[Frameworks] Calling all Boston area Frameworkers

[Jonathan Walley]

Hello everyone,

The annual conference of SCMS (the Society for Cinema and Media  
Studies) will be in Boston this year, running March 21-25. As part of  
the group ExFM (the Experimental Film and Media special interest  
group) within SCMS, I am trying to coordinate an expanded cinema  
performance that will take place during the conference (specifically  
on Saturday, March 24), and am shopping around for venues in Boston.  
The conference hotel is a possibility, but not an ideal one, so I'm  
looking for other options - more suitable to this kind of work and its  
audience. Ideally they would be in the downtown area, which is where  
the conference will be held, but I'd also be interested in hearing  
about ANY venues in the general vicinity that might be good for a  
live cinema event. These could be cinematheques, microcinemas,  
galleries/museum spaces, schools, music venues, etc.

I'd be very grateful for any suggestions. Meantime, I'll be posting  
more information about the conference in the near future. There are  
several panels, papers, workshops, screenings, and related events that  
will be of interest to frameworkers.

Thanks in advance - all best,
Jonathan

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

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Re: [Frameworks] {Disarmed} Re: Andy Warhol's SLEEP / Providence, RI / Feb 18 / Magic Lantern + RK Projects

[Jonathan Walley]

Regarding SLEEP: the definitive source on Warhol's filmmaking, Callie  
Angell, explains that SLEEP was indeed made with the Bolex using 100- 
ft. rolls, on which Warhol made multiple shots (i.e. not simply  
letting the full 100 feet run in one take as in the screen tests),  
which were subsequently optically printed and then edited together -  
the film is heavily edited, though it lacks the flashy, more jarring  
in-camera editing that Nicky mentions. As an example, Angell mentions  
that reel 5 of SLEEP has 133 splices, varying between shot lengths of  
10-20 feet each repeated 10-20 times.


Regarding projection speed: since correct projection speed is a  
matter of shooting speed, the technically correct projection speed  
of Warhol's silents is 24fps, since that's how fast he shot them. But  
of course he stipulated that they be shown at silent speed, which,  
again according to Angell, was re-standardized from 16 to 18fps around  
1970 (according to her, to reduce noticeable flicker). Is there a  
record anywhere of Warhol specifically saying 16fps rather than just  
silent speed? I don't know the extent to which EITHER 16 or 18 fps  
was ever REALLY the standard; certainly during the silent era, both  
shooting and projection speed were so varied as to thoroughly  
complicate the idea of a standard.* Which is to say that making do  
with 18fps seems entirely legit. Warhol himself could be pretty  
cavalier about projection - the correct order of reels in THE  
CHELSEA GIRLS, for instance, has a history that begins with Warhol  
dropping the reels off to the projectionist and saying good luck.


Best,
Jonathan

*of course, we're talking about 35mm in that case, but presumably the  
elusiveness of the standard was carried over into 16mm technology.



On Feb 13, 2012, at 3:26 AM, nicky.ham...@talktalk.net wrote:

The long films were made with an Auricon single system camera that  
records sync sound directly onto the film (either optical or  
magnetic). This is what Warhol used for the long take sound films  
and, if I'm not mistaken, also used for films like Bike Boy, where  
there are loads of in-camera edits, resulting in flash frames and  
blips on the track.


NIcky Hamlyn.

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Jonathan Walley
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Denison University
wall...@denison.edu

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Re: [Frameworks] Reference

[Jonathan Walley]

Eleni,

Lucas Hildenbrand's book, Inherent Vice: Bootleg Histories of  
Videotape and Copyright, cites an exchange on Frameworks regarding the  
viewing of experimental films on video/DVD/online. Specifically, he  
cites comments made by David Tetzlaff, Fred Camper, and myself  
(possible others, but those are the ones I remember). Before the book  
was published, Lucas contacted me to ask if it was alright with me to  
be quoted in his book, and I assume he did the same for David and  
Fred. I don't believe he was legally required to do this, as  
Frameworks is indeed a public forum. Rather, he was doing it as a  
professional courtesy, which I appreciated. Lucas also let me know  
exactly which passages he would be citing - I'm sure we've all  
occasionally written things on Frameworks that we later regret, or at  
least wish we could modify.


So, instead of making a blanket request, I would contact the specific  
people you want to quote and, as a courtesy (not a legal obligation)  
let them know that you'd like to quote them.


Good luck,
Jonathan

On Feb 4, 2012, at 6:25 PM, Eleni Philippou wrote:


Dear all,


I am writing my PhD on Gregory Markopoulos and many times I have  
post in this forum questions about his work. Do I have your  
permission to quote some passages from your answers in my thesis? I  
intent to write fully reference about each of you. Thank you very  
much.



Best,


Eleni
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Jonathan Walley
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Denison University
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Re: [Frameworks] Flicker Films

[Jonathan Walley]

LJ,

I'm leaving aside obvious ones like THE FLICKER and practically  
everything by Paul Sharits. As for pioneering works, I think of films  
like ARNULF RAINER, SCHWECATUR, and others by Peter Kubelka, REPORT by  
Bruce Conner (found footage but with an extended section of flicker in  
the middle), the Nervous System performances of Ken Jacobs (and more  
recently the Nervous Magic Lantern performances, which don't use  
film), the film environment FOUR SQUARE by Tony and Beverly Conrad,  
STRAIGHT AND NARROW by Conrad (and don't forget his FLICKER MATTE  
(1974), a square of interwoven black and clear leader not intended for  
projection), and RAINDANCE by Standish Lawder. Many of Takahiko  
Iimura's films involved flicker, too. I'm certainly forgetting some  
important ones, but I'm sure others will chime in.

As for recent work, some of Rober Beebe's films (including FLICKER  
PRIMER and TB TX DANCE) involve flicker, as do films by Peter  
Tscherkassky and Scott Stark, among many others (again, I'm hoping  
more folks will jump in here).

Many of the film-based projection performances of Sandra Gibson and  
Luis Recoder, Sally Golding, and Bruce McClure employ flicker loops.  
These are live works, so not available as prints, but this is an  
important body of work in which flicker is central (and much more  
aggressive than the flicker of many of the films listed above).

Hope this helps.
Best,
Jonathan

On Apr 24, 2012, at 12:13 PM, LJ Frezza wrote:

 Hello again gentlepeople,
 I'm looking to put together a survey of pioneering flicker films, as
 well as contemporary works, all preferrably on celluloid, and I was
 wondering if you guys were interested in throwing a few suggestions my
 way. I have a few ideas of my own, of course, but I always like to see
 what Frameworks thinks about these sorts of things
 -LJ

 -- 
 ljfre...@gmail.com / 904.762.8300
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Denison University
wall...@denison.edu

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Re: [Frameworks] film analysis again

[Jonathan Walley]

David Bordwell's book on Ozu is a towering achievement. And it's  
available for free pdf download here:

https://www.cjspubs.lsa.umich.edu/electronic/facultyseries/list/series/ozu.php

In a very different way, Bazin's book on Renoir. The French  
Renoir (Chapter 5) is perhaps the best, most complete, and most  
sophisticated statement of Bazin's aesthetic. Some of its passages are  
pure poetry, too.


Not so many books on avant-garde/experimental filmmakers come to mind.  
Lots of essay collections dedicated to a single filmmaker (e.g. the  
recent book on Ken Jacobs), but fewer sustained, book-length efforts.  
Several on Warhol, of course, but it's practically impossible to cover  
his total body of film work. JJ Murphy's recent THE BLACK HOLE OF THE  
CAMERA comes closest, and I highly recommend it.


Jonathan

Jonathan Walley
Associate Professor of Cinema
Denison University


On May 18, 2012, at 9:50 PM, John MacKay wrote:



On May 18, 2012, at 9:43 PM, Gene Youngblood wrote:

I’m sure you filled in the missing word, but it bugs me to leave it  
uncorrected:


Friends,
What would you cite as the most detailed and comprehensive analysis  
ever written about the form and content of one filmmaker’s total  
body of work?


Not sure: Charlie Musser's BEFORE THE NICKELODEON (on Porter)? Tom  
Gunning's FILMS OF FRITZ LANG? Interesting question….




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Re: [Frameworks] Taking requests @ Preservation Insanity

[Jonathan Walley]

Mark,

I'd be very interested to hear about the preservation of JJ Murphy's  
PRINT GENERATION. In addition to knowing JJ and admiring this film  
especially, I'm curious about the challenges to restoration and  
preservation posed by a work based on purposeful image and sound  
degradation. I remember several years ago hearing Mike Pogorzelski  
talking about digital restoration on a Hollywood film (can't recall  
the title) - at one point a computer was allowed to work on the film  
overnight to digitally remove scratches, and the next morning it was  
discovered that it had mistaken raindrops for scratches, rendering a  
rainy night scene utterly rainless. I imagine a hilarious restored  
version of PRINT GENERATION in which all the generational image  
degradation has been cleaned up digitally, leaving each series of  
shots exactly the same.


But I digress...my vote is for P.G.

Best,
Jonathan

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



On Jun 7, 2012, at 6:55 PM, Mark Toscano wrote:


In case anyone's interested...

http://preservationinsanity.blogspot.com/

Mark T
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[Frameworks] Film and Digital for beginners

[Jonathan Walley]

Hello everyone,

This question isn't about experimental cinema specifically, but it's
certainly an important question for our world, and I think experimental
filmmakers (and scholars, critics, etc.) are among those best equipped to
answer it. So here goes. There is some preamble meant to set the stage, but
you can skim it and skip down to the question if you want.

Each semester I teach an introductory cinema studies course called Film
Aesthetics and Analysis. The main goal of the course is to teach students
how to analyze film aesthetics (in case the title of the class didn't make
this obvious), and it is aimed at the general campus community, not just
Cinema majors. Indeed, the majority of students in the class are non-majors
who have never studied film before.

Early in the course I talk about filmmaking on a very material level - call
it the nuts and bolts of filmmaking, a subject I return to periodically
across the semester (e.g. how cameras work, the process of editing,
projection, etc.). I have always privileged film - that is, analogue,
photochemical, mechanical, celluloid film - but to keep up with the times
I have been trying to talk more about digital cinema technology, with a
view to contrasting the two media. Though I'm a luddite when it comes to
film, I'm not necessarily interested in converting my students to that
mindset, nor to favoring one medium over another. I simply want my students
to understand the ramifications of shooting, editing, projecting, and
viewing films on different media.

SO NOW, THE QUESTION: what would you say are some of the most important,
and most fundamental, differences between making and/or seeing films in
these two media, in terms that intro-level undergrads can understand and
appreciate. For example:

-true black is not possible in digital projection the same way it is in
film projection (something I can actually demonstrate in class).
-differences in resolution.
-different lifespans of film and digital.

And so on and so forth. Though I do talk about things outside the realm of
film aesthetics specifically (such as the cost of digital conversion,
preservation issues, etc.), my main interest is in showing my students the
concrete, appreciable consequences that attend the decision to do something
in film or in digital. And to be able to demonstrate them in class with
specific examples - using the 16mm and digital projectors I have in the
classroom - would be nice, so suggestions of such specific examples would
be appreciated.

Thanks in advance for any ideas.
Best,
Jonathan

Jonathan Walley
Dept. of Cinema
Denison University
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Re: [Frameworks] Film and Digital for beginners

[Jonathan Walley]

Thanks to everyone who posted in response to my question about film and
digital (I hope the responses continue). Lots to think about, and I will
respond in greater detail to some of the posts within a few days.

Though I am a digital skeptic and a film luddite, I didn't mean to pose the
question in terms of film vs. digital, though that adversarial view is
prevalent, which is interesting in and of itself. The students I teach in
the class I was talking about have very little sense - and this is true of
most people, I assume - that films (including films on digital) are made
of anything or come from anywhere. This notion that cinema is magic is what
I'm trying to disabuse them of, and dealing with the nuts and bolts of
cinematic technologies is part of that.

The conversation has also been very productive for my always ongoing
thinking about medium-specificity. More on that later, perhaps.

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


On Mon, Jul 16, 2012 at 10:20 AM, David Tetzlaff djte...@gmail.com wrote:

 Thanks, James, for the link to that piece on LCD sets in stores. Great
 stuff. When I say 'digital is not one thing' I am not engaging in any kind
 of generic 'pro digital' advocacy, because many of the things digital can
 be are pretty sucky, and it takes effort to find those that are not. In
 general, at least with current technology, by my )obviously not purist)
 standards LCD displays -- both flat panel and projection -- are for
 computer graphics, not moving pictures. All the ones I've seen do horrible
 jobs of rendering monochrome and make anything in color look like a
 cartoon, which is why the big box stores usually have animated films
 playing on their display sets. So for me its plasma for flat panels and
 3-chip DLP for projectors, or go home.

 In film, a lot of the variability is in the print. A nice print looks
 great on a Pageant, and a beat up print looks like crap. On a 3-chip LCD
 Panasonic projector, and well-mastered DVD or Blu-Ray looks very nice, but
 the same disc looks ugly on a Christie LCD projector designed primarily for
 data display. And alas, there are far more of the latter type out there
 than the former.

 So to the people on the list have had bad experiences with digital
 screenings, know that folks like Aaron Fred and me aren't trying to
 invalidate your perceptions or to argue 'but that's OK.' It's not OK. But
 to condemn the whole category of technology, or to reduce it to some
 essence based on a limited range of examples is like condemning film
 because you've seen too many trashed prints.

 Of course, it can hard to come by good prints for film projection, just as
 it can be hard to come by good systems for digital projection. People who
 care about image quality have always had to work hard at achieving it, and
 that has not changed.
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[Frameworks] Chrissie Iles contact

[Jonathan Walley]

Hello everyone,

If anyone has email contact info for Chrissie Iles, could you shoot it my
way off list? I know she was (maybe still is?) on Frameworks, but I can't
seem to find any old emails of hers, hence my request.
Thank you!
Jonathan
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[Frameworks] Chrissie Iles contact

[Jonathan Walley]

Thanks everyone - I now have Chrissie's contact info.
Best,
Jonathan
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[Frameworks] Cornwell essay

[Jonathan Walley]

As usual, Frameworks has come through, and I now have a copy of Regina
Cornwell's, Some Formalist Tendencies in the Current American
Avant-Garde Cinema. Thanks to everyone who replied and expressed
interest. This essay is ripe for reprinting, it seems.

All best,
Jonathan
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Re: [Frameworks] Production Code

[Jonathan Walley]

Eleni,

I'd be interested to hear other peoples' perspective on this, but the
Production Code had little, if anything, to do with censorship
problems encountered by experimental filmmakers like Anger or
Markopoulos. The Code was developed by the film industry (i.e.
Hollywood), and, to the best of my knowledge, only affected the
production (and distribution) of industry films - that is, films made
by the Hollywood studios. It was a mechanism the industry developed to
self regulate, precisely so their films WOULDN'T be censored by
outside law enforcement or other government authorities. The Code thus
had no bearing on filmmakers working outside the industry, which would
certainly include Anger and Markopoulos.

This isn't to say that such filmmakers faced no censorship - they
faced it from legal authorities and morality and decency groups -
just that they didn't face it from within the industry, since they
were not a part of that industry and thus were not bound by its
internal strictures. The rules of the Code had no legal power, as
they were voluntarily imposed from within the industry BY the industry
itself. They were essentially company policy, not state or federal
law. And a film released with the Production Code Administration's
seal of approval could still be censored by local government
authorities if those authorities believed the film contravened state
or local laws governing film content.

I read the relevant passages of Russo's book, and while he does
mention the Code while also discussing the films of Anger and other
experimental filmmakers, he seems only to be drawing a - rather vague
- parallel. If I read him right he never actually claims that the
Production Code had any direct impact on experimental films. And if he
DOES say that somewhere, it's not accurate. Any censorship of
experimental films came from the government, not the industry, and
thus not the Code.

I realize this doesn't answer your question about Markopoulos being
censored, but I hope it helps a little.

Best,
Jonathan

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

On Sun, Oct 28, 2012 at 7:48 PM, Eleni Philippou
eleni_philip...@hotmail.com wrote:
 Hello everyone,


 I am reading Vito Russo's book The Celluloid Closet about the Production
 Code in order to control homosexual references in the movies in America
 during the '40s and '50s. As an example, he mentions Kenneth Anger's work
 and how difficult was for Anger to release Fireworks and Scorpio Rising
 because of this Production Code. Does anyone know if Gregory Markopoulos
 faced the same problem with the censorship?
 Thank you very much for your help.


 Best,


 Eleni Filippou

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[Frameworks] Our Nixon

[Jonathan Walley]

Just saw Penny Lane and Brian Frye talking about their new film on BBC
World News. Don't see experimental filmmakers in such contexts too
often. Great way to start an otherwise dreary, rainy, cold, and
flu-ish Monday!
JW

Jonathan Walley
Associate Professor of Cinema
Denison University
wall...@denison.edu
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Re: [Frameworks] Production Code

[Jonathan Walley]

Chuck is right - it's important to reiterate that the Production Code
(hereafter the Code) was not a law, nor was the Production Code
Administration (the PCA, aka the Hayes Office) a government body. The
Code was developed by the major studios and aimed solely at THEIR
product. In essence, it internalized federal, state, and local
censorship laws into a sort of corporate policy aimed at producing
films that would NOT be censored by external authorities once they
were released in theaters (although this still did sometimes happen).
Perhaps it's better to think of the Code as self-regulation rather
than censorship, in that the former is a voluntary effort by the
producers of films and the latter is legal force brought to bear on
those producers by representatives of government.

