couple 
> and complicate the relations between the following events, with an emphasis 
> on the time they take: the time-of-the-profilmic-event, the 
> time-of-the-recording-apparatus, the time-of-the-assembly-protocols, the 
> time-of-the-display-apparatus, and the time-of-the-viewing-experience.  
> 
> A mouthful, I know!  But these events are relatively autonomous, as we know, 
> and ubiquitously so.  Time lapse, slow motion, closed-circuit works and delay 
> systems, and even the simplest continuity edit, which purports to build a 
> single event for the viewer out of disparate events before the camera, 
> partake of this trouble.  But I’m looking for works that critically 
> investigate and exploit these relations.  Man with the Movie Camera, of 
> course and as usual, made all of these features explicit through 
> undercranking, overcranking, animation, jumpcuts, cross-cutting times and 
> spaces, superimpositions, split-screens, and the use of the movie house 
> itself.  
> 
> So many other works from the tradition of experimental film to consider.  
> Things I already love: Ernie Gehr’s Serene Velocity, Nancy Holt’s Boomerang, 
> and Ken Jacob’s Tom Tom and his Nervous Magic Lantern performances.  From the 
> conceptual media side of the aisle: Bruce Nauman’s Live-Taped Video Corridor, 
> Dan Graham’s tape delay works, Douglas Gordon’s 24 Hour Psycho, and many of 
> David Claerbout’s works.   
> 
> Help please!  I’m looking for other canonical materials, especially expanded 
> cinema works, and more contemporary efforts, ones that split these relations 
> even further: between image capture and image playback, there is processing, 
> whether optical and analog or digital: compression schemes, datamoshing, and 
> spline morphing, i.e., "bullet time" and other interpolation protocols.
> 
> Comments and clarifying questions appreciated.   
> 
> j/PrM
> 
> *
> 
> john muse
> visual media scholar
> haverford college
> he/him/his
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
> 
> *
> 
> 
> 
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[Frameworks] major exhibitions of moving image art

[Green, Ron Green]

Ben,

Sticking with major gallery- or museum-installed exhibitions, I thought of one 
more, Barbara London's Video Spaces at MoMA, 1995.


Ron Green
356 W 7th Ave
Columbus OH 43201
614.421.2131


J. Ronald Green
Professor Emeritus of Film Studies
Department of History of Art
The Ohio State University


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Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations

[John Muse]

Thanks, Jesse.  The Smith!  Of course.

> On May 22, 2017, at 11:14 PM, Jesse Pires  wrote:
> 
> The first few that come to mind: 
> 
> H.M. by Kerry Tribe
> Girl Chewing Gum by John Smith
> Candle by Neil Henderson 
> 
> On Mon, May 22, 2017 at 9:13 PM, John Muse  wrote:
> Hive mind!  I’m beginning research on moving image media works that couple 
> and complicate the relations between the following events, with an emphasis 
> on the time they take: the time-of-the-profilmic-event, the 
> time-of-the-recording-apparatus, the time-of-the-assembly-protocols, the 
> time-of-the-display-apparatus, and the time-of-the-viewing-experience.
> 
> A mouthful, I know!  But these events are relatively autonomous, as we know, 
> and ubiquitously so.  Time lapse, slow motion, closed-circuit works and delay 
> systems, and even the simplest continuity edit, which purports to build a 
> single event for the viewer out of disparate events before the camera, 
> partake of this trouble.  But I’m looking for works that critically 
> investigate and exploit these relations.  Man with the Movie Camera, of 
> course and as usual, made all of these features explicit through 
> undercranking, overcranking, animation, jumpcuts, cross-cutting times and 
> spaces, superimpositions, split-screens, and the use of the movie house 
> itself.
> 
> So many other works from the tradition of experimental film to consider.  
> Things I already love: Ernie Gehr’s Serene Velocity, Nancy Holt’s Boomerang, 
> and Ken Jacob’s Tom Tom and his Nervous Magic Lantern performances.  From the 
> conceptual media side of the aisle: Bruce Nauman’s Live-Taped Video Corridor, 
> Dan Graham’s tape delay works, Douglas Gordon’s 24 Hour Psycho, and many of 
> David Claerbout’s works.
> 
> Help please!  I’m looking for other canonical materials, especially expanded 
> cinema works, and more contemporary efforts, ones that split these relations 
> even further: between image capture and image playback, there is processing, 
> whether optical and analog or digital: compression schemes, datamoshing, and 
> spline morphing, i.e., "bullet time" and other interpolation protocols.
> 
> Comments and clarifying questions appreciated.
> 
> j/PrM
> 
> *
> 
> john muse
> visual media scholar
> haverford college
> he/him/his
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
> 
> *
> 
> 
> 
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j/PrM

*

john muse
visual media scholar
haverford college
he/him/his
http://www.finleymuse.com
http://www.haverford.edu/faculty/jmuse
http://haverford.academia.edu/JohnMuse

*



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Re: [Frameworks] major exhibitions of moving image art

[Beebe, Roger W.]

Ben,

One more that I thought of belatedly and that I didn’t see listed in the other 
posts:  the MindFrames show (focused on Buffalo in the 1970s) at ZKM back in 
2006-7:

http://on1.zkm.de/zkm/stories/storyReader$5419

A lot of the work was shown digitally, but they had some pretty impressive 
multi-projector 16mm installations of the Sharits work.  (Thought of this 
because I just caught the 2014 Sharits doc in a theater here two nights ago.)

FYI,
Roger

On May 23, 2017, at 2:47 AM, Ben Ogrodnik 
> wrote:

Dear Ron Green, Adam Hyman, Chrissie Iles, Roger W. Beebe, Albert Alcoz, Cindy 
Keefer, and Janis Crystal Lipzin:

Thank you all so much.  Your detailed suggestions have been extremely helpful-- 
if only I could have seen and experienced many of these events!

I especially appreciated lists of events/exhibitions outside the US and Europe, 
tracing the rise of moving-image practices around the world.  I only wish there 
was more scholarship on the history of exhibiting experimental media--but 
perhaps that's another listserv request/topic for another time!

Hope you all have a terrific week.
Sincerely,
Ben


--
Ben Ogrodnik
PhD student
K. Leroy Irvis Fellow
Department of Film Studies // History of Art and Architecture
University of Pittsburgh
b...@pitt.edu
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