thanks for your interesting post Bernard Roddy. I’ve been reading a little Bergson too in my desultory fashion. 19th century science and engineering had some interesting ideas. I liked Bergon’s discussion of the unmeasurability of ”intensity” though I think everything is measurable now. But who is interested in intensity?
Robert Withers withe...@earthlink.net 202 West 80 St #5W NYNY 10024 > On Jun 11, 2020, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote: > > Send FrameWorks mailing list submissions to > frameworks@jonasmekasfilms.com > > To subscribe or unsubscribe via the World Wide Web, visit > https://mailman-mail5.webfaction.com/listinfo/frameworks > or, via email, send a message with subject or body 'help' to > frameworks-requ...@jonasmekasfilms.com > > You can reach the person managing the list at > frameworks-ow...@jonasmekasfilms.com > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of FrameWorks digest..." > Today's Topics: > > 1. Re: Source for pdf's? (Dominic Angerame) > 2. Supervisuel (Dominic Angerame) > 3. Re: Source for pdf's? (Michael Campos-Quinn) > 4. Experimental films on photography (Bernard Roddy) > 5. Re: Experimental films on photography (John Muse) > 6. Re: Experimental films on photography (John Muse) > 7. Re: Experimental films on photography (Bernard Roddy) > > From: Dominic Angerame <dominic.anger...@gmail.com> > Subject: Re: [Frameworks] Source for pdf's? > Date: June 10, 2020 at 10:00:08 AM EDT > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > > > Joel’s book is not very expensive and worth purchasing if you are serious > about using a Bolex. I wish such a book was available when I first started > making 16mm films. > > Dominic > >> On Jun 9, 2020, at 1:08 PM, Justin Rhody <justincliffordrh...@gmail.com >> <mailto:justincliffordrh...@gmail.com>> wrote: >> >> Anyone know where I can find pdf's of these books? >> (or pdf's of other books you'd recommend?) >> >> >> Experimental Filmmaking : Break the Machine - Kathryn Ramey >> Process Cinema: Handmade Film in the Digital Age - Scott MacKenzie & Janine >> Marchessault >> Grafilm - J. Bryne Daniel >> Experimental filmmaking and the Motion Picture Camera - Joel Schlemowitz >> Making Images Move: Handmade Cinema and the Other Arts - Gregory Zinman >> >> >> Thanks, Justin >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com> >> https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > > From: Dominic Angerame <dominic.anger...@gmail.com> > Subject: [Frameworks] Supervisuel > Date: June 10, 2020 at 10:02:25 AM EDT > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > > > I have one issue of this magazine Supervisuel #3 > > Supervisuell #3 Gregory Markopoulis article, STO PALIKARI, article by Jonas > Mekas, Bridget Hein article and llustration General Info by Robert Nelson > Cover: “The Mysteries” by Gregory Markopoulis and Photos from Robert Beavers > “Winged Dialogue” in German and English > > If interested contact me off site. > > Thanks > > > > > > > From: Michael Campos-Quinn <michaelcamposqu...@gmail.com> > Subject: Re: [Frameworks] Source for pdf's? > Date: June 10, 2020 at 11:47:15 AM EDT > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > > > We have a lot of these books in the PFA library (you're in the Bay Area > right?). In the next couple of months when things reopen you will be able to > drop in to read them all you want. And if there's a title we don't have that > you want we can maybe buy it. Public libraries can also request to borrow > titles from other libraries for free, check out Oakland Public Library and > SFPL. > > Michael > > > On Wed, Jun 10, 2020 at 7:00 AM Dominic Angerame <dominic.anger...@gmail.com > <mailto:dominic.anger...@gmail.com>> wrote: > Joel’s book is not very expensive and worth purchasing if you are serious > about using a Bolex. I wish such a book was available when I first started > making 16mm films. > > Dominic > >> On Jun 9, 2020, at 1:08 PM, Justin Rhody <justincliffordrh...@gmail.com >> <mailto:justincliffordrh...@gmail.com>> wrote: >> >> Anyone know where I can find pdf's of these books? >> (or pdf's of other books you'd recommend?) >> >> >> Experimental Filmmaking : Break the Machine - Kathryn Ramey >> Process Cinema: Handmade Film in the Digital Age - Scott MacKenzie & Janine >> Marchessault >> Grafilm - J. Bryne Daniel >> Experimental filmmaking and the Motion Picture Camera - Joel Schlemowitz >> Making Images Move: Handmade Cinema and the Other Arts - Gregory Zinman >> >> >> Thanks, Justin >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com> >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com> > https://mailman-mail5.webfaction.com/listinfo/frameworks > <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > > > From: Bernard Roddy <roddy...