The major studios had their own labs, who would, of course, never have
turned over footage to legal authorities. And in the majority of
cases, the PCA's goal was to intervene at the script level, or even
the treatment level (or, going further back still, the point at which
a studio was considering purchasing the rights to a play or novel), so
that objectionable footage wouldn't be shot in the first place.
Independent labs that confiscated or turned over footage were, as
Chuck notes, acting in relation to censorship laws, and not handling
industry footage but films that were independently made - including
experimental films - and thus not shaped at all by the Code.

Distinguishing between the Code and censorship laws might seem like
splitting hairs, but it's actually an important distinction for a
number of reasons. From the perspective of cinema history, too many
writers have acted as though the Code was a draconian measure forced
on Hollywood from the outside (i.e. a law or set of laws), which was
not really the case. This notion underwrites claims that Hollywood
filmmakers were nobly trying to load their films with politically and
socially progressive messages and imagery in the name of art, and were
supressed by the prudish and reactionary censors. Hollywood was always
driven by profit, and when titillating or otherwise controversial
stories and images drew more and more public ire (and thus became less
profitable), the Code was created as a public relations measure,
intended first and foremost to protect the financial interests of the
studios.

Okay, I'll get down off my soapbox now.

Jonathan

On Tue, Oct 30, 2012 at 2:30 AM, Chuck Kleinhans
chuck...@northwestern.edu wrote:

 On Oct 29, 2012, at 3:50 PM, Sasha Janerus wrote:

 It's worth bearing in mind that the Code engendered indirect, de facto
 censorship on the level of availability and reliability of lab services. The
 legit labs would routinely destroy, confiscate or forward to law enforcement
 materials they deemed prurient or deviant. Don't know what sort precautions,
 if any, Markopoulos took, but would be interested.


 I really don't think this activity by labs had anything to do with the
 Production Code.  Rather it had to do with criminal law and existing
 statutes on obscene and pornographic image material.  To fail to turn this
 material over to police was itself a criminal act.  As indeed, today, it is
 required that all such labs in the US, alert  legal authroities if still and
 moving image material of children in sexual situations is discovered.

 Chuck Kleinhans


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Re: [Frameworks] This week [January 12 - 20, 2013] in avant garde cinema

[Jonathan Walley]

For any Ohio-area Frameworkers - the AVANT-GARDE MASTERS: A DECADE OF
PRESERVATION series is also making a stop at the Wexner Center. Two
nights ago Jeff Lambert of the National Film Preservation Foundation
introduced the first segment, which included a stunning 35mm
restoration print of RABBIT'S MOON (those of you who only know the
Things that go Bump in the Night version MUST see this one), some
rarely seen Lillian Schwartz 3-D computer films (from Ohio State's
Lillian Schwartz Collection), and the absolutely incredible PREFACES
by Abigail Child.

Next week the series continues with a tribute to the Kuchars. This,
again, is at the Wexner Center in Columbus, on Wed., Jan 16, at
7:00PM. Here's the link:

http://www.wexarts.org/fv/index.php?eventid=6789

And, just out of curiosity, how many Ohio-area Frameworkers are there?
(Feel free to email me off list on that one).
Best,
Jonathan

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


On Sat, Jan 12, 2013 at 1:57 PM, Weekly Listing
weeklylist...@hi-beam.net wrote:
 This week [January 12 - 20, 2013] in avant garde cinema

 To subscribe/unsubscribe to the weekly listing, go to
 http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe
 or 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.pl

 MISCELLANEOUS:
 ==
 Petition for Lawrence Brose
  http://www.hi-beam.net/cgi-bin/ann.pl?type=miscreadfile=126.ann

 NEW CALLS FOR ENTRIES:
 =
 West Virginia Mountaineer Short Film Festival (morgantown, WV, USA; Deadline: 
 February 25, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1525.ann
 Cologne International Videoart Festival (Cologne, Germany; Deadline: July 01, 
 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1526.ann
 ANIMATOR - International Festival of Animated Film (Poland; Deadline: March 
 01, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1527.ann
 CTF - Collective Trauma Film Collections (Cologne, Germany; Deadline: July 
 01, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1528.ann
 Flatpack Festival (Birmingham, UK; Deadline: January 18, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1529.ann
 Newport Beach Film Festival (Newport Beach, CA; Deadline: January 18, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1530.ann
 Australian International Experimental Film Festival (Australia; Deadline: 
 February 18, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1531.ann
 ANOTHER EXPERIMENT BY WOMEN FILM FESTIVAL (NY NY USA; Deadline: March 01, 
 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1532.ann

 DEADLINES APPROACHING:
 ==
 London End of The World Documentary Film Festival (London United Kingdom.; 
 Deadline: January 15, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1385.ann
 Newport Beach Film Festival (Newport Beach, CA; Deadline: January 27, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1475.ann
 ARTErra - Rural Artistic Residencies (Tondela, Portugal; Deadline: February 
 15, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1482.ann
 Oberhausen International Short Film Festival (Germany; Deadline: January 15, 
 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1489.ann
 Indie Fest (La Jolla, CA, USA; Deadline: February 08, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1500.ann
 IC Docs (Iowa City, IA USA; Deadline: January 18, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1507.ann
 Visions Film Festival and Conference (Wilmington, NC, USA; Deadline: February 
 15, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1514.ann
 ARTErra - Rural Artistic Residencies Portugal (Tondela, Portugal; Deadline: 
 February 15, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1515.ann
 What the Festival (Alfred, NY, United States; Deadline: February 01, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1519.ann
 Montreal Underground Film Festival (Montreal, QC, Canada; Deadline: February 
 15, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1524.ann
 Flatpack Festival (Birmingham, UK; Deadline: January 18, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1529.ann
 Newport Beach Film Festival (Newport Beach, CA; Deadline: January 18, 2013)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=callsreadfile=1530.ann

 Enter your event announcements by going to the Flicker Weekly Listing Form
 at http://www.hi-beam.net/cgi-bin/thisweek.pl

 Also available online at Flicker: http://www.hi-beam.net

 THIS WEEK'S PROGRAMS (SUMMARY):
 ==
  *  Robert Nelson [January 12, New York, New York]
  *  Japanese

Re: [Frameworks] Articles/essays on the loop in film

[Jonathan Walley]

Hello Jen,

Ron Green (who often goes by J. Ronald Green when publishing) is
working on a book about film and video loops in experimental film and
gallery art. He had a piece called The Re-emergence of the Film/Video
Loop in Millennium Film Journal, issue #55.

Best,
Jonathan

p.s. really enjoyed your A MOVIE.

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


On Sat, Jan 12, 2013 at 5:01 PM, Jen Proctor proctor.jenni...@gmail.com wrote:
 Hi everyone,

 Can anyone point me to any good writing on the notion of the loop in
 cinema (that is, the repetition of a strip of film over and over)? Of
 course, one of the ways cinema got its start was in showcasing simple looped
 images, but I'm particularly interested in its role in avant-garde film,
 expanded cinema, video art, etc. Articles about repetition as a technique
 would be of interest too, though those are a bit easier to come by.

 Thanks!
 Jen


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Re: [Frameworks] Part 1 of 2: This week [February 9 - 17, 2013] in avant garde cinema

[Jonathan Walley]

Dear Frameworkers,

This wasn't on the This Week... list. Note that in addition to paper
presentations, there will be a Nervous Magic Lantern performance by
Ken Jacobs (Friday, 2/15, 8:30 PM).

http://expandingcinema.wordpress.com/conference-program/

Best,
Jonathan

Jonathan Walley
Associate Professor
Department of Cinema
Denison University
wall...@denison.edu
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Re: [Frameworks] texts on Light

[Jonathan Walley]

Dear Esperanza,

Sandra Gibson and Luis Recoder's artists' statements (many of which
can be found online) typically deal with the nature of projected
light. I have a few things they've written if you'd like me to send
them to you.

And Moholy's writings are absolutely relevant to this question.
Richard Kostelanetz's collection of Moholy's writings (published in
1970) is great: Moholy's essays From Pigment to Light (1926),
Light: a Medium of Plastic Expression (1923), Light: A New Medium
of Expression (1939), Light Architecture (1936), and Problems of
the Modern Film (1930) are all worth reading in relation to light
(projected and otherwise) as a material substance. James Broughton's
book MAKING LIGHT OF IT (1977?), is filled with poetic meditations on
light as substance. Not all of these are directly about light as
sculptural matter, but they do treat light as something material, and
so lay the groundwork for a more explicitly sculptural conception of
light. They are also a pleasure to read.

Hope you're well.
Best,
Jonathan

On Mon, Mar 4, 2013 at 6:04 AM, Esperanza Collado
esperanzacolla...@gmail.com wrote:
 Dear Frameworkers,

 Could you please recommend theory writings or artists' texts about projected
 light or just light as a sculptural matter?
 So far I can only think of McCall's writings and the Luminist Suprematism
 article Karin Schneider wrote on Kubelka's work.

 many thanks,

 e.



 --
 Esperanza Collado
 - - - - - - - - - - - - - -
 www.esperanzacollado.org

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Re: [Frameworks] texts on Light

[Jonathan Walley]

I would just add that Bill's book, LIGHT MOVING IN TIME, should be
added to the list. Not all of it deals specifically with the question
you're pursuing, Esperanza, but some sections do - and all of it is
fascinating, especially the interrogation of the camera/eye metaphor.
Best,
Jonathan

On Tue, Mar 5, 2013 at 5:00 AM, Esperanza Collado
esperanzacolla...@gmail.com wrote:
 Thank you, Gene and William.
 Best wishes,

 e.


 2013/3/4 William Wees, Dr. william.w...@mcgill.ca

 You might find something useful in my essay (and bibliography),
 “Light-Play and the Aesthetics of Avant-Garde Film,” in the book
 “Avant-Garde Film,” edited by Alexander Graf and Dietrich Scheunemann
 (Amsterdam and New York: Rodopi, 2007), pp.183-196.



 --Bill



 William C. Wees

 Emeritus Professor, McGill University



 From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf
 Of Esperanza Collado
 Sent: March 4, 2013 6:04 AM


 To: Experimental Film Discussion List
 Subject: [Frameworks] texts on Light



 Dear Frameworkers,

 Could you please recommend theory writings or artists' texts about
 projected light or just light as a sculptural matter?
 So far I can only think of McCall's writings and the Luminist Suprematism
 article Karin Schneider wrote on Kubelka's work.

 many thanks,

 e.



 --
 Esperanza Collado

 - - - - - - - - - - - - - -

 www.esperanzacollado.org


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 --
 Esperanza Collado
 - - - - - - - - - - - - - -
 www.esperanzacollado.org

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Re: [Frameworks] Let's define things

[Jonathan Walley]

It's a truly awful article - I don't think there's a single line that bears
scrutiny. But what bothers be even more than the article itself is that The
Independent chose someone to write an article on experimental film who has
no discernible credentials, and then actually published the drivel that
resulted. We can fault the (very young) author for not doing her homework,
for offering a laundry list of platitudes about art, for parroting the
party line on the glorious of the internet, and for a writing style more
appropriate for a high school newspaper than a publication claiming to have
been obsessed with independent film since 1978. But there's some spark of
enthusiasm for the subject matter, misguided and uninformed as it is. Her
article shouldn't have ever seen the light of day, but for that we can only
fault The Independent. Perhaps the line under the title is a veiled
acknowledgement by the publishers of the article's shortcomings: ...her
unique POV, and an area of film that leans toward indecipherable suggest
that none of it should be taken too seriously.

Taking the article apart would be too easy, and perhaps a little
mean-spirited. But The Independent and the aivf should be called on the
carpet for printing it.

JW


On Mon, Mar 4, 2013 at 9:20 PM, Michael Betancourt 
hinterland.mov...@gmail.com wrote:

 This article left me with that you're joking sense: it doesn't even get
 Sheldon Renan's name right (quote: Sheldon Ren, author of *An
 Introduction to the American Underground 
 Film*http://www.amazon.com/gp/product/052547207X/ref=as_li_qf_sp_asin_tl?ie=UTF8camp=1789creative=9325creativeASIN=052547207XlinkCode=as2tag=theindep-20,
 writes that the term came into usage because “there was at the time a
 feeling that the forces that be were trying to keep this certain kind of
 film from being made.) Problem is, people who don't know any better will
 read it and think they've learned something.

 But somehow I don't think objecting will actually do any good. (It's
 already in print.)

 Michael Betancourt
 Savannah, GA USA


 michaelbetancourt.com
 twitter.com/cinegraphic | vimeo.com/cinegraphic
 www.cinegraphic.net | the avant-garde film  video blog


 On Mon, Mar 4, 2013 at 7:47 PM, Beebe, Roger roge...@ufl.edu wrote:

  I tried to post a comment to this article expressing my dissatisfaction
 about her very idiosyncratic lexicon, but it seems not to have taken.  The
 author goes on to say that Citizen Kane was avant garde, completely
 ignoring the historical usage of this term.  I don't understand why The
 Independent got someone to write this article who seems to have very little
 exposure to experimental film.  (She also seems to have mostly art-world
 references for exp. film, which is another problem after the more basic
 ones.)

  Mass protest?
 R.



  On Mar 4, 2013, at 6:53 PM, Chuck Kleinhans wrote:


 http://independent-magazine.org/magazine/2013/03/Minhae-Shim_defines_experimental-film_avant-garde_video-installation

  For me, experimental film is essentially a broad strokes or umbrella
 term for moving images that explore the human condition, nature, or fantasy
 in ways that haven’t been traditionally explored before. “Experimental
 film” includes a wide range of works, from a video performance of a heavily
 made-up woman smearing her face on a pane of glass (Pipilotti Rist,*Be
 Nice to Me http://www.youtube.com/watch?v=nYDh_D1G0hU*) to Wes
 Anderson’s *Moonrise Kingdom http://www.imdb.com/title/tt1748122*.





  Chuck Kleinhans

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[Frameworks] Al Wong?

[Jonathan Walley]

Hello Frameworkers,

Does anyone know the whereabouts of Al Wong? He was at the SF Art
Institute but the current faculty directory doesn't list him. He made
several experimental films in the 60s and 70s, which were apparently
available at one time from Canyon, though they do not appear on
Canyon's online catalog as far as I can see. He also made a series of
paracinematic performances, including SHADOW AND CHAIR, which I am
especially interested in finding out about.

Contact me off list if you have any leads. Thanks in advance!
Best,
Jonathan

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Re: [Frameworks] textbook recommendation

[Jonathan Walley]

Dear Joan (and Frameworkers),

I hope people respond on-list, as this is a perennial problem for anyone
teaching undergraduate courses on avant-garde cinema. To my knowledge,
there is not a good general history of AGF, much less one accessible to
students with little or no background in the subject (or related subjects
like art history). Indeed, I can't think of any book that purports to offer
such a history - the closest I can think of is A.L. Rees's A HISTORY OF
EXPERIMENTAL FILM AND VIDEO, which, while fascinating, is a little advanced
for uninitiated readers, and leaves off in the 1970s before going on to
focus specifically on British practice. Despite its title, it's a little
scattershot historically (which I say as an admirer of the book and of
Rees's work generally).

Any other text that comes to mind is focused on specific periods, nations,
filmmakers, or themes. For this reason, I've always cobbled together my
reading lists for such classes in the same way you're doing - journal
essays, book chapters, artist interviews, online stuff, etc.

This is the history we need, as they say; I've always wondered why there
isn't such a book. And I've thought about writing one. Perhaps it seems
like too pragmatic, or too simplistic, an endeavor for avant-garde-y folks,
or perhaps it's the fear of backlash against such a project, which would
necessarily oversimplify, leave out worthy filmmakers, suffer from blind
spots, etc. Maybe the controversy over VISIONARY FILM, and the related
Essential Cinema canon, has made subsequent scholars wary of taking on a
synthetic, general historical account of the subject.

I have only skimmed it, but Michael O'Pray's AVANT-GARDE FILM: FORMS,
THEMES, AND PASSIONS is probably worth looking at.

Anyway, probably not a terribly helpful response, but confirmation that
there are others out there who have the same problem. So I do hope others
on this list will chime in publicly.

Best,
Jonathan

On Fri, May 10, 2013 at 9:24 AM, Joan Hawkins jchaw...@gmail.com wrote:

 Dear Frameworkers,I'll be teaching a History of the American Avant-garde
 class in the fall (there'll be 2 weeks of early cinema and then we'll move
 quickly into the 1942-present period) -- and I would like to have a good
 history to use as the basic text,  to be supplemented with journal essays,
 artist's essays etc. Is there a text you'd recommend, preferably one that
 discusses some of the major critical responses to the films as well as the
 films themselves?

 The class will be offered to juniors and seniors, with very little
 experimental film background or experience.  There will be a production for
 component for students who sign up for it (so students can take the history
 course alone or take an experimental production course in conjunction with
 my crit/hist class).   Feel free to respond to me offlist.
 Many thanks, Joan

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

 office phone 812-855-1548

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Denison University
wall...@denison.edu
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Re: [Frameworks] textbook recommendation

[Jonathan Walley]

Scott (et. al.),

Your CRITICAL CINEMA books are extremely useful, in part because they are,
indeed, reader friendly. I would say that about MOTION STUDIES, too. I hope
it's clear that my point was that I don't think there is a single broad
historical survey of avant-garde cinema, so that anyone who wishes to teach
a survey course on the subject must cull together material from different
sources, including most definitely your books. I've used several of your
interviews and other writings in classes I've taught, as well as in my own
research.

Maybe it's wrongheaded of me to hope for a complete history - and as I
suggested in my last post, anyone who attempted such a thing would probably
be in for a lot of flack. I don't know that a historical survey ala
Bordwell/Thompson's or David Cook's would ever find a publisher: no matter
how broad such a study would be, it would still be too narrow and
specialized to be appealing as a textbook to an academic publisher. And
perhaps the very idea is anathema to the avant-garde spirit. Imagine the
for dummies-style prose of a college textbook (MgGraw-Hill's The Big
Book of Avant-Garde Cinema) applied to Brakhage, or Frampton, or Rainer -
yikes. But I would still like to see, one of these days, a broad,
synthetic, and straightforward account of the subject, as it might
encourage more teaching of this kind of cinema at the college or even high
school level.

Best,
Jonathan

On Sat, May 11, 2013 at 2:10 PM, sc...@financialcleansing.com wrote:

 *Jonathan,*
 *I've always hoped that my Critical Cinema books might be useful for
 undergraduates as introductory texts. They do not pretend to provide
 anything like a complete history, but these volumes can provide a sense
 of the world of avant-garde cinema and the thinking of (some of) the
 filmmakers who have energized this particular world of cinema.*
 *
 *
 *Scott*

   Original Message 
 Subject: Re: [Frameworks] textbook recommendation
 From: Jonathan Walley wall...@denison.edu
 Date: Sat, May 11, 2013 7:13 am
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com

 Dear Joan (and Frameworkers),

 I hope people respond on-list, as this is a perennial problem for anyone
 teaching undergraduate courses on avant-garde cinema. To my knowledge,
 there is not a good general history of AGF, much less one accessible to
 students with little or no background in the subject (or related subjects
 like art history). Indeed, I can't think of any book that purports to offer
 such a history - the closest I can think of is A.L. Rees's A HISTORY OF
 EXPERIMENTAL FILM AND VIDEO, which, while fascinating, is a little advanced
 for uninitiated readers, and leaves off in the 1970s before going on to
 focus specifically on British practice. Despite its title, it's a little
 scattershot historically (which I say as an admirer of the book and of
 Rees's work generally).

 Any other text that comes to mind is focused on specific periods, nations,
 filmmakers, or themes. For this reason, I've always cobbled together my
 reading lists for such classes in the same way you're doing - journal
 essays, book chapters, artist interviews, online stuff, etc.

 This is the history we need, as they say; I've always wondered why there
 isn't such a book. And I've thought about writing one. Perhaps it seems
 like too pragmatic, or too simplistic, an endeavor for avant-garde-y folks,
 or perhaps it's the fear of backlash against such a project, which would
 necessarily oversimplify, leave out worthy filmmakers, suffer from blind
 spots, etc. Maybe the controversy over VISIONARY FILM, and the related
 Essential Cinema canon, has made subsequent scholars wary of taking on a
 synthetic, general historical account of the subject.

 I have only skimmed it, but Michael O'Pray's AVANT-GARDE FILM: FORMS,
 THEMES, AND PASSIONS is probably worth looking at.

 Anyway, probably not a terribly helpful response, but confirmation that
 there are others out there who have the same problem. So I do hope others
 on this list will chime in publicly.

 Best,
 Jonathan

 On Fri, May 10, 2013 at 9:24 AM, Joan Hawkins jchaw...@gmail.com wrote:

 Dear Frameworkers,I'll be teaching a History of the American Avant-garde
 class in the fall (there'll be 2 weeks of early cinema and then we'll move
 quickly into the 1942-present period) -- and I would like to have a good
 history to use as the basic text,  to be supplemented with journal essays,
 artist's essays etc. Is there a text you'd recommend, preferably one that
 discusses some of the major critical responses to the films as well as
 the films themselves?

 The class will be offered to juniors and seniors, with very little
 experimental film background or experience.  There will be a production for
 component for students who sign up for it (so students can take the history
 course alone or take an experimental production course in conjunction with
 my crit/hist class).   Feel free to respond to me

Re: [Frameworks] Film, Performance and Space?

[Jonathan Walley]

Richard,

A number of artists have taken space (as in literal space) and performance
(live performance, not acting on screen) as innate features or
characteristics of cinema. Projection performance assumes that the act of
exhibiting cinema is, in some sense, performative, and the resulting works
are intended as cinema not as performance art. (That is, claiming a
performance aspect for cinema is not the same as calling it performance
art in the historical sense in which the latter term is typically used).
Bruce McClure, Sandra Gibson and Luis Recoder, Kerry Laitala, Sally
Golding, and others are examples. And don't forget Ken Jacobs and Tony
Conrad. Filmaktion, and related work by people like William Raban, Maclolm
Le Grice, Takahiko Iimura, Annabel Nicolson, and Takehisa Kosugi, also
fits, at least broadly. Frampton's A Lecture could be seen as a
progenitor of contemporary projection performance.

The same goes for space - the acknowledgement of the literal space of the
theater, or in some cases the gallery, has been a hallmark of much
cinematic work, including that of Paul Sharits, Anthony McCall, Lis Rhodes
(LIGHT MUSIC), to name a few. Several of the above filmmakers also apply,
including Gibson and Recoder and Bruce McClure.

I've gone with the bigger names here. But for everyone I've mentioned
there are scores of others whose work sees cinema as inherently spatial
and/or performative.

Hope this helps.
Best,
Jonathan


On Wed, Sep 4, 2013 at 2:24 PM, Bernard Roddy rodd...@yahoo.com wrote:


 Richard, the call is strange, weird . . for taking it for granted that
 film and performance art have something in common.

 Space and film makes sense.  There's a cool essay by Beatriz Colomina on
 architecture, sexuality, and film in the volume she edited called Sexuality
 and Space.  That's cinema . . isn't it, at least as Sense of Cinema would
 have it?  I mean the architectural dimensions . . the architectural spaces
 of shots.  But Colomina is onto the importance of space for questions
 concerned with sexuality . .

 . . and then, then there's performance art.  I think of the Boston event
 in April called Near death performance art experience.  Not an impartial
 choice, but certainly a very prominent one within American performance
 art.  What could such an event have to do with film?  And who, anyway,
 comes to mind when you think of performance art?  Aaaargh.  What is the
 relationship between such a practice in live performance, on one hand, and
 technology itself . . in general, not to speak of film in particular?

 There's no way around this abyss.  The doubt opens up before your
 dismissal of documentation, Richard.  It's like a giant log right in your
 path.  And to go beyond that, like you invite us to, you know, what
 exactly does that mean . . that beyond that is a going along with a
 technology, with filmmaking?  What, after all, was it that was supposed to
 be going on in those events themselves?

 Better to go, perhaps, by way of a certain kind of figurative painting.
 The avant-garde in film suddenly looks to a time way, way, WAY before
 performance art . . or else it seeks to assuage this doubt with expanded
 cinema.  But we have arrived at an expanded cinema that is now . .  in the
 theater itself!

 Bernie










 *Richard Ashrowan*
 *Mon Sep 2 13:07:17 UTC 2013*
 --

 Hello all,

 I am trying to put together some screenings for the Edinburgh venue 
 Summerhall, whose autumn theme is broadly 'Performance and Space', at quite 
 short notice.

 I'm looking for filmworks, moving image or expanded cinema projects that 
 relate to that theme in some meaningful way. Of course, it's a very broad 
 theme...  I've been looking at various people associated with the London 
 Filmaktion group (LFMC), plus works that have a strong component of 
 performance art (those that go beyond 'documentation'). But I am also keen to 
 find newer works in this territory, or some things from across the ocean.

 If anyone has any helpful suggestions, I would be glad to hear them, here or 
 off-list.

 Many thanks,

 Richard

 Richard Ashrowan
 Creative Director
 Alchemy Film and Moving Image Festival
 04.04.2014 - 06.04.2014
 Hawick, Scottish Borderswww.alchemyfilmfestival.org.ukwww.ashrowan.com


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Denison University
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[Frameworks] Experimental Film and Expanded Cinema in Argentina?

[Jonathan Walley]

Hello everyone,

I'm wondering if anyone can recommend some good resources (web or
otherwise, and preferably in English) on experimental filmmaking in
Argentina, including expanded cinema. No recommendation could possibly be
too small, simplistic, or non-academic; I know nothing about the subject,
and am looking to start changing that.

Thank you in advance!
Jonathan

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Re: [Frameworks] seminal writing on American a/g film after 76

[Jonathan Walley]

Hello Ara,

This is a tough one, unfortunately. I'm trying to compile a list that I can
respond with in the next couple of days, but in the meantime I'd also post
this question to ExFM's facebook page.

Frameworkers, ExFM is the Experimental Film and Media Scholarly Interest
Group, which is part of the Society for Cinema and Media studies (the best
part!). Official membership is limited to members of SCMS, but anyone
interested in avant-garde cinema can join our facebook page - even I'm on
and I hate facebook.

Best to all,
Jonathan


On Tue, Nov 5, 2013 at 10:18 AM, Ara Osterweil aosterw...@hotmail.comwrote:

 Hello all,
 A friend is compiling a bibliography and needs to know the 4-5 *most
 important scholarly book*s or articles on *American a/g film made after
 1976*. My scholarship on the a/g is mostly in the 60s and 70s and while I
 know much of the work that comes after, I wanted to confirm my suspicions.
 Suggestions welcome and appreciated.
 Thanks,
 Ara

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Re: [Frameworks] projector-less film loops

[Jonathan Walley]

Rebecca,

Writings by and about Paul Sharits would be a good place to start. Sharits' 
installations included the presentation of 16mm filmstrips without projection, 
but also used a lot of looping on multiple 16mm projectors. There is an entire 
issue of Film Culture dedicated to his work; many of his own writings are 
available online - a little Googling should turn them up. I also highly 
recommend Federico Windhausen's writing on Sharits.

Ron Green wrote a piece on the loop for a recent issue of Millennium Film 
Journal. The Re-Emergence of the Film/video Loop, it's called, in issue 55, I 
think. Darkened Rooms: A Genealogy of Avant-Garde Filmstrips from Man Ray to 
the London Film-Makers’ Co-op and Back Again by Noam Elcott is also good 
reading. It's in Grey Room #30.

Sandra Gibson and Luis Recoder's work makes use of the loop, and in some cases 
makes film loops visible without projection, as objects in and of themselves. 
Again, a web search should turn up abundant info on their work.

Hope this helps - lots more out there but this is off the top of my head and 
now I've got to get back to grading.
Best,
Jonathan

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


On Dec 17, 2013, at 11:47 AM, Rebekka Erin Moran wrote:

 Hi,
 
 I am researching 16mm in the use of film loop installations.  Does anyone 
 have any references for that topic?
 Other than zoetrope- Im looking for usage of 16mm film itself in a looping 
 format viewed in any way possible without a projector or lense.
 
 Thanks for any help!
 Rebecca
 
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Re: [Frameworks] projector-less film loops

[Jonathan Walley]

Rebecca, et. al.,

After re-reading your post, and reading Scott's response, it strikes me that 
you may have been looking for information about early (e.g. silent, 
primitive?) film systems that involved viewing 16mm film without lens or 
projector. Your use of the term installation made me assume expanded cinema, 
film installation, etc., but then there's your reference to the zoetrope, which 
suggests that you're looking for something further back in history. Of course, 
the zoetrope did not use film of any kind. What's more, 16mm film wasn't 
invented until 1923, by which time projection - with lenses - was, of course, 
standard practice in film exhibition. I'm not aware of any viewing systems for 
16mm that don't employ at least lenses: flatbed editors don't quite project 
the images, at least not in the same way a projector does, and devices like 
Moviolas and Moviscopes don't involve projection - the film image is simply 
magnified into a viewer, not unlike the Kinetsoscope. But these systems are 
used to edit film reels, not to show loops. And they all use lenses. 

Specifying your research project would be helpful - can we have a little more 
detail?
Jonathan

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


On Dec 17, 2013, at 12:44 PM, Scott Dorsey wrote:

 Well, the first loop system was the Edison Kinetoscope but that was 35mm..
 --scott
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[Frameworks] Dulac, Visual and Anti-Visual Films

[Jonathan Walley]

Hello everyone,

I hate to ask, but I'm wondering if anyone has a clean pdf scan of the 
above-listed essay by Germaine Dulac. Mine, in my lovingly worn Sitney reader, 
is marked up to the point of being almost illegible. I have a student working 
on an independent study and I would like to pass along this essay to her.
Thanks in advance!
Best,
Jonathan


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

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[Frameworks] Thank you, Frameworks

[Jonathan Walley]

Hello everyone,

I have received a nice clean copy of Dulac's Visual and Anti-Visual Films. 
So, problem solved (problem #1 of 917).
Thank you, Frameworks!

JW

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


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Re: [Frameworks] query for those who teach filmmaking

[Jonathan Walley]

As a tenured professor who has spent the entire day meeting with students about 
their work, writing page-long evaluations of same, assisting with the 
preparation of a student film festival - and the entire week researching 
digital filmmaking technology and contemporary French cinema (to name two) to 
improve my knowledge of these things for the next two weeks of film history 
lectures, I don't have a lot of time to jump into Frameworks fracases. I'll 
just briefly call Bullshit on your cliche, tired, caricatural of tenured 
professors. Oh, I'm also assisting another tenured colleague prepare his 
performance and salary review (no accountability and no consequences?).

Saying adjuncts are good for students is more bullshit. We've had plenty of 
part time and adjunct hires who have done just as poor work as the proverbial 
checked out tenured prof. An adjunct hired for a single semester as a leave 
replacement has even less motivation to prove him/herself than a tenured 
faculty member - not that it's the adjunct's fault. And a revolving door of 
overworked and underpaid adjuncts that provides no consistency or continuity in 
a department is not good for students either. Adjuncts don't have the market 
cornered on youthful exuberance and with-it-ness.

As for application in the real world: I hear that refrain regularly from 
anti-intellectual conservatives who want to eliminate arts and humanities 
programs, who demand that colleges focus on professional or career 
readiness. If that's all you value, then yeah, teaching film students how to 
use Bolexes, Steenbecks, etc., is pretty useless - but then so is teaching them 
about practically anything else.

Jonathan Walley (tenured professor)
Department of Cinema (which I'm told is dead)
Denison University (which is a liberal arts school teaching all sorts of things 
with no application in the real world)

On Apr 23, 2014, at 8:12 PM, Aaron F. Ross wrote:

 It's true, professors with tenure can ignore the changing times. There's no 
 accountability and no consequences, so tenured professors can be rigid, 
 inflexible, and anachronistic, and get away with it. But of course, that is 
 doing the students a disservice. There's a huge disconnect between academia 
 and the real world, and young people know it.
 
 In a way, the decline of tenure and the expansion of adjunct hires is good 
 for students. It's bad from a labor perspective, but at least it keeps fresh 
 blood coming in. Adjuncts have to continually prove/improve themselves, and 
 can't rest on their laurels. Ever.
 
 Regarding technology, I'm a selective adopter. Just because something is new 
 does not make it good. But the corollary to this is that just because 
 something is familiar does not make it good, either. We all must think 
 critically about technology if we are to be effective educators, makers, and 
 even consumers. Control the tools, or they will control you.
 
 The fresco analogy unintentionally makes the opposite point. Art schools 
 don't teach fresco painting anymore, except as an extremely specialist 
 subject. Oil painting is a widely adopted technique that has immediate 
 application across the board. Fresco painting is, for the most part, a dead 
 art. So, in fact, students should not be required to learn it.
 
 If you want to piss off students, wasting their time and money, then by all 
 means, make them learn some specialized, anachronistic subject that has 
 little or no application in the real world.
 
 Aaron
 
 
 
 At 4/23/2014, you wrote:
 But you _can_ reject the technology.  Not at all times, nor throughout the 
 whole program.  But, just because oil painting exists does not mean that art 
 students shouldn't learn how to make frescos. --scott 
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 --
 
  Aaron F. Ross, artist and educator
  http://dr-yo.com
  http://digitalartsguild.com
 
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Re: [Frameworks] CBS goes Underground

[Jonathan Walley]

, Brakhage has established the frame in cinema 
as equivalent to the note in music; whereupon he proceeds to make films with 
frames the way a composer makes music with notes. His Art of Vision, an attempt 
to do for cinema what Bach did for music with his Art of the Fugue, is an 
ambitious example of what Brakhage calls retinal music. One problem: to watch 
the violently flickering flick for 4½ hours, a spectator would require steel 
eyeballs.