@gmail.com> > Subject: [Frameworks] Experimental films on photography > Date: June 10, 2020 at 4:49:30 PM EDT > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > > > Dear Albert: > > This is a nice invitation to read (I quote it below). For me it leaves too > much to consider. I had two reactions.First, I have been interested in > conceptual art's use of photography. Under these terms we would have to > impose a "post-photographic" restriction on what constitutes acceptable > examples in your list. I would submit a short list of classic texts written > by artists for publication in 1969 and 1970. > > But I also just taught a course in which I used standard narrative cinema in > order to think about traditional philosophical material. And the film, > Memento, became interesting for reasons having nothing to do with any > experimental film. > > Or so it would appear. One could undertake a whole research agenda in which > the role of memory in the understanding of shot relationships is explored. > This concerns the experience of the spectator when the questions concern the > order of events and their causal relationships. In his Matter and Memory > Henri Bergson was preoccupied by 19th century research that involves brain > lesions. Bergson uses results in neurophysiology to confirm his hypotheses > about memory. > > But it was in order to get a handle on Deleuze's reference to the memory > image that I found myself reading Bergson. Deleuze is extremely casual with > terminology, but Bergson isn't. What Deleuze means by the memory image and > the time image can only be appreciated, of course, by reviewing a history of > narrative cinema. But what Bergson means when he discusses research into > memory disorders can be appreciated by any artist working with images that > replicate perception. > > In Memento Leonard takes instamatic photographs that are developed before his > eyes. They are only part of his basis for deciding what he will do in the > future, but as images fixed on paper they make possible repeated experience > of the circumstances of some past event. > > Why burn a photograph documenting something you did? What is the significance > of a character's understanding of the value of a photograph for the > understanding that a spectator has of the plot? > > Bernie > > > - - - - - - > Hello all, > > I was making a list of experimental film practices on photography and I was > wondering if you could suggest more titles. > > At first I wanted to focus just on movies where photographs are deleted > (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis > Frampton and the project *Found Monochromes* by David Batchelor (slides). > Does anyone know other films where the main purpose is the destruction or > the invisibility of photographs? > > On the other hand I have started a list of films made from photographs. > There are dozens of films (some of them animations) where the object of > analysis are still images, from filmed Polaroids to appropriation of > advertising images from magazines or the accumulation of digital images > found on the internet: > > *Transformation by Holding Time* by Paul de Nooijer > *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler > *Production Stills* by Morgan Fisher > *Frank Film* by Frank Mouris > *Boy Meets Girl* by Eugènia Balcells > *Wall *by Takashi Ito > *Photodiary *by Takashi Ito > *Clandestine Porn Film* by Augustin Gimel > *DIES IRAE* by Jean Gabriel Périot > *The World as Will and Representation* de Roy Arden > > Do others come to mind? > > Thank you, > Albert Alcoz > > > > From: John Muse <jm...@sonic.net> > Subject: Re: [Frameworks] Experimental films on photography > Date: June 10, 2020 at 6:35:05 PM EDT > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > > > Hi, Albert. Please consider adding Agnes Varda’s Ulysse to your list as well > as the other films in her Cinévardaphoto: > https://www.imdb.com/title/tt0423987/ > > And I humbly (and not so humbly) submit the following proposal for your > consideration: > https://www.academia.edu/34354327/Film_on_Photography_or_The_Eclipse_of_the_Frame_Impakt_Festival_2017 > There are a few other films worth thinking about here. > > j > > >> On Jun 9, 2020, at 6:06 AM, Albert Alcoz <albertal...@gmail.com> wrote: >> >> Hello all, >> >> I was making a list of experimental film practices on photography and I was >> wondering if you could suggest more titles. >> >> At first I wanted to focus just on movies where photographs are deleted >> (burned, destroyed) or denied but I only know (nostalgia) for Hollis >> Frampton and the project Found Monochromes by David Batchelor (slides). Does >> anyone know other films where the main purpose is the destruction or the >> invisibility of photographs? >> >> On the other hand I have started a list of films made from photographs. >> There are dozens of films (some of them animations) where the object of >> analysis are still images, from filmed Polaroids to appropriation of >> advertising images from magazines or the accumulation of digital images >> found on the internet: >> >> Transformation by Holding Time by Paul de Nooijer >> Pasadena Freeway Stills and Hand Held Day by Gary Beydler >> Production Stills by Morgan Fisher >> Frank Film by Frank Mouris >> Boy Meets Girl by Eugènia Balcells >> Wall by Takashi Ito >> Photodiary by Takashi Ito >> Clandestine Porn Film by Augustin Gimel >> DIES IRAE by Jean Gabriel Périot >> The World as Will and Representation de Roy Arden >> >> Do others come to mind? >> >> Thank you, >> Albert Alcoz >> -- >> http://albertalcoz.com/ >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks > > j/PrM > > > ************************************************* > > Take care; be well; wash your hands; safeguard all the distances! > > John Muse > Assistant Professor of Visual Studies > Haverford College > he/him/his > j=John PrM=Professor Muse > http://www.finleymuse.com > http://www.haverford.edu/faculty/jmuse > https://haverford.academia.edu/JohnMuse > https://www.instagram.com/johnmuseartist/ > https://www.facebook.com/jmuse99 > > ************************************************* > > > > > > > > From: John Muse <jm...