Salvation in a Sugar Cube. The front ranks of the avant-garde are rapidly 
expanding. Stan VanDerBeek, Gregory vlarkopoulos, Bruce Conner, Robert Breer, 
Ed Emshwiller and Harry Smith have all done work of a high order. An even newer 
and no less gifted generation of moviemakers—Ben Van Meter, Ken Jacobs, Bruce 
Baillie—is rising with a whir. Romantic, rebellious and vaguely worried, the 
new boys come on like strangers in a world they never scripted. Some of them 
celebrate the horrors of modern life. They exhibit America as an 
air-conditioned cemetery for the walking dead, the war in Viet Nam as pure 
hell, and L.BJ. as a rather silly devil with his tail in hot water.

Some of them, attempting to find salvation in a sugar cube, make something 
called psychedelic cinema. Their intention is to reproduce on the screen what 
they see while they are in the acid bag. Even farther out is something called 
expanded cinema or mixed-media environments, a sort of avant-garde circus 
in which movies, theater, recorded music, kinetic sculpture and light paintings 
are fused into a single engulfing experience.

Like all other experimental art, the no-longer-underground cinema is sometimes 
silly or pointlessly shocking. And sooner or later, the experimenters will have 
to address themselves to what remains the movies' main function—intelligible 
storytelling. But with all its excesses, the new cinema is bound to stimulate 
the medium. For one thing, it has already produced a modest but substantial 
body of exciting work. For another, it serves as a salon des refusés for 
aspects of the art rejected by the commercial cinema. Even though many 
Hollywood directors write off the experimenters as no-talent amateurs, some of 
their notions are already being absorbed into the visual vocabulary of the 
media. The men who make television commercials, for instance, regularly rent 
big batches of avant-garde films and ransack them for ideas.

Can the practitioners of the new cinema seriously expect to keep the 
underground overground? Jonas Mekas is certain that the answer is yes. He has 
organized a Film-Makers Cooperative to rent experimental films; he has 600 
films in his catalogue and a growing list of theaters all across the U.S. lined 
up to exhibit them. You might say, Mekas murmurs with a sly little grin, 
that the lunatics are taking over the asylum. Nothing necessarily wrong with 
that. Every so often an art needs to go a little crazy.

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


On May 31, 2014, at 3:37 PM, Fred Camper wrote:

 I agree with Chuck's comments. Given how bad mainstream media can be, this 
 report is really quite good, considering that it was meant for an 
 evening-news mass audience. Of course nothing profound is said, and Warhol 
 could easily seem like a fool to those who don't take seriously John Cage's 
 I have nothing to say, and I'm saying it, but as an intro it doesn't 
 stumble too badly, and lets people know that something or other is happening. 
 They showed the Brakhage likely knowing it would seem weird, but I give them 
 credit for the showing, and for respecting the film's silence, and for not 
 taking a condescending this is weird attitude. Plus, I always did find 
 Heliczer's Dirt to be confusing.
 
 Something from the same decade that will appeal to anyon elooking for 
 evidence of mainstream media's horribleness is the Time Magazine feature on 
 underground film, in I believe 1964, after the Ford Foundation gave a 
 number of $10,000 grants (maybe around $60,000 in today's dollars) to some of 
 the major figures. Time, to its eternal disgrace, got a lot of attention by 
 sensationalizing the film descriptions, making the work seem like sleazy 
 porn, hence dissuading the Ford Foundation from continuing.
 
 Fred Camper
 Chicago
 
 On 5/30/2014 6:08 PM, Jeff Kreines wrote:
 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] film undone series

[Jonathan Walley]

Joan,

The film that immediately came to my mind is Robert Nelson's Bleu Shut ('71). 
It begins by announcing that it will be exactly 30 minutes long, putting a 
clock in the corner of the screen that stays there for the duration. It 
actually runs to about 34 minutes; in the final scene, Nelson, in negative, 
speaks into the camera about his intentions for making the film, but has 
difficulty articulating his thoughts, in part because he claims to keep hearing 
a strange noise from the camera. In the midst of Nelson trying to deal with 
this, the film ends unexpectedly. Hilarious and brilliant film, and certainly 
lacking a logical ending.

Hope to get to Bloomington to see this!
Best,
Jonathan

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


On Jun 1, 2014, at 11:07 AM, Joan Hawkins wrote:

 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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[Frameworks] Arnulf Rainer - historical detail

[Jonathan Walley]

Hello Frameworkers,

I’ve been trying to determine when Peter Kubelka first displayed Arnulf Rainer 
as rows of filmstrips on a wall. He completed the film in 1960, but I have not 
been able to find a definitive statement of when he decided to display the 
strip directly. I think it was at the same time (1960), but can anyone verify 
this?

Thanks everyone,
Jonathan

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


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Re: [Frameworks] Arnulf Rainer - historical detail

[Jonathan Walley]

Good point. Does anyone have his contact info (off list)?
Meantime, if anyone knows the answer, I’d still love to hear it.
JW

On Nov 14, 2014, at 11:28 AM, Ingo Petzke i...@petzke.biz wrote:

 Why don't you ask Kubelka himself?
 
 
 Am 14.11.2014 16:50, schrieb Jonathan Walley:
 Hello Frameworkers,
 
 I’ve been trying to determine when Peter Kubelka first displayed Arnulf 
 Rainer as rows of filmstrips on a wall. He completed the film in 1960, but I 
 have not been able to find a definitive statement of when he decided to 
 display the strip directly. I think it was at the same time (1960), but can 
 anyone verify this?
 
 Thanks everyone,
 Jonathan
 
 Dr. Jonathan Walley
 Associate Professor
 Department of Cinema
 Denison University
 wall...@denison.edu
 
 
 
 
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Re: [Frameworks] reflexivity and Dziga Vertov

[Jonathan Walley]

I’m not sure anything’s ever been written about DV/MWMC that didn’t address 
his/its reflexivity. Any source you consult will have something to say about 
it. Some recommended sources include:

http://www.ucpress.edu/book.php?isbn=9780520056305
http://ukcatalogue.oup.com/product/9780199388707.do
http://books.google.com/books/about/Documentary.html?id=qtZ91DNvgBMC

This doesn’t mention TONS of scholarly essays on Vertov and MWMC. Lots to work 
with.
JW

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


On Nov 23, 2014, at 4:08 PM, jaime cleeland ethnom...@yahoo.co.uk wrote:

 Hello,  I am writing an academic essay about 'Man with the Movie Camera' .  
 Any pointers on the reflexive mode within the film would be helpful.
 
 Jaime
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Re: [Frameworks] A.L. Rees, 1949–2014

[Jonathan Walley]

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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[Frameworks] Keith Evans

[Jonathan Walley]

Hello Frameworkers,

Anyone have contact info for Keith Evans? Email me off-list if so.
Thanks!
JW

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


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[Frameworks] Keith Evans - Mission Accomplished

[Jonathan Walley]

Thanks everyone - I’ve got Keith’s contact info.
Best,
JW

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


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[Frameworks] Bruce Conner

[Jonathan Walley]

Hello everyone,

I know this comes up periodically, and I also know that I should know this, 
but…what’s the current status of BC’s films? Is anyone distributing them?
Thanks,
JW

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


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Re: [Frameworks] Double 8mm

[Jonathan Walley]

Thanks everyone, for your recommendations on double-8 processing. And yes, I 
believe this is repurposed ORWO stock.

My Bell & Howell Sundial 220 is loaded up and ready to roll.

All best,
Jonathan

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


> On Oct 19, 2015, at 6:45 PM, Francisco Torres <fjtorre...@gmail.com> wrote:
> 
> Just tell the lab no to split or they will do it!!
> 
> 2015-10-19 16:13 GMT-04:00 <direc...@lift.on.ca <mailto:direc...@lift.on.ca>>:
> This is likely the ORWO stock that John Schwind repurposed as Cine-X. It
> should be able to be processed just fine by any lab that still does black
> and white reversal. Niagara Custom Lab or Cinelab are two possibilities.
> And just ask them not to slit it (don't know if Cinelab would anyway,
> Niagara does have the slitter).
> 
> best
> Chris
> 
> > Hello fellow Frameworkers,
> >
> > I know that questions like this come up from time to time on this list,
> > but I’ve searched around on the archive and can’t find anything
> > exactly on point, so…
> >
> > I have four 25-foot rolls of CINE-X B reversal double-8mm film and I
> > want to shoot them. Who still processes this stuff? It’s not clear from
> > Dwayne’s website if they do. Suggestions? If anyone out there in
> > frameworks land wants to hand/DIY process these for me at a reasonable
> > price, contact me!
> >
> > Thanks in advance and all best,
> > Jonathan “bored film studies prof. who wants to make a movie (sort
> > of)† Walley
> >
> >
> > Dr. Jonathan Walley
> > Associate Professor and Chair
> > Department of Cinema
> > Denison University
> > wall...@denison.edu <mailto:wall...@denison.edu>
> >
> >
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> 
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[Frameworks] Double 8mm

[Jonathan Walley]

Hello fellow Frameworkers,

I know that questions like this come up from time to time on this list, but 
I’ve searched around on the archive and can’t find anything exactly on point, 
so…

I have four 25-foot rolls of CINE-X B reversal double-8mm film and I want to 
shoot them. Who still processes this stuff? It’s not clear from Dwayne’s 
website if they do. Suggestions? If anyone out there in frameworks land wants 
to hand/DIY process these for me at a reasonable price, contact me! 

Thanks in advance and all best,
Jonathan “bored film studies prof. who wants to make a movie (sort of)” Walley


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


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[Frameworks] Double 8mm p.s.

[Jonathan Walley]

I don’t want them split!

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


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Re: [Frameworks] film/thread

[Jonathan Walley]

YES, that’s it! Thank you Erika for saving me from further hair-tearing.
JW

> On Jun 15, 2016, at 10:41 AM, erika balsom <erika.bal...@gmail.com> wrote:
> 
> hi jonathan -
> 
> i believe this might be hans scheugl's zzz: hamburg special from 1968? enrico 
> camporesi and jonathan poultier showed it recently at the pompidou... (more 
> info here: http://expcinema.org/site/en/events/duchamp-du-film 
> <http://expcinema.org/site/en/events/duchamp-du-film>)  i hope that is 
> helpful!
> 
> edb x
> 
> On Wed, Jun 15, 2016 at 3:33 PM, Jonathan Walley <wall...@denison.edu 
> <mailto:wall...@denison.edu>> wrote:
> Hello friends,
> 
> I’m a little embarrassed to ask this question, because in doing so I point up 
> the shockingly disorganized state of both my archive and my mind. But it’s 
> driving me crazy, so…
> 
> Within the past year, I saw (either online or in a book or journal) photo 
> documentation of a film performance in which a length of thread (or string, 
> or yarn) was loaded into a 16mm projector and projected. I can’t recall is 
> this was a recent work or an older one (from the heyday of expanded cinema), 
> but it was definitely a still image, not video documentation.
> 
> I know a lot of filmmakers have worked with the concept of film as 
> thread/cinema as weaving, and this was along those lines (pardon my inability 
> to escape the line/string/thread metaphors), but I cannot for the life of me 
> recall who the filmmaker was or where I saw this bit of documentation.
> 
> If anyone can suggest names or filmmakers or works that might fit this bill, 
> or at least lead me down the right rabbit hole, I’d be most grateful. I’ve 
> been looking through all my materials but have had no luck recovering this, 
> and am beginning to become…wait for it…unraveled.
> 
> Thank you all - best wishes,
> Jonathan
> 
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> wall...@denison.edu <mailto:wall...@denison.edu>
> 
> 
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[Frameworks] film/thread

[Jonathan Walley]

Hello friends,

I’m a little embarrassed to ask this question, because in doing so I point up 
the shockingly disorganized state of both my archive and my mind. But it’s 
driving me crazy, so…

Within the past year, I saw (either online or in a book or journal) photo 
documentation of a film performance in which a length of thread (or string, or 
yarn) was loaded into a 16mm projector and projected. I can’t recall is this 
was a recent work or an older one (from the heyday of expanded cinema), but it 
was definitely a still image, not video documentation. 

I know a lot of filmmakers have worked with the concept of film as 
thread/cinema as weaving, and this was along those lines (pardon my inability 
to escape the line/string/thread metaphors), but I cannot for the life of me 
recall who the filmmaker was or where I saw this bit of documentation.

If anyone can suggest names or filmmakers or works that might fit this bill, or 
at least lead me down the right rabbit hole, I’d be most grateful. I’ve been 
looking through all my materials but have had no luck recovering this, and am 
beginning to become…wait for it…unraveled. 

Thank you all - best wishes,
Jonathan

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


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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Jonathan Walley]

There is indeed a candle onscreen, though by the end of the film the image gets 
pretty hard to make out but the end - its legibility is already compromised by 
the speedy development process (the film was running at only a few frames per 
second out from the camera, over rollers, under doors, through 
processing/fixing/wiping off, and finally out into the room with the projector 
and screen). The purpose of the candle, as I understand it, was to “prove” that 
the nested images were created in real time, not the result of multiple 
optically-printed shots edited together. The candle burns uninterrupted as the 
images shift from positive to negative and back again, each new layer pushing 
the previous one(s) back into an ever-deepening nest of images, like a mirror 
tunnel. 

My recollection is that the film was intended to make the film medium do 
something that another medium was said to do uniquely (i.e. feedback as a 
phenomenon unique to video, not to mention video’s immediacy, another trait 
often singled out in early texts on video art as something distinct to video). 

[from the department of self-aggrandizement, I write about FF in “Identity 
Crisis…” in October 137).

Lots to say about the implications of this film for emerging critical 
discourses on video art and TV in the 1970s, and specifically the relationship 
between cinema and video, especially as the latter seems to have begun to 
distinguish itself from the blanket term “expanded cinema” (and just “cinema”) 
as the ‘70s wore on. I might have time later to expound/expand later (as if 
anyone cares). 

JW

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


> On Jan 14, 2016, at 3:16 AM, Steve Polta <steve.po...@gmail.com> wrote:
> 
> A 16mm print of Tony Conrad's Film Feedback is distributed in 16mm by Canyon 
> Cinema.
> http://canyoncinema.com/catalog/film/?i=680 
> <http://canyoncinema.com/catalog/film/?i=680>
> 1974, 15 minutes.
> Yeah I think it's a candle but it's basically "the" rectangle. White screen, 
> filmed in negative becomes black, re-projected & filmed, processed again, 
> re-projected/filmed pos/neg/pos/neg/etc. Becomes rectangles within rectangles 
> within rectangles, alternating black/white/black/white, receding. At one 
> point there is a little jam, a little frame line stutter, this (presumable) 
> accidental gesture is re-photographed in subsequent iterations of the series 
> and becomes a major event in this "minimalist" film. Now that I've written 
> this I'm not 100% certain of presence of the on-screen the candle.
> 
> This film recalls (to me) a series of performance films by William Raban 
> titled 2'45 (1973), in which the filmmaker, standing in front of a screen, 
> speaks a short description of the 2'45 project and is filmed—single take—in 
> 16mm sync sound. The resultant married print is then projected (with sound), 
> say a day later, with the filmmaker making the same speech (so he's on screen 
> and in real life; get it?), this combo also being sync filmed. The result is 
> then projected (so there's two of him on screen, rectangle within rectangle, 
> receding) while he speaks, etc etc etc. 16mm feedback loop but not 
> instantaneous; there's about a day lag between segments. No it's not 
> endlessly ongoing; it's a different version on different occasions.
> 
> Steve Polta
> 
> 
> 
> 
> On Wed, Jan 13, 2016 at 3:47 PM, Pip Chodorov <framewo...@re-voir.com 
> <mailto:framewo...@re-voir.com>> wrote:
> I can provide Lemaitre's film if you are interested.
> Isou's film ON VENOM AND ETERNITY is an earlier iteration, Lemaitre went 
> farther into self-recursion (a film about itself).
> Pip
> 
> 
> At 22:47 -0800 13/01/16, Cinema Project wrote:
> In regards to "well-deployed spoilers," I might look into Maurice LeMaître's 
> "Le film est déjà commencé?" from 1952. It was a Lettrist film and supposed 
> staged provocation. There's some accounts/ info on it in Off-Screen Cinema by 
> Kaira M Cabañas.
> 
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Jonathan Walley]

http://rhizome.org/editorial/2009/jan/07/setting-the-tome/ 


scroll to the bottom of the article for the diagram. 

I’ve heard tell of this work being produced more than once, and I’ve always 
wanted to try it myself (with a group of stalwart cinema students). 

JW

> On Jan 14, 2016, at 1:12 PM, Bernard Roddy  wrote:
> 
> I think this work by Tony mentioned by Fred is reproduced as a 
> diagram/instruction in:
> 
> W + B Hein : Dokumente 1967-1985, Fotos, Briefe, Texte.
> 
> 
> On Thu, Jan 14, 2016 at 12:47 AM, Cinema Project  > wrote:
> Jesse! 
> 
> In regards to "well-deployed spoilers," I might look into Maurice LeMaître's 
> "Le film est déjà commencé?" from 1952. It was a Lettrist film and supposed 
> staged provocation. There's some accounts/ info on it in Off-Screen Cinema by 
> Kaira M Cabañas. 
> 
> Might not be what you're looking for at all, but it's an interesting sort of 
> (delayed) response to those legendary "reactions." 
> 
> Mia Ferm
> 
> -- 
> Cinema Project
> www.cinemaproject.org 
> 971-266-0085 
> PO Box 5991 
> Portland, OR 97228
> 
> 
> On Wed, Jan 13, 2016 at 8:50 PM, Fred Camper  > wrote:
> Yes, that's right. Because it was positive film, a succession of black and 
> white rectangles appeared inside each other as with each new pass the 
> previous result was filmed. I believe it was around 40 minutes long. It was 
> really interesting; I had never seen anything like it before, and have not 
> since.
> 
> Fred Camper
> 
> 
> On 1/13/2016 11:32 PM, Gene Youngblood wrote:
>> I believe Tony Conrad did some kind of demonstration or performance of “film 
>> feedback” in which exposed 16mm film went immediately into a developing bath 
>> and was projected, and the projection was filmed and projected, and so on.  
>> No doubt someone on this list remembers that and can describe it properly. 
>> Also, for scholars of early video, in the current issue of Afterimage Robyn 
>> Farrell has an in-depth history of Gerry Schum’s “TV Gallery” and “Video 
>> Gallery” projects in Germany in the late sixties, which I only alluded to in 
>> passing in Expanded Cinema.
>> 
>> 
>>> On Jan 13, 2016, at 3:17 PM, robert harris >> > wrote:
>>> 
>>> The “early cinema/early video” query is a good one, one that I’ve not seen 
>>> explored with much rigor. 
>>> 
>>> Kleinhans’ question of “broadcast TV or portapak” is significant.
>>> 
>>> Early TV might have more in common with radio than with early film.
>>> 
>>> Early video (portapak) provoked, for some practitioners, sensibilities in 
>>> keeping with those of the Lumieres. 
>>> 
>>> The Lumiere camera was more like video than any other camera (including the 
>>> Edison version) as it was, like video, a capture and playback device (and 
>>> lab).
>>> 
>>> The promptness with which the Lumieres could playback their recordings (if 
>>> my film mythology serves me) is almost video-like (time was a little slower 
>>> in those days, so they say).
>>> 
>>>  Both early film and early video were made without post-production edits, 
>>> hence were finished in camera.
>>> 
>>>  Video’s instant feedback loop is an unequivocal distinction from film.
>>> 
>>> To give proper attention to all origin strains of video, you have to 
>>> consider camera-less, raster based work (Nam June Paik, Wolf Vostell and 
>>> others).
>>> 
>>> The “early cinema” equivalent might be the first people to mark on clear 
>>> leader, some Italian Futurists, Hans Richter, Man Ray etc.
>>> 
>>>  As to cultural “outrage”, it wasn’t uncommon for the people throwing 
>>> things at the artists and making big scenes to be the Surrealists 
>>> themselves.
>>> 
>>>  
>>> 
>>> Some worthy writing of early video (essays you should be able to easily 
>>> find): 
>>> 
>>> Hollis Frampton, The Withering Away of the State of the Art
>>> 
>>> David Antin, Video: The Distinctive Features of the Medium
>>> 
>>> 
>>> 
>>> 
>>> On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans >> > wrote:
>>> 
 An answer depends on how “early” you’re talking about film (1890s? 
 later?), and about video (Broadcast TV or Portapak?).  Probably the most 
 significant common feature is the fixed camera position.
 
 The most significant difference (beyond the obvious one of resolution) is 
 shot duration.  Video (portpak on) allowed for remarkably long shots 
 compared to almost all film.
 
 If you (or anyone) can find it, Noel Burch’s film “Correction Please, or 
 How We Got Into Pictures” is a great explanation of the evolution of early 
 films' means and style, concentrating on how the audience was shaped by 
 the evolving formal elements of cinema.

Re: [Frameworks] Films about glass and light

[Jonathan Walley]

John Smith, Leading Light
Nicky Hamlyn (who just posted in response to this thread) made a group of films 
as part of a residency for Media City in 2012 that would fit this bill, and 
which are great (see https://www.agw.ca/show_document/2501/2 
<https://www.agw.ca/show_document/2501/2>)
Emily Richardson, Nocturne
Work by Sandra Gibson and Luis Recoder, and Bruce McClure, would be ideal, 
though it’s all performance work so the artists need to be in attendance. 
Gibson and Recoder, in particular, work with all kinds of glass objects in 
their projection performances.

Lis Rhodes, Light Music
Michael Snow, Breakfast (Table Top Dolly)
Robert Morris, Mirror
(lots of films with/about/utilizing mirrors to choose from)

Ran across this a few months ago, which could be interesting (especially Cinema 
Before 1300!): 
http://canyoncinema.com/2015/01/16/two-films-by-jerome-hiler-now-available-through-canyon-cinema/
 
<http://canyoncinema.com/2015/01/16/two-films-by-jerome-hiler-now-available-through-canyon-cinema/>

JW

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


> On Feb 2, 2016, at 9:19 PM, Sheri Wills <s...@sheriwills.com> wrote:
> 
> 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] Annette Michelson and Peter Gidal

[Jonathan Walley]

Interesting question. Keep in mind that Gidal also included and essay on Ken 
Jacobs’ Tom Tom... (by Lois Mendelson and Bill Simon, also from Artforum) that 
he (Gidal) expressly marked as “symptomatic of current misunderstanding” and 
“fetishization of process and idealization of the formal in its weak sense.” 
Vidal attributed the same “blindness” to the film itself. So he was open to 
polemically including “bad” essays.

He doesn’t include a similar note about the Michelson piece, though he only 
includes an excerpt. Perhaps he found that excerpt less “wrongheaded” than 
other passages in the essay. The entire Snow section of Structural Film 
Anthology is on the polemical side, including the rather pissy letter from Snow 
to Gidal in response to the latter’s comments about Back-Forth. 

Sort of an answer?

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


> On Feb 22, 2016, at 11:00 AM, John Muse <jm...@sonic.net> wrote:
> 
> Can someone briefly explain--or point me to resources that explain--how it is 
> that in 1976 Peter Gidal can include Annette Michelson's June 1971 Artforum 
> piece "Towards Snow" in his Structural Film Anthology when in the September 
> 1971 issue of Artforum he excoriates her and this piece in particular, 
> beginning a letter to the editor, 
> 
>> In a remarkably wrongheaded piece, Annette Michelson, in the june Artforum 
>> asserts, with reference to Michael Snow's film, Wavelength, "Snow has 
>> redefined filmic space as that of action.
> 
> "… remarkably wrongheaded…" is certainly polemical, but there she is in the 
> anthology.  What happened?  Was her response to him persuasive?   
> 
> I'll take my answer off the air.  
> 
> 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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[Frameworks] Camera obscura films

[Jonathan Walley]

Hello everyone,

I’m looking for experimental films (including videos) about camera obscuras, 
and/or made using camera obscuras or pinhole cameras. I know about Glider by 
Ernie Gehr and Minyong Jang’s The Dark Room, although I don’t know who 
distributes these (anyone know?). But any other suggestions are welcome.

This is for a week-long event at Denison in April featuring camera 
obscura-based installations by Sandra Gibson and Luis Recoder. More 
information, for those of you in/around/sort of near central Ohio, will be 
forthcoming.

Thanks in advance for your suggestions!

Yours in obscurity,
Jonathan

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


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Re: [Frameworks] Camera obscura films

[Jonathan Walley]

Hi Jihoon,

Thanks for your email - good to hear from you. I’ve been in touch with Minyong, 
who has kindly agreed to send me his film (which I’m very excited about).

Hope all is well with you.
Best,
Jonathan

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


> On Mar 25, 2016, at 12:49 AM, Ji-hoon Felix Kim <jihoonfe...@gmail.com> wrote:
> 
> Hi Jonathan,
> 
> I recently came to know that Jang Minyong's Dark Room has not been 
> distributed by any institution but has been handled by Jang himself. Thus, if 
> you haven't known his contact info, I will be able to forward it to you. 
> Please contact me personally in that case. 
> 
> 
> All the best,
> 
> - Jihoon
> 
> 
> 2016-03-21 23:12 GMT+09:00 Jonathan Walley <wall...@denison.edu 
> <mailto:wall...@denison.edu>>:
> Does anyone have contact info for Ernie Gehr? Replies off list are welcome.
> Thanks everyone,
> JW
> 
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> wall...@denison.edu <mailto:wall...@denison.edu>
> 
> 
>> On Mar 19, 2016, at 1:28 PM, Scott MacDonald <smacd...@hamilton.edu 
>> <mailto:smacd...@hamilton.edu>> wrote:
>> 
>> Hey Jonathan,
>> 
>> In his SIX-O'CLOCK NEWS, Ross McElwee visits the camera obscura overlooking 
>> the Santa Monica Pier. 
>> 
>> Gehr's MORNING can be understood as theorizing that the camera obscura is 
>> merely a miniaturization of a room with a window, and the camera, an 
>> instrument for controlling light more precisely than one can do by 
>> manipulating a standard window.
>> 
>> Scott
>> 
>> On Sat, Mar 19, 2016 at 10:18 AM, Jonathan Walley <wall...@denison.edu 
>> <mailto:wall...@denison.edu>> wrote:
>> Hello everyone,
>> 
>> I’m looking for experimental films (including videos) about camera obscuras, 
>> and/or made using camera obscuras or pinhole cameras. I know about Glider by 
>> Ernie Gehr and Minyong Jang’s The Dark Room, although I don’t know who 
>> distributes these (anyone know?). But any other suggestions are welcome.
>> 
>> This is for a week-long event at Denison in April featuring camera 
>> obscura-based installations by Sandra Gibson and Luis Recoder. More 
>> information, for those of you in/around/sort of near central Ohio, will be 
>> forthcoming.
>> 
>> Thanks in advance for your suggestions!
>> 
>> Yours in obscurity,
>> Jonathan
>> 
>> Dr. Jonathan Walley
>> Associate Professor and Chair
>> Department of Cinema
>> Denison University
>> wall...@denison.edu <mailto:wall...@denison.edu>
>> 
>> 
>> 
>> ___
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>> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
>> 
>> 
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> 
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> 
> 
> 
> 
> -- 
> Jihoon Kim
> Assistant Professor, Cinema and Media Studies
> Department of Film Studies
> Chung-ang University
> 
> website: chungang.academia.edu/JKIM <http://chungang.academia.edu/JKIM>
> Art Center (301-dong) RM 507
> 221 Heukseok-dong, Dongjak-gu
> Seoul, South Korea 156-756
> Tel: 82-2) 820-5471
> Mobile: 82-10) 2929-1895
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Re: [Frameworks] FrameWorks Digest, Vol 70, Issue 22

[Jonathan Walley]

Thanks to all the frameworkers who recommended camera obscura and pinhole 
camera films. I didn’t quite realize how much work their is in that vein. I’ll 
be contacting some of you to push for a little more info, but meantime, thanks 
for the suggestions! There is some fantastic work out there.
Best,
Jonathan

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


> On Mar 20, 2016, at 11:34 AM, Grant Petrey <grantpet...@hotmail.com> wrote:
> 
> Dan Denton has made films using a. Pinhole front attached to a flatbed 
> scanner.
> 
> Danieldenton.co.uk
> 
> 
> 
> 
> Sent from my HTC
> 
> - Reply message -
> From: frameworks-requ...@jonasmekasfilms.com
> To: <frameworks@jonasmekasfilms.com>
> Subject: FrameWorks Digest, Vol 70, Issue 22
> Date: Sun, Mar 20, 2016 12:00
> 
> Send FrameWorks mailing list submissions to
> frameworks@jonasmekasfilms.com
> 
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Re: [Frameworks] Camera obscura films

[Jonathan Walley]

Hi Pip,

Thanks so much for these suggestions - I was able to see extracts of these 
online (including on the Light Cone site) and think they’re both terrific. I’m 
putting an order in with Light Cone tomorrow.

Best,
Jonathan

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


> On Mar 19, 2016, at 1:30 PM, Pip Chodorov <framewo...@re-voir.com> wrote:
> 
> Paolo Gioli's FILM STENOPEICO was made in 16mm using a pinhole camera.
> 
> And Patrick Bokanowski's LA FEMME QUI SE POUDRE is a beautiful film made 
> using a camera obscura and reworked glass  (he called his lenses subjectifs 
> instead of objectifs)
> 
> 
> At 13:18 -0400 19/03/16, Jonathan Walley wrote:
>> I'm looking for experimental films (including videos) about camera obscuras, 
>> and/or made using camera obscuras or pinhole cameras. I know aboutGlider by 
>> Ernie Gehr and Minyong Jang's The Dark Room, although I don't know who 
>> distributes these (anyone know?). But any other suggestions are welcome.
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[Frameworks] Structural Film - mission accomplished

[Jonathan Walley]

Hello again everybody,

I have “Structural Film” now - many thanks to Eric Theise. And thanks to those 
of you who volunteered to scan and send me their copies, which will no longer 
be necessary.

All best,
JW

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



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[Frameworks] Structural Film

[Jonathan Walley]

Hello everyone,

I’ve lost my copy of the original “Structural Film” essay, from Film Culture 
#47. Film Culture pre-1990s is not to be found on any research databases (at 
least none to which I have access), and I don’t feel like shelling out $240 for 
the one and only used copy on amazon. Does anyone have a scanned copy they 
might send my way (off-list)? 

Thanks in advance!

Best,
Jonathan “out of summertime beach reading in a big way” Walley

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



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Re: [Frameworks] Structural Film

[Jonathan Walley]

The Film Culture Reader version is revised, with some important additions and 
subtractions. Only the Ur-text will do here!
Thanks, though!
JW 


> On Jul 24, 2016, at 4:48 PM, Michael Betancourt <hinterland.mov...@gmail.com> 
> wrote:
> 
> It's reprinted in the Film Culture reader anthology if that's more 
> accessible
> 
> Michael Betancourt
> Savannah, GA USA
> 
> 
> michaelbetancourt.com <http://michaelbetancourt.com/>
> twitter.com/cinegraphic <http://twitter.com/cinegraphic> | 
> vimeo.com/cinegraphic <http://vimeo.com/cinegraphic>
> www.cinegraphic.net <http://www.cinegraphic.net/> | the avant-garde film & 
> video blog
> 
> On Sun, Jul 24, 2016 at 2:57 PM, Jonathan Walley <wall...@denison.edu 
> <mailto:wall...@denison.edu>> wrote:
> Hello everyone,
> 
> I’ve lost my copy of the original “Structural Film” essay, from Film Culture 
> #47. Film Culture pre-1990s is not to be found on any research databases (at 
> least none to which I have access), and I don’t feel like shelling out $240 
> for the one and only used copy on amazon. Does anyone have a scanned copy 
> they might send my way (off-list)? 
> 
> Thanks in advance!
> 
> Best,
> Jonathan “out of summertime beach reading in a big way” Walley
> 
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> wall...@denison.edu <mailto:wall...@denison.edu>
> 
> 
> 
> 
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Re: [Frameworks] Structural Film

[Jonathan Walley]

Hey again everyone,

It looks like my first email (this morning) may not have gotten through - I 
have received a copy of “Structural Film” (actually a couple now), so, with 
many thanks to everyone who offered to send a copy (and especially to a couple 
of you who have done so), I have attained the object of my search and no longer 
need the essay.
Thanks!
JW

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



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Re: [Frameworks] Seeking Transcription for "Poetry and Film: A Symposium"

[Jonathan Walley]

Hi Ken, and gang,

There are a few copies of this floating around online. I found this:
http://coronagraph.pastelegram.org/Poetry-and-the-Film-A-Symposium 
<http://coronagraph.pastelegram.org/Poetry-and-the-Film-A-Symposium>

You’ll see that it’s actually called “Poetry and THE Film” (back in the day 
they loved to put “the” in from of film, usually when they meant something like 
“film as an art form”). And then there’s this, which is amazing:

https://www.youtube.com/watch?v=HA-yzqykwcQ 
<https://www.youtube.com/watch?v=HA-yzqykwcQ>

Sadly, though perhaps not surprisingly, Dylan Thomas and Arthur Miller come off 
as jackasses, especially in their plainly misogynistic responses to Maya Deren. 
Happily, and not at all surprisingly, Deren speaks brilliantly and brushes them 
off. As I read it, she makes them look stupid, but I’m not sure that would have 
been the response of a contemporaneous reader/listener. The start of Deren’s 
statement in the middle of page 178 (this is from Sitney’s Film Culture Reader) 
is particularly awesome. 