@sonic.net> > Subject: Re: [Frameworks] Experimental films on photography > Date: June 10, 2020 at 6:36:51 PM EDT > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > > > Hi, Bernard. I often teach a Film on Photography course and just as often > include Memento in the syllabus… only to remove it. Have you taught it? How > does it work for students? > > Thanks! > > j > >> On Jun 10, 2020, at 4:49 PM, Bernard Roddy <roddy...@gmail.com> wrote: >> >> Dear Albert: >> >> This is a nice invitation to read (I quote it below). For me it leaves too >> much to consider. I had two reactions.First, I have been interested in >> conceptual art's use of photography. Under these terms we would have to >> impose a "post-photographic" restriction on what constitutes acceptable >> examples in your list. I would submit a short list of classic texts written >> by artists for publication in 1969 and 1970. >> >> But I also just taught a course in which I used standard narrative cinema in >> order to think about traditional philosophical material. And the film, >> Memento, became interesting for reasons having nothing to do with any >> experimental film. >> >> Or so it would appear. One could undertake a whole research agenda in which >> the role of memory in the understanding of shot relationships is explored. >> This concerns the experience of the spectator when the questions concern the >> order of events and their causal relationships. In his Matter and Memory >> Henri Bergson was preoccupied by 19th century research that involves brain >> lesions. Bergson uses results in neurophysiology to confirm his hypotheses >> about memory. >> >> But it was in order to get a handle on Deleuze's reference to the memory >> image that I found myself reading Bergson. Deleuze is extremely casual with >> terminology, but Bergson isn't. What Deleuze means by the memory image and >> the time image can only be appreciated, of course, by reviewing a history of >> narrative cinema. But what Bergson means when he discusses research into >> memory disorders can be appreciated by any artist working with images that >> replicate perception. >> >> In Memento Leonard takes instamatic photographs that are developed before >> his eyes. They are only part of his basis for deciding what he will do in >> the future, but as images fixed on paper they make possible repeated >> experience of the circumstances of some past event. >> >> Why burn a photograph documenting something you did? What is the >> significance of a character's understanding of the value of a photograph for >> the understanding that a spectator has of the plot? >> >> Bernie >> >> >> - - - - - - >> Hello all, >> >> I was making a list of experimental film practices on photography and I was >> wondering if you could suggest more titles. >> >> At first I wanted to focus just on movies where photographs are deleted >> (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis >> Frampton and the project *Found Monochromes* by David Batchelor (slides). >> Does anyone know other films where the main purpose is the destruction or >> the invisibility of photographs? >> >> On the other hand I have started a list of films made from photographs. >> There are dozens of films (some of them animations) where the object of >> analysis are still images, from filmed Polaroids to appropriation of >> advertising images from magazines or the accumulation of digital images >> found on the internet: >> >> *Transformation by Holding Time* by Paul de Nooijer >> *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler >> *Production Stills* by Morgan Fisher >> *Frank Film* by Frank Mouris >> *Boy Meets Girl* by Eugènia Balcells >> *Wall *by Takashi Ito >> *Photodiary *by Takashi Ito >> *Clandestine Porn Film* by Augustin Gimel >> *DIES IRAE* by Jean Gabriel Périot >> *The World as Will and Representation* de Roy Arden >> >> Do others come to mind? >> >> Thank you, >> Albert Alcoz >> >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks > > j/PrM > > > ************************************************* > > Take care; be well; wash your hands; safeguard all the distances! > > John Muse > Assistant Professor of Visual Studies > Haverford College > he/him/his > j=John PrM=Professor Muse > http://www.finleymuse.com > http://www.haverford.edu/faculty/jmuse > https://haverford.academia.edu/JohnMuse > https://www.instagram.com/johnmuseartist/ > https://www.facebook.com/jmuse99 > > ************************************************* > > > > > > > > From: Bernard Roddy <roddy...@gmail.com> > Subject: Re: [Frameworks] Experimental films on photography > Date: June 10, 2020 at 6:59:26 PM EDT > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > > > It's fine. I'm sorry, I don't take interest in the question. > > On Wed, Jun 10, 2020 at 5:37 PM John Muse <jm...