Anyway, enjoy!
Best,
Jonathan


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



> On Jul 15, 2016, at 7:17 AM, Ken Paul Rosenthal 
> <kenpaulrosent...@hotmail.com> wrote:
> 
> I've been poking around online for a complete transcription of the Cinema 16 
> "Poetry and Film: A Symposium" from October 28, 1953, but cannot find it. Any 
> leads out there?
> 
> Thanks, Ken
>  <http://www.kenpaulrosenthal.com/>www.kenpaulrosenthal.com 
> <http://www.kenpaulrosenthal.com/>
> www.whisperrapture.com <http://www.whisperrapture.com/>
> www.maddancementalhealthfilmtrilogy.com 
> <http://www.maddancementalhealthfilmtrilogy.com/>
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[Frameworks] Jennifer West films - thanks!

[Jonathan Walley]

Thank you Frameworkers, for a lightning-fast and very productive response to my 
Jennifer West inquiry. I have my information!
Best,
Jonathan

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



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[Frameworks] Jennifer West films?

[Jonathan Walley]

Hi everyone,

Does anyone know if Jennifer West’s films (or DVD versions thereof) are 
distributed? I see she has gallery representation, which can sometimes be a 
sign that the work isn’t distributed in the traditional sense, but wanted to 
see if anyone here has info.
Thanks!
Jonathan

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



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Re: [Frameworks] "Husbands" and "Wives"

[Jonathan Walley]

Anthony McCall & Carolee Scheemann
Sandra Gibson & Luis Recoder
Jordan Belson & Jane Conger Belson Shimane
Wilhelm & Birgit Hein
Tony Conrad & Beverly Grant/Conrad
Ken & Flo Jacobs
Charles & Ray Eames 



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



> On Feb 10, 2017, at 3:55 PM, John MacKay <johnmacka...@gmail.com> wrote:
> 
> Vertov and Svilova!
> 
> Sent from my iPhone
> 
>> On Feb 10, 2017, at 3:26 PM, Pip Chodorov <framewo...@re-voir.com> wrote:
>> 
>> Sorry I forgot
>> Alexander Alexeieff and Claire Parker
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[Frameworks] Visiting Assistant Professor of Cinema - Denison University

[Jonathan Walley]

Hello everyone,

I’m sending information about this position one more time. The “soft deadline” 
is today, but we will continue to review applications until the position is 
filled.

Link for submitting materials online: 
https://employment.denison.edu/postings/1430

Best wishes,
Jonathan

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

The Department of Cinema seeks to fill a one-year fulltime position beginning 
in the fall of 2017, with the possibility of one additional year at fulltime 
depending upon performance and departmental need. This individual will be 
responsible for teaching courses in 16mm film and digital video production at 
beginning, intermediate, and advanced levels. 3/3 course load.

The successful candidate will be a filmmaker actively producing and exhibiting 
work, and an experienced teacher with a record of success in teaching technical 
and artistic filmmaking skills to undergraduate students at all levels. 
Candidates should possess an MFA, and must be able to teach Adobe Premiere. 
Experience in teaching screenwriting is a plus.

The Department of Cinema is part of Denison University’s Fine Arts Division. 
The department’s curriculum integrates film/video production and cinema 
studies, encouraging students to draw connections between the two, as is 
fitting for a liberal arts college. Unlike film programs at art schools, the 
Cinema curriculum does not include specialized production courses; film and 
digital production courses at all levels include instruction in all phases and 
roles of production, emphasizing artistry and conceptual sophistication as much 
as technical craft. Applicants’ specific areas of interest and expertise will 
be noted; however, it is the individual who can teach within the generalized 
filmmaking curriculum described above who is being sought.

Applicants should send a cover letter, curriculum vitae, samples of work (via 
links to Vimeo, etc.), and the names and contact information of three 
references. Applications will be reviewed beginning February 15, 2017 but will 
be accepted after that date.

To achieve our mission as a liberal arts college, we continually strive to 
foster a diverse campus community, which recognizes the value of all persons 
regardless of religion, race, ethnicity, gender, sexual orientation, 
disability, or socio-economic background. For additional  information and 
resources about diversity at Denison, please see our Diversity Guide 
<http://denison.edu/forms/diversity-guide>.  Denison University is an Equal 
Opportunity Employer.


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Re: [Frameworks] The Flicker

[Jonathan Walley]

Thanks Chuck, and thanks also to Pip, Scott, Steve, and Esperanza for their 
insights. I think tomorrow’s screening will be do-able. My only real 
frustration at this point is how quite the DVD track is. Maybe I’ve been 
watching too much Bruce McClure, but I remember The Flicker as bring pretty 
loud. I’m hoping I can give the rather thin track some oomph when I patch into 
the sound system of our projection booth.

I’ll let you all know how it goes.

And I’ll likely have more crowdsourcing questions as this seminar wears on.

All best,
JW

> On Feb 27, 2017, at 9:33 PM, Chuck Kleinhans  
> wrote:
> 
> 
> I love this thread—crowdsourcing at its finest!  Seriously, the spirit of 
> sharing knowlege and experience warms me on a cold day in these Trump times.
> 
> Chuck Kleinhans
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[Frameworks] The Flicker

[Jonathan Walley]

Hello everyone,

I’m showing The Flicker tomorrow in a seminar, and the print arrived from 
Filmmakers’ Coop with sound on CD (no optical track), which surprised me. When 
I’ve rented the film in the past, the print came had an optical track; to 
confirm my memory of this, I looked at images of the strip online 
(http://anthologyfilmarchives.org/collections/reference-library/stills/494 
<http://anthologyfilmarchives.org/collections/reference-library/stills/494>). I 
don’t remember showing it any other way.

The instructions that came with the print simply indicate that the CD should be 
started with the picture, but my understanding is that the rhythm of the sound 
is supposed to be synchronized with the flicker patterns in the image. Am I 
wrong?  

Anyone know something about this? I can contact MM at FMC (though I know she’s 
also on this list), but I thought I’d also put the question to the larger 
Frameworks community to see if anyone has projected The Flicker this way, and 
if anyone has tips, ideas, experiences, etc., to share.

Tony Conrad: continuing to baffle and challenge us from beyond.

Best,
JW

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



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Re: [Frameworks] Japanese underground cult cinema

[Jonathan Walley]

Hi Jamie,

Julian’s work on Japanese avant-garde cinema is indeed terrific - really a 
breakthrough for Western (non-Japanese speaking) scholars. You can find his 
work online pretty easily, I think.

If, on the other hand, you have films like Tetsuo in mind - directors like 
Shinya Tsukamoto and Sogo Ishii - you might look at some of Tony Rayns’ 
writings. He was writing about that work in the early ‘80s as it was emerging. 
I would also highly recommend: http://www.midnighteye.com/. It covers a wide 
variety of Japanese cinema, but really favors the cult stuff. Some of this 
work, especially Tsukamoto’s, had it’s origins in 8mm independent filmmaking 
and live performance.

I have a lot of material on this, from research I did back in the day as a grad 
student. It’s not immediately to hand, however. I can dig it out in the next 
week and send you some more info, if you remind me.

Best,
Jonathan

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



> On Aug 18, 2016, at 11:09 AM, Albert Alcoz <albertal...@gmail.com> wrote:
> 
> Hello Jamie,
> 
> Julian Ross wrote a PhD dissertation about japanese experimental cinema, 
> mostly related to performances and expanded cinema practices. 
> 
> http://post.at.moma.org/profiles/415-julian-ross 
> <http://post.at.moma.org/profiles/415-julian-ross>
> 
> Maybe he can help you.
> 
> Best,
> Albert
> 
> On Thu, Aug 18, 2016 at 4:41 PM, Jamie Cleeland <ethnom...@yahoo.co.uk 
> <mailto:ethnom...@yahoo.co.uk>> wrote:
> Hello,
> I am looking to find academic writing on the history of Japanese underground 
> cult cinema.  Ideally, writing that places modern Japanese underground movies 
> in relation to a larger historic context, one that includes performance 
> theatre.   Any pointers?
> 
> Jaime
> 
> Sent from my iPad
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> 
> 
> -- 
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[Frameworks] Employment Opportunity - Denison University

[Jonathan Walley]

Hello Frameworkers,

The Department of Cinema at Denison University is looking for a 1-year Visiting 
Assistant Professor of film/digital production:

https://employment.denison.edu/postings/1430 
<https://employment.denison.edu/postings/1430>

As the post indicates, we’re looking for an active filmmaker, and I’d 
especially love to hire an experimental filmmaker. Please note the requirements 
of the position. Also note that it could possibly extend to an additional year.

I’m happy to answer questions. For a little more information about the 
department, see:
http://denison.edu/academics/cinema <http://denison.edu/academics/cinema>
https://vimeo.com/181944834 <https://vimeo.com/181944834>

Best wishes,
Jonathan

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



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Re: [Frameworks] emails?

[Jonathan Walley]

I’ve got Emily Oscarson’s email, and am now just looking for Beny Wagner’s.
Thanks everyone,
JW

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



> On Mar 31, 2017, at 11:49 AM, Jonathan Walley <wall...@denison.edu> wrote:
> 
> Hello Frameworkers,
> 
> I’m looking for email addresses for Beny Wagner and Emily Oscarson, hoping to 
> show some of their work at an upcoming screening. If anyone has either/both, 
> please contact me off-list. 
> 
> Thank you!
> Jonathan
> 
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> wall...@denison.edu
> 
> 
> 

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[Frameworks] emails?

[Jonathan Walley]

Hello Frameworkers,

I’m looking for email addresses for Beny Wagner and Emily Oscarson, hoping to 
show some of their work at an upcoming screening. If anyone has either/both, 
please contact me off-list. 

Thank you!
Jonathan

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



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Re: [Frameworks] MacClaine

[Jonathan Walley]

To my knowledge, it’s not available on video/dvd/whatever in the US, but there 
is a collection of Maclaine films put out by Re:voir. From the website, it 
looks like Region 0:

http://re-voir.com/shop/en/christopher-mclaine/49-christopher-maclaine-beat-films-3493551100284.html
 
<http://re-voir.com/shop/en/christopher-mclaine/49-christopher-maclaine-beat-films-3493551100284.html>

I showed the print from FMC a few months back. Pretty nice print.

Hope this helps.
JW

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

> On Jul 28, 2017, at 10:51 AM, Dominic Angerame <dominic.anger...@gmail.com> 
> wrote:
> 
> Does anyone know where I can find a copy of Chris MacClaine's "The Man who 
> Invented Gold".
> 
> Also looking for the films of Hy Hirsch.
> 
> Thanks
> 
> 
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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 <jm...@sonic.net> 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] old film

[Jonathan Walley]

Hello Frameworkers of the world,

This question isn’t exactly on point, but I’ll try. Someone I know has what she 
calls “old film,” including 16mm and 35mm still negatives. By old, she means 
old enough to possibly be nitrate-based, but it might be acetate. Or it could 
be a mixture of both. She says that they are deteriorating badly, to the extent 
that they are likely beyond rescue. What she wants to know is whether there are 
any special rules or guidelines for disposing of this stuff safely. She’s wary 
of just tossing it in the trash. Any ideas about this? 

Apparently some members of her family worked for Kodak way, way back in the 
day, which is how she’s come into possession of this stuff. I told her I would 
reach out to some folks in the know and see what I got back. So I’m doing that 
here and now.

Thanks in advance for any ideas. You may contact me off-list at the above 
email, or I guess we could keep this on list.

Best,
Jonathan

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

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Re: [Frameworks] Sad News--Chuck Kleinhans

[Jonathan Walley]

Chuck’s last email to Frameworks (if my email’s memory is accurate), on the 
subject “asking for a friend:” 

—
I thought Green Eggs and Ham was better.  

You seem to see some connection between warning the soldiers of an occupying 
army not to fraternize with the locals and sexual harassment of filmmakers?  Or 
are filmmakers the harassers?
—

As always with Chuck, a combination of fun and warmth, even a little silliness, 
irreverent humor (and irreverence in general), and sharp thinking. When I met 
him a few years back at a conference, I found him much the same in person. I 
knew whenever I saw his name in my email inbox I was in for a good read, 
however brief. I’m sad that there won’t be any more.

Jonathan

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

> On Dec 16, 2017, at 8:13 AM, Green, Ron Green <green...@osu.edu> wrote:
> 
> I am so sorry to hear this. Chuck was a constant, happy, generous, welcoming, 
> open-minded, open-hearted, brave and funny pioneer of our field. He helped 
> break new trails for our generation in left-cinema studies, sex studies, 
> women's studies, black studies, and many other areas, including early 
> academic film studies. Jump Cut is one huge, representative monument to 
> Chuck's contributions, the most inclusive journal we have, a broad and deep, 
> long-take of that field. This is a painful loss. 
> 
> 
> 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] Experimental Films before 1910

[Jonathan Walley]

Would that I could resist this, but no…

It’s probably a little dangerous to think of these films as “experimental” in 
any strong sense of that term, since mostly the “experiments” on view in these 
films are about cultivating film’s ability to tell stories; or else, formal 
experimentation was about exploiting cinema’s novelty in the early years. Both 
of these impulses are about making film/cinema a commodity, and developing a 
degree of formal standardization (which paralleled attempts at 
material/technological standardization that were underway by the mid-oughts). 
Once early cinema was rediscovered, so to speak, as a paradigm of “roads to 
taken,” something Gunning suggests in “The Cinema of Attractions,” the 
historical link between it and experimental film “proper” was forged, I would 
say. But not before. 

This is not to put these films down, or to say they have no relevance to 
genuinely Experimental/Avant-garde cinema. But the impulse was entirely 
different than the ones animating experimental filmmaking beginning in the late 
teens and early twenties. Early generations of experimental/avant-garde 
filmmakers looked much more, I think, to the budding commercial cinema of the 
teens for their inspiration (I’m thinking of Leger’s love for La Roue, for 
example, or the Surrealists’ of slapstick comedy ala Chaplin and Keaton, or 
Cornell’s for films like East of Borneo). 

Gunning argues that the “cinema of attractions” “goes underground,” to be 
revisited by the avant-garde decades later (he mentioned Jack Smith, for 
instance). But this suggests a kindred spirit between someone like Smith or 
Warhol and the earliest filmmakers, and that it was simply a matter of 
returning to a way of doing things that existed before commercial cinema; both 
claims are questionable. 

Anyway, this has allowed me to avoid grading for a little while, which is nice. 

All best,
JW

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

> On Dec 13, 2017, at 7:29 PM, Dave Tetzlaff <djte...@gmail.com> wrote:
> 
>> thinking about how it ALL was that way by definition early on; an inventory 
>> of tricks, effusions, failed and successful experiments.
> 
> Do take a look at Gunning’s concept of "cinema of attractions”. You could 
> argue that the whole idea of cinema was a trick. Against the conventional 
> view that the Lumieres were proto-realists and Melies a proto-expressionist, 
> take the famous anecdote about early audiences panicking viewing Train 
> Approching A Station. That wasn’t people seeing the film as a representation. 
> There’s also something connecting the early films of single take with locked 
> down camera between later era formal works (e.g. Peter Hutton) that are in 
> the Experimental canon.
> 
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Re: [Frameworks] Experimental Films before 1910

[Jonathan Walley]

Hi Mark,

One favorite springs to mind immediately: *Ladies Skirts Nailed to a Fence*
(1899)/. Two women (actually men in drag) stand at a fence gossiping, and a
young scalawag sneaks up behind them, pulls the ends of their long,
Victorian skirts through the slats in the fence, and nails them to said
fence. When the "ladies" notice this, they try to run away, but are stuck,
of course. Instead of moving the camera to either side of the fence for the
two recto/verso views, the filmmakers moved the *actors*. This variation on
shot/reverse-shot is pretty awesome, and the pantomiming of femininity by
the male actors is a bonus.

I'm sure I'll think of more - this is a favorite topic.
All best,
Jonathan

On Wed, Dec 13, 2017 at 11:27 AM, Mark Street <mstreet...@gmail.com> wrote:

> Hey All,
>
> Preparing a brief talk on The Experimental Impulse in Early Cinema
> thinking about how it ALL was that way by definition early on; an inventory
> of tricks, effusions, failed and successful experiments.
>
> Any favorites anyone can recommend?
>
> Mark
>
>
>
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-- 
Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University
wall...@denison.edu
740-587-8552
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Re: [Frameworks] FILMS for ONE to EIGHT PROJECTORS tour dates

[Jonathan Walley]

Ha Ha! I used to heap scorn and mockery upon people who accidentally sent 
personal emails to listservs by incorrectly replying. But now I have made the 
same embarrassing gaffe! Oh, woe is me.

Well, now everyone knows about my very high opinion of Roger Beebe’s work, 
which you absolutely should see if Roger comes to your town, as well as my 
personal anguish and agony - and I welcome any commiserating responses, as well 
as scorn and mockery. I could have pretended it was an intentionally 
post-modern “review” of Roger’s show, in the tradition of published letters to 
and from filmmakers and critics (Dear Stan Brakhage…), but I decided to be 
honest instead. But Roger, since it’s now public, you’re welcome to use my 
email in any and all publicity for your forthcoming programs. 