@sonic.net > <mailto:jm...@sonic.net>> wrote: > Hi, Bernard. I often teach a Film on Photography course and just as often > include Memento in the syllabus… only to remove it. Have you taught it? How > does it work for students? > > Thanks! > > j > > > On Jun 10, 2020, at 4:49 PM, Bernard Roddy <roddy...@gmail.com > > <mailto:roddy...@gmail.com>> wrote: > > > > Dear Albert: > > > > This is a nice invitation to read (I quote it below). For me it leaves too > > much to consider. I had two reactions.First, I have been interested in > > conceptual art's use of photography. Under these terms we would have to > > impose a "post-photographic" restriction on what constitutes acceptable > > examples in your list. I would submit a short list of classic texts written > > by artists for publication in 1969 and 1970. > > > > But I also just taught a course in which I used standard narrative cinema > > in order to think about traditional philosophical material. And the film, > > Memento, became interesting for reasons having nothing to do with any > > experimental film. > > > > Or so it would appear. One could undertake a whole research agenda in which > > the role of memory in the understanding of shot relationships is explored. > > This concerns the experience of the spectator when the questions concern > > the order of events and their causal relationships. In his Matter and > > Memory Henri Bergson was preoccupied by 19th century research that involves > > brain lesions. Bergson uses results in neurophysiology to confirm his > > hypotheses about memory. > > > > But it was in order to get a handle on Deleuze's reference to the memory > > image that I found myself reading Bergson. Deleuze is extremely casual with > > terminology, but Bergson isn't. What Deleuze means by the memory image and > > the time image can only be appreciated, of course, by reviewing a history > > of narrative cinema. But what Bergson means when he discusses research into > > memory disorders can be appreciated by any artist working with images that > > replicate perception. > > > > In Memento Leonard takes instamatic photographs that are developed before > > his eyes. They are only part of his basis for deciding what he will do in > > the future, but as images fixed on paper they make possible repeated > > experience of the circumstances of some past event. > > > > Why burn a photograph documenting something you did? What is the > > significance of a character's understanding of the value of a photograph > > for the understanding that a spectator has of the plot? > > > > Bernie > > > > > > - - - - - - > > Hello all, > > > > I was making a list of experimental film practices on photography and I was > > wondering if you could suggest more titles. > > > > At first I wanted to focus just on movies where photographs are deleted > > (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis > > Frampton and the project *Found Monochromes* by David Batchelor (slides). > > Does anyone know other films where the main purpose is the destruction or > > the invisibility of photographs? > > > > On the other hand I have started a list of films made from photographs. > > There are dozens of films (some of them animations) where the object of > > analysis are still images, from filmed Polaroids to appropriation of > > advertising images from magazines or the accumulation of digital images > > found on the internet: > > > > *Transformation by Holding Time* by Paul de Nooijer > > *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler > > *Production Stills* by Morgan Fisher > > *Frank Film* by Frank Mouris > > *Boy Meets Girl* by Eugènia Balcells > > *Wall *by Takashi Ito > > *Photodiary *by Takashi Ito > > *Clandestine Porn Film* by Augustin Gimel > > *DIES IRAE* by Jean Gabriel Périot > > *The World as Will and Representation* de Roy Arden > > > > Do others come to mind? > > > > Thank you, > > Albert Alcoz > > > > _______________________________________________ > > FrameWorks mailing list > > FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com> > > https://mailman-mail5.webfaction.com/listinfo/frameworks > > <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > j/PrM > > > ************************************************* > > Take care; be well; wash your hands; safeguard all the distances! > > John Muse > Assistant Professor of Visual Studies > Haverford College > he/him/his > j=John PrM=Professor Muse > http://www.finleymuse.com <http://www.finleymuse.com/> > http://www.haverford.edu/faculty/jmuse > <http://www.haverford.edu/faculty/jmuse> > https://haverford.academia.edu/JohnMuse > <https://haverford.academia.edu/JohnMuse> > https://www.instagram.com/johnmuseartist/ > <https://www.instagram.com/johnmuseartist/> > https://www.facebook.com/jmuse99 <https://www.facebook.com/jmuse99> > > ************************************************* > > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com> > https://mailman-mail5.webfaction.com/listinfo/frameworks > <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks
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