Sorry everyone for unwittingly - wittlessly - opening the grimy window onto my 
stupid problems.
All best,
Jonathan


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


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Re: [Frameworks] FILMS for ONE to EIGHT PROJECTORS tour dates

[Jonathan Walley]

Hello Roger,

I’ve been thinking about sending this email for over a week now, ever since 
your show. I had to run out early, so I missed the Q+A, but saw everything 
else. I hadn’t seen the dance piece, which I thought was really great, and of 
course the new piece on e-commerce, which was depressing. The human race just 
isn’t going to make it, are we? Actually the one that’s really stuck with me 
was the Comic Sans video - I take your point, but I’l still thinking about it. 
Papyrus also seems to be a popular and popularly-hated font. 

I’ve been antisocial (not in the clinical sense, but still…), in a kind of 
self-imposed exile from most things academic and film-related. It’s a long 
story, and not a good one, so I’ll spare you. Suffice to say I’ve needed a 
break. Anyway, as the saying goes - it’s not you, it’s me.

I know I missed the window for you and I to sit down and catch up prior to your 
tour, which I hope is going well. By the time you’re likely to be able to meet 
again it will be spring, which is usually better for me and my moods, and it 
really really would be good to get together. 

All best and sorry as always for being crappy at getting together.
Jonathan


> On Feb 3, 2018, at 12:58 PM, Beebe, Roger W.  wrote:
> 
> All,
> 
> I’m about to head out (again) on tour with a program of my (mostly) 
> multi-projector films, and I thought I’d share the tour dates for the first 
> leg, which covers much of the Southeastern US.  (Northeast leg begins in 
> mid-March.)  If you find yourself in one of these cities, do come out & say 
> hello.
> 
> Feb 6: Knoxville: The Knoxville Museum of Art
> Feb 7: Atlanta: Atlanta Contemporary, 7 pm
> Feb 9: Tallahassee: 621 Gallery, 7:30 pm
> Feb 11: Gainesville: The Wooly, 8 pm
> Feb 12: Orlando: University of Central Florida, 7 pm
> Feb 13: Tampa: The Black Box (University of Tampa), 8 pm 
> Feb 15: Jacksonville: Sun-Ray Cinema, 7 pm
> Feb 17: Columbia: The Nickelodeon, 9:30 pm
> Feb 18-19: Wilmington: UNC-W, TBD
> Feb 21: Durham: Griffith Theater (Duke University), 7 pm
> Feb 22: Richmond: Anderson Gallery (VCU), 5 pm
> Feb 23: Baltimore: Gallery CA, 8 pm
> 
> More info below, for those who want.
> 
> Best,
> Roger
> 
> 
> For the first time since 2011, filmmaker/curator/professor Roger Beebe brings 
> his touring film program to the East Coast in January 2018 for a 3-month, 
> 3000-mile roadshow of a program of his multiple-projector performances.  The 
> program will vary city to city, but will include  several premieres of new 
> works alongside some of his best-known projector performances (including the 
> six-projector show-stopping “Last Light of a Dying Star”).  These works take 
> on a range of strategies from formalist investigations of the materials of 
> film to essayistic explorations of popular culture and a range of topics from 
> the forbidden pleasures of men crying (“Historia Calamitatum (The Story of My 
> Misfortunes)”) and the politics of font choices (“The Comic Sans Video”) to 
> Las Vegas suicides (“Money Changes Everything”) and the real spaces of the 
> virtual economy (“Amazonia”).
> 
> "[Beebe’s films] implicitly and explicitly evoke the work of Robert Frank, 
> Garry Winogrand and Lee Friedlander, all photographers of the atomic age 
> whose Western photographs captured the banalities, cruelties and beauties of 
> imperial America."
> --David Fellerath, The Independent Weekly
> 
> “Beebe’s films are both erudite and punk, lo-fi yet high-brow shorts that 
> wrestle with a disfigured, contemporary American landscape.”  
> --Wyatt Williams, Creative Loafing (Atlanta)
> 
> Roger Beebe’s work since 2006 consists primarily of multiple projector 
> performances that explore the world of found images and the "found" 
> landscapes of late capitalism.  He has screened his films around the globe at 
> such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station 
> in Antarctica as well as more likely ones including Sundance and the Museum 
> of Modern Art with solo shows at Anthology Film Archives, The Laboratorio 
> Arte Alameda in Mexico City, and Los Angeles Filmforum among many other 
> venues.  Beebe is also a film programmer:  he ran Flicker, a festival of 
> small-gauge film in Chapel Hill, NC, from 1997-2000 and was the founder and 
> Artistic Director of FLEX, the Florida Experimental Film/Video Festival from 
> 2004-2014.  He is currently a Professor in the Department of Art at the Ohio 
> State University.
> 
> 
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[Frameworks] 7360 Sukiyaki

[Jonathan Walley]

Hello Frameworkers,

I have a question about Tony Conrad’s performance 7360 Sukiyaki, which I’m 
asking on behalf of another researcher. It’s a simple question, really, but has 
become quite the little puzzle. 

The question is where the work was “premiered.” In an essay he wrote for MFJ 
called “Is This Penny Ante or a High Stakes Game?”, Tony listed three 
performance dates for the work: December 17, 1973, April 27, 1974, and June 15, 
1974. The latter two dates I have been able to nail down: The Walker Art Center 
and the Millennium. That leaves the December 17, ’73 date, apparently the 
premiere. My educated guess is that this took place at Antioch, which Tony was 
teaching at the time (he left shortly after to teach at Binghamton, then, of 
course, SUNY Buffalo). The researcher I’ve been talking to has not been able to 
find anything about a performance at Antioch (my guess is that it was a very 
low-key affair, possibly connected with a class, as was Film Feedback); she is 
trying to eliminate Anthology or any other NY venue as a possible site of the 
premiere. She’s even contacted the archivist at Antioch and gotten more-or-less 
a non-responsive response. 

Any ideas? I know it’s a lot of verbiage for what seems like a tiny question, 
but since I’ve spent a few days figuring out the other dates and sort of 
mapping Tony’s travels between 1972 and 1975, I’ve developed an obsession with 
answering this question. Not that it would be the end of the world if I didn’t 
(especially since it’s not even my research project). 

Related to this: I have not been able to determine when/where/by whom this 
photo was taken: 
https://yswriting.wordpress.com/2016/04/18/tony-conrad-critical-audiovisions/ 
<https://yswriting.wordpress.com/2016/04/18/tony-conrad-critical-audiovisions/>

I’m quite sure it’s not the Walker Art Center, but beyond that I’m clueless. 

Thanks everyone!
JW

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

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[Frameworks] Anthony McCall's films

[Jonathan Walley]

Hello Frameworkers,

I know you all have better things to do, but if anyone has 1) a spare moment or 
two, and 2) old print copies of Canyon Cinema or Filmmakers’ Co-op catalogs, I 
have a question.

Currently, only two of Anthony McCall’s solid light films are available for 
rental from Co-ops: Line Describing a Cone and Conical Solid (this includes 
Canyon, FMC, Light Cone, and LUX). I believe I recall that Cone of Variable 
Volume and Partial Cone were once available from at least some of these co-ops 
(not sure about Long Film for Four Projectors, but I’ll throw that into the 
mix, too). 

Can anyone confirm? This means going rather far back, as I assume that the 
availability of these films changed after “Into the Light” and McCall’s new 
cycle of solid light films, circa 2001/2/3.

Back when you could event rent a Yellow Movie, at least from FMC. Ah, the days 
before moving image art.

Thanks in advance for any info, ideas, suggestions.
All best,
Jonathan


Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University



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[Frameworks] processing strips of film

[Jonathan Walley]

Hello fellow Frameworkers,

Process(ing) related question here: I have been working with ray-o-graphing 
16mm film, and I’d like to be able to work with short bits rather than an 
entire daylight spool’s worth at a time. My question is whether or not any labs 
will process film in this way - say, 30 or more 1-2-foot lengths of film. I 
kind of doubt it, but figured it wouldn’t hurt to ask.

I am not able to hand process, BTW. I know a lot of filmmakers who process 
their own stuff work with very short lengths of film. SO, perhaps that’s 
another question: if labs won’t help me, is there anyone on this list who would 
be willing to do it? (I would pay you for your work). 

Feel free to contact me on or off list. Thanks in advance for any ideas, 
suggestions, offers.

Best wishes,
Jonathan

Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University



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Re: [Frameworks] 7360 Sukiyaki

[Jonathan Walley]

David,

That’s awesome - I’m very grateful (as I’m sure everyone on the list is). Can’t 
wait to listen.
All best,
Jonathan

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

> On Feb 26, 2018, at 5:15 PM, David Baker <dbak...@hvc.rr.com> wrote:
> 
> Dr. Walley,
> 
> I can not help with regard to the question, where did 7360 Sukiyaki premier?
> However I have uploaded to Vimeo an audio recording of Tony's projection / 
> performance
> at Millennium Film Workshop on 6-15-74 
> which may be of interest to you, your research associate or others on this 
> list.
> 
> https://vimeo.com/257530075 <https://vimeo.com/257530075>
> 
> This recording includes:
> 
>  Film Feedback
> 
>   Projection of film that has been subjected to hammering, reassembled.
> 
>   Projection of films subjected to electrocution
>   
>   Projection of curried film.
>   ( Curry by Marian Zazeela)
> 
>   Projection of creoled film stock
> 
>  7360 Deep Fried - to be looked at sans projection
> 
>  Discussion of film pickling, film as a culinary ingredient
>  “film material behaves more or less like onions”
> 
> 7360 Sukiyaki
> 
> Q & A
> 
> Power to the people,
> 
> David
> 
> 
>> On Feb 26, 2018, at 10:54 AM, Jonathan Walley <wall...@denison.edu 
>> <mailto:wall...@denison.edu>> wrote:
>> 
>> Thank you, d.olivier, for that perspective. I remember Tony telling me 
>> something similar about cost, specifically that he had a notion of scale 
>> where the cooked, etc. films could be made for the cost of a lunch. 
>> 
>> You’re right about the missing scholarship on Tony’s video and public access 
>> work. A million years ago I did a very little bit of work on it, which was 
>> included in my dissertation but never made it any further. 
>> 
>> The only works I know of during this period that could genuinely be 
>> characterized as being “performances about projection” are Sukiyaki, Bowed 
>> Film, and Film Feedback (of course, it depends upon how elastic Tony’s 
>> definition of “performance” is, but still…). So I’m even more (reasonably) 
>> confident that Sukiyaki began its life at Antioch. [Interesting side note, 
>> the “premiere” date Tony listed for Sukiyaki in the MFJ article - 12/17/73 - 
>> was the same day that Antioch announced the firing of a couple dozen 
>> teaching faculty because the college was in dire financial straits. I have 
>> to guess that this included Tony, who moved on to Binghamton the following 
>> spring.] 
>> 
>> Thanks again - if anyone else has clues for the great 7360 Sukiyaki 
>> investigation, chime in. 
>> 
>> Best,
>> JW
>> 
>> Dr. Jonathan Walley
>> Associate Professor and Chair
>> Department of Cinema
>> Denison University
>> wall...@denison.edu <mailto:wall...@denison.edu>
>>> On Feb 24, 2018, at 6:01 PM, d. olivier delrieu-schulze 
>>> <d.delrieuschu...@gmail.com <mailto:d.delrieuschu...@gmail.com>> wrote:
>>> 
>>> Tony talked about doing a performance of “film projection” at Antioch.  He 
>>> also said that his pickled films and cooked films were a response to being 
>>> criticized by other makers at Antioch.  Primarily for making work that 
>>> wasn’t directly engaging with social justice issues.  That film was 
>>> expensive and to make work that didn’t directly address isssues like 
>>> poverty was irresponsible.
>>> 
>>> So.  In t0ny’s positively spiteful way he said “fine I’ll just use scraps 
>>> of film and pickle them! That costs almost nothing!”
>>> 
>>> It’s not a surprise that there isn’t a clear record as Antioch went through 
>>> a lot of changes since then.
>>> 
>>> This incidence along with the video activism/public access work, I think, 
>>> shows a significant shift of tony’s work pre/during/post Antioch.  This is 
>>> glaringly absent from most of the scholarship about Tony’s work.
>>> 
>>> -d.olivier 
>>> 
>>> On Sat, Feb 24, 2018 at 1:17 PM Jonathan Walley <wall...@denison.edu 
>>> <mailto:wall...@denison.edu>> wrote:
>>> Hello Frameworkers,
>>> 
>>> I have a question about Tony Conrad’s performance 7360 Sukiyaki, which I’m 
>>> asking on behalf of another researcher. It’s a simple question, really, but 
>>> has become quite the little puzzle. 
>>> 
>>> The question is where the work was “premiered.” In an essay he wrote for 
>>> MFJ called “Is This Penny Ante 

Re: [Frameworks] 7360 Sukiyaki

[Jonathan Walley]

Thank you, d.olivier, for that perspective. I remember Tony telling me 
something similar about cost, specifically that he had a notion of scale where 
the cooked, etc. films could be made for the cost of a lunch. 

You’re right about the missing scholarship on Tony’s video and public access 
work. A million years ago I did a very little bit of work on it, which was 
included in my dissertation but never made it any further. 

The only works I know of during this period that could genuinely be 
characterized as being “performances about projection” are Sukiyaki, Bowed 
Film, and Film Feedback (of course, it depends upon how elastic Tony’s 
definition of “performance” is, but still…). So I’m even more (reasonably) 
confident that Sukiyaki began its life at Antioch. [Interesting side note, the 
“premiere” date Tony listed for Sukiyaki in the MFJ article - 12/17/73 - was 
the same day that Antioch announced the firing of a couple dozen teaching 
faculty because the college was in dire financial straits. I have to guess that 
this included Tony, who moved on to Binghamton the following spring.] 

Thanks again - if anyone else has clues for the great 7360 Sukiyaki 
investigation, chime in. 

Best,
JW

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

> On Feb 24, 2018, at 6:01 PM, d. olivier delrieu-schulze 
> <d.delrieuschu...@gmail.com> wrote:
> 
> Tony talked about doing a performance of “film projection” at Antioch.  He 
> also said that his pickled films and cooked films were a response to being 
> criticized by other makers at Antioch.  Primarily for making work that wasn’t 
> directly engaging with social justice issues.  That film was expensive and to 
> make work that didn’t directly address isssues like poverty was irresponsible.
> 
> So.  In t0ny’s positively spiteful way he said “fine I’ll just use scraps of 
> film and pickle them! That costs almost nothing!”
> 
> It’s not a surprise that there isn’t a clear record as Antioch went through a 
> lot of changes since then.
> 
> This incidence along with the video activism/public access work, I think, 
> shows a significant shift of tony’s work pre/during/post Antioch.  This is 
> glaringly absent from most of the scholarship about Tony’s work.
> 
> -d.olivier 
> 
> On Sat, Feb 24, 2018 at 1:17 PM Jonathan Walley <wall...@denison.edu 
> <mailto:wall...@denison.edu>> wrote:
> Hello Frameworkers,
> 
> I have a question about Tony Conrad’s performance 7360 Sukiyaki, which I’m 
> asking on behalf of another researcher. It’s a simple question, really, but 
> has become quite the little puzzle. 
> 
> The question is where the work was “premiered.” In an essay he wrote for MFJ 
> called “Is This Penny Ante or a High Stakes Game?”, Tony listed three 
> performance dates for the work: December 17, 1973, April 27, 1974, and June 
> 15, 1974. The latter two dates I have been able to nail down: The Walker Art 
> Center and the Millennium. That leaves the December 17, ’73 date, apparently 
> the premiere. My educated guess is that this took place at Antioch, which 
> Tony was teaching at the time (he left shortly after to teach at Binghamton, 
> then, of course, SUNY Buffalo). The researcher I’ve been talking to has not 
> been able to find anything about a performance at Antioch (my guess is that 
> it was a very low-key affair, possibly connected with a class, as was Film 
> Feedback); she is trying to eliminate Anthology or any other NY venue as a 
> possible site of the premiere. She’s even contacted the archivist at Antioch 
> and gotten more-or-less a non-responsive response. 
> 
> Any ideas? I know it’s a lot of verbiage for what seems like a tiny question, 
> but since I’ve spent a few days figuring out the other dates and sort of 
> mapping Tony’s travels between 1972 and 1975, I’ve developed an obsession 
> with answering this question. Not that it would be the end of the world if I 
> didn’t (especially since it’s not even my research project). 
> 
> Related to this: I have not been able to determine when/where/by whom this 
> photo was taken: 
> https://yswriting.wordpress.com/2016/04/18/tony-conrad-critical-audiovisions/ 
> <https://yswriting.wordpress.com/2016/04/18/tony-conrad-critical-audiovisions/>
> 
> I’m quite sure it’s not the Walker Art Center, but beyond that I’m clueless. 
> 
> Thanks everyone!
> JW
> 
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> wall...@denison.edu <mailto:wall...@denison.edu>
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[Frameworks] Jonas Mekas

[Jonathan Walley]

Hello Frameworks community,

I’ve just heard that Jonas Mekas has died:
http://www.artnews.com/2019/01/23/jonas-mekas-key-experimental-filmmaker-dies-96/
 
<http://www.artnews.com/2019/01/23/jonas-mekas-key-experimental-filmmaker-dies-96/>

I wish I had something compelling to say at this point, but I’m stunned into 
silence for the moment. 

All best wishes to everyone,
Jonathan

Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University



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[Frameworks] Lis Rhodes

[Jonathan Walley]

Hi everyone,

I now have Lis Rhodes’s contact info - thanks!

JW


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[Frameworks] Lis Rhodes contact info?

[Jonathan Walley]

Hello everyone,

Does anyone have contact info for Lis Rhodes? Just an email would be fine. 
Contact me off list, please.
Thanks!
Jonathan

Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University



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Re: [Frameworks] examples of "first encounters"

[Jonathan Walley]

One of my favorites, albeit a parody of such moments, is from Hold Me While I’m 
Naked (George Kuchar, 1966). I hate to have to reference a YouTube rip, but 
it’s worth it:
https://www.youtube.com/watch?v=FCB6xSHHG50
(See 7:29-7:53 for the example, including the perfect timing of match strike 
and percussion instrument at about 7:45). 

Of course, it’s not meant to be taken seriously. 

Or is it…

JW


Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University



> On May 14, 2019, at 11:06 AM, Robert Harris  wrote:
> 
> Mood for Love, Wong Kai Was
> 
> 
> 
>> On May 14, 2019, at 10:38 AM, jimmyschaus1 > <mailto:jimmysch...@gmail.com>> wrote:
>> 
>> Trusted Frameworkers,
>> 
>> I am seeking examples of great "first encounters" between characters.  Two 
>> people seemingly pushed together by the universe sort of thing, perhaps 
>> generated by an accident, a coincidence, a glance, a moment of especially 
>> outgoing behavior...
>> 
>> The golden torch-bearer I have in mind is the beginning of Rivette's Celine 
>> and Julie Go Boating, where a dropped pair of sunglasses leads to a wild 
>> chase through the streets and an ensuing magical partnership.  
>> 
>> Scenes which depict the seed of mysterious magnetism between two people.  
>> 
>> I realize scenes of this nature pop up in maybe every other movie you see, 
>> so just if anything really sticks out to you as a particularly novel or 
>> noteworthy example, that does something exciting formally...
>> 
>> cheers
>> Jimmy
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Re: [Frameworks] examples of "first encounters"

[Jonathan Walley]

Robert,

I couldn’t agree more. I think Kuchar’s films dared you to laugh at them (which 
was entirely possible). But there is indeed a great deal of sweetness, sadness, 
and sincerity in his films. 

JW

Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University



> On May 14, 2019, at 11:46 AM, Robert Harris  wrote:
> 
> Hold Me While I’m Naked, is a great suggestion. But I always took it very 
> seriously. He’s an everyman lonely filmmaker boy from the Bronx hope to get a 
> girl by having her star in his film.
> It’s a sweet sad film.
> 
> 
>> On May 14, 2019, at 11:35 AM, Jonathan Walley > <mailto:wall...@denison.edu>> wrote:
>> 
>> One of my favorites, albeit a parody of such moments, is from Hold Me While 
>> I’m Naked (George Kuchar, 1966). I hate to have to reference a YouTube rip, 
>> but it’s worth it:
>> https://www.youtube.com/watch?v=FCB6xSHHG50 
>> <https://www.youtube.com/watch?v=FCB6xSHHG50>(See 7:29-7:53 for the example, 
>> including the perfect timing of match strike and percussion instrument at 
>> about 7:45). 
>> 
>> Of course, it’s not meant to be taken seriously. 
>> 
>> Or is it…
>> 
>> JW
>> 
>> 
>> Dr. Jonathan Walley
>> Associate Professor and Chair
>> Department of Cinema
>> Denison University
>> 
>> 
>> 
>>> On May 14, 2019, at 11:06 AM, Robert Harris >> <mailto:lagonab...@gmail.com>> wrote:
>>> 
>>> Mood for Love, Wong Kai Was
>>> 
>>> 
>>> 
>>>> On May 14, 2019, at 10:38 AM, jimmyschaus1 >>> <mailto:jimmysch...@gmail.com>> wrote:
>>>> 
>>>> Trusted Frameworkers,
>>>> 
>>>> I am seeking examples of great "first encounters" between characters.  Two 
>>>> people seemingly pushed together by the universe sort of thing, perhaps 
>>>> generated by an accident, a coincidence, a glance, a moment of especially 
>>>> outgoing behavior...
>>>> 
>>>> The golden torch-bearer I have in mind is the beginning of Rivette's 
>>>> Celine and Julie Go Boating, where a dropped pair of sunglasses leads to a 
>>>> wild chase through the streets and an ensuing magical partnership.  
>>>> 
>>>> Scenes which depict the seed of mysterious magnetism between two people.  
>>>> 
>>>> I realize scenes of this nature pop up in maybe every other movie you see, 
>>>> so just if anything really sticks out to you as a particularly novel or 
>>>> noteworthy example, that does something exciting formally...
>>>> 
>>>> cheers
>>>> Jimmy
>>>> ___
>>>> FrameWorks mailing list
>>>> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com>
>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>>>> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
>>> 
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>>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>>> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
>> 
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[Frameworks] Peter Kubelka contact

[Jonathan Walley]

Hello Frameworkers,

I’m wondering if anyone has contact info for Peter Kubleka. I’m trying to reach 
him to get images and permissions for a forthcoming book (on expanded cinema). 
I have an email address from several years back (a kubelka.org 
<http://kubelka.org/> email address), but after a fairly long time I’ve not 
gotten a response. Does anyone have recent contact info? 

Off list replies are welcome.

Many thanks from image permissions hell,
Jonathan

Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




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[Frameworks] Peter Kubelka

[Jonathan Walley]

Hello Frameworkers,

As ever, the FW community has come through beautifully, and I now have Peter 
Kubelka’s contact info. Thanks for your help everyone.
Best,
JW



Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




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[Frameworks] Tony Conrad images

[Jonathan Walley]

Hello Frameworkers,

Does anyone know who one would contact if one (me) was seeking images of Tony’s 
work (particularly films and expanded cinema from the 1960s and ‘70s) and 
permissions to publish those images? The Flicker, the Yellow Movies, the cooked 
films, etc.

Off-list contacts are welcome.

Thank you,
Jonathan

Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




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

[Jonathan Walley]

Not precisely “films,” but...

https://www.discogs.com/Bruce-McClure-Vouchsafe-Me-More-Soundpicture-Fain-Make-Glories/release/2086208
 
<https://www.discogs.com/Bruce-McClure-Vouchsafe-Me-More-Soundpicture-Fain-Make-Glories/release/2086208>

https://www.discogs.com/Tony-Conrad-Ten-Years-Alive-On-The-Infinite-Plain/release/10288565
 
<https://www.discogs.com/Tony-Conrad-Ten-Years-Alive-On-The-Infinite-Plain/release/10288565>

Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




> On Dec 4, 2019, at 2:39 PM, John Davis <0johndav...@gmail.com> wrote:
> 
> Marker - "La Jetée", it's bi-lingual too:
> 
> https://www.discogs.com/Chris-Marker-La-Jet%C3%A9e/release/8086910 
> <https://www.discogs.com/Chris-Marker-La-Jet%C3%A9e/release/8086910>  
> 
> On Wed, Dec 4, 2019 at 11:37 AM Adrian Onco  <mailto:onc...@hotmail.com>> wrote:
> Hey Albert,
> 
> Vampir-Cuadecuc, film by Pere Portabella and original score by Carles Santos:
> + http://purge.xxx/purge-records/carles-santos---vampir-cuadecuc/ 
> <http://purge.xxx/purge-records/carles-santos---vampir-cuadecuc/> 
> + https://purgexxx.bandcamp.com/album/vampir-cuadecuc 
> <https://purgexxx.bandcamp.com/album/vampir-cuadecuc> 
> 
> Recently launched (one week ago) by purge.xxx on the current Portabella’s 
> London-wide retrospective.
> 
> Hope that helps.
> Onco
> 
> 
> On miércoles, dic 04, 2019 at 8:29 p. m., Jesse Lerner  <mailto:jesse...@gmail.com>> wrote:
> Gelson Gas' "Anticlimax":  
> https://www.discogs.com/Gelsen-Gas-Anticlimax/release/10220859 
> <https://www.discogs.com/Gelsen-Gas-Anticlimax/release/10220859>
> On Wed, Dec 4, 2019 at 11:20 AM Ryan Marino  <mailto:ryandmar...@gmail.com>> wrote:
> Rick Reed's "The Way Things Go" includes the soundtrack to Ken Jacobs' 
> "Capitalism: Child Labor": 
> https://richardkreed.bandcamp.com/album/the-way-things-go 
> <https://richardkreed.bandcamp.com/album/the-way-things-go>
> 
> Bobby Beausoleil's soundtrack to "Lucifer Rising" has been issued in a few 
> formats: 
> https://www.theajnaoffensive.com/products/bobby-beausoleil-9?_pos=9&_sid=464ac1786&_ss=r
>  
> <https://www.theajnaoffensive.com/products/bobby-beausoleil-9?_pos=9&_sid=464ac1786&_ss=r>
> 
> Teiji Ito "Music For Maya": http://www.tzadik.com/index.php?catalog=8038b 
> <http://www.tzadik.com/index.php?catalog=8038b>
> 
> Rick Corrigan "Soundtracks For Brakhage": 
> https://www.discogs.com/Rick-Corrigan-Soundtracks-For-Brakhage/release/3506051
>  
> <https://www.discogs.com/Rick-Corrigan-Soundtracks-For-Brakhage/release/3506051>
> 
> I also know of a few "unofficially" released avant garde soundtracks if those 
> interests you...
> 
> On Wed, Dec 4, 2019 at 2:01 PM Zack Parrinella  <mailto:zparrine...@gmail.com>> wrote:
> http://www.sfcinematheque.org/product/publications/craig-baldwin-science-in-action-cassette/
>  
> <http://www.sfcinematheque.org/product/publications/craig-baldwin-science-in-action-cassette/>
> 
> On Wed, Dec 4, 2019 at 10:43 AM Christian Bruno  <mailto:honeyhou...@hotmail.com>> wrote:
> Johnny Greenwood's soundtrack to Bodysong:
> https://pitchfork.com/reviews/albums/3630-bodysong/ 
> <https://pitchfork.com/reviews/albums/3630-bodysong/>
> 
> 
> From: FrameWorks  <mailto:frameworks-boun...@jonasmekasfilms.com>> on behalf of JB Mabe 
> mailto:jb.m...@gmail.com>>
> Sent: Wednesday, December 4, 2019 10:29 AM
> To: Experimental Film Discussion List  <mailto:frameworks@jonasmekasfilms.com>>
> Subject: Re: [Frameworks] Original soundtrack recordings of Avant-Garde films
>  
> https://www.discogs.com/Albert-Ayler-Don-Cherry-John-Tchicai-Roswell-Rudd-Gary-Peacock-Sonny-Murray-New-York-Eye-And-Ear-Con/master/27970
>  
> <https://www.discogs.com/Albert-Ayler-Don-Cherry-John-Tchicai-Roswell-Rudd-Gary-Peacock-Sonny-Murray-New-York-Eye-And-Ear-Con/master/27970>
>  
> 
> New York Eye And Ear Control
> 
> 
> On Wed, Dec 4, 2019 at 12:26 PM Albert Alcoz  <mailto:albertal...@gmail.com>> wrote:
> Hello,
> 
> I'm researching soundtracks of Avant-Garde films that have been published on 
> Vinyl, cassette or CD. It is not easy to find many cases because generally 
> the soundtracks are not original. 
> 
> Does anyone know other cases besides those mentioned here?
> 
> Asparagus (1979) Suzan Pitt. Music: Richard Teitelbaum 
> http://sanitymuffin.bigcartel.com/product/asparagus-original-soundtrack-recording
>  
> <http://sanitymuffin.bigcartel.com/product/asparagu

Re: [Frameworks] Readings on alternative spaces for cinema?

[Jonathan Walley]

I highly recommend Brian Frye’s account of the Robert Beck (free download):
https://uknowledge.uky.edu/law_facpub/322/ 
<https://uknowledge.uky.edu/law_facpub/322/>

And I find this utterly engrossing. Get ready to go down the rabbit hole:
https://archive.org/details/TheRobertBeckMemorialCinemaVolumeIMay1998-october1999/page/n3
 
<https://archive.org/details/TheRobertBeckMemorialCinemaVolumeIMay1998-october1999/page/n3>

Kathryn Ramey’s very cool book addresses microcinemas indirectly, but deals 
quite a lot with DIY practices: 
https://routledgetextbooks.com/textbooks/9780240823966/ 
<https://routledgetextbooks.com/textbooks/9780240823966/>. 

Ramey has also done some fascinating scholarship on experimental film from an 
anthropological perspective, which extends to the spaces in which experimental 
films are shown and the communities that develop in and around these spaces. 
See:http://rameyfilms.com/writings.html <http://rameyfilms.com/writings.html>. 
In particular:
https://www.ejumpcut.org/archive/jc52.2010/rameyExperimentalFilm/index.html 
<https://www.ejumpcut.org/archive/jc52.2010/rameyExperimentalFilm/index.html>.

I heartily second Alain’s recommendation of INCITE #4.

And (apologies up front) my forthcoming book on expanded cinema spends a chunk 
of time talking about how recent/contemporary expanded cinema and the 
microcinema are formally parallel and sprung from similar historical sources - 
pressures might be the better word. It comes out this summer, so you’ll have to 
be in suspense for awhile, but it is on the topic you raise. [Cinema Expanded: 
Avant-Garde Film in the Age of Intermedia, Oxford U. Press. At no bookstores 
near anyone, summer 2020.]

JW

Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




> On Dec 16, 2019, at 10:23 AM, mary billyou  wrote:
> 
> Hello, 
> I've written three articles for The Brooklyn Rail on this subject, called 
> Mixed Use:
> 
> http://marybillyou.com/blog4/writing/ <http://marybillyou.com/blog4/writing/>
> 
> On Sun, Dec 15, 2019 at 9:44 PM Eric Theise  <mailto:ericthe...@gmail.com>> wrote:
> Hi Chris,
> 
> Some time ago Benjamin Taylor added three references tagged "microcinema" to 
> the Zotero library on experimental cinema.
> 
>   
> https://www.zotero.org/groups/122679/experimental_cinema/items/q/microcinema 
> <https://www.zotero.org/groups/122679/experimental_cinema/items/q/microcinema>
> 
> Weirdly there's one newer title tagged "microcinema" that shows up when 
> searching my personal copy of the library but not via the website and that is
> 
> 
> https://www.archivebooks.org/2018/12/20/film-in-the-present-tensewhy-cant-we-stop-talking-about-analogue-film/
>  
> <https://www.archivebooks.org/2018/12/20/film-in-the-present-tensewhy-cant-we-stop-talking-about-analogue-film/>
> 
> I'd encourage you (and others) to contribute additional readings you find to 
> that library.
> 
> Eric
> 
> 
> On Sun, Dec 15, 2019 at 6:05 PM 16mm Directory  <mailto:i...@16mmdirectory.org>> wrote:
> 
> 
> On Sun, Dec 15, 2019 at 5:51 PM Chris Freeman 
>  <mailto:christopherbriggsfree...@gmail.com>> wrote:
> Hello Frameworkers, I am looking for some help finding readings about 
> alternative spaces for cinema, microcinemas, artist-run spaces, warehouse 
> spaces, explorations of small DIY art communities, or maybe something about 
> how experimental art forms coexist with experimental spaces.
> 
> 
> Incite Journal of Experimental Media
> Issue #4: Exhibition Guide
> Fall 2013
> 
> -Alain
> 
> 
> -- 
> 
> 16mm Directory / 40 Frames
> Portland, Oregon USA
> 
> www.16mmdirectory.org <http://www.16mmdirectory.org/>
> www.40frames.org <http://www.40frames.org/>
> 
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> 
> 
> -- 
> 
> www.marybillyou.com 
> <http://www.marybillyou.com/>___
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Re: [Frameworks] Obscure question about obscure image

[Jonathan Walley]

Okay,

With the usual amazing speed, I have my answer - it is indeed an image from 
Tom, Tom…

In the spirit of sharing information…the story behind this catalog is that 
Michelson labored over it, not sure what image would represent “a decade’s most 
significant work.” She recounts this story in a 1974 essay on Sharits, and more 
recently tells it in a really interesting interview with Adeena Mey 
(https://www.academia.edu/35126105/On_New_Forms_in_Film_and_Other_Exhibitions._A_conversation_with_Annette_Michelson
 
<https://www.academia.edu/35126105/On_New_Forms_in_Film_and_Other_Exhibitions._A_conversation_with_Annette_Michelson>).
 

In the Sharits essay, Michelson writes, “I faltered, while my printer 
waited…until a friend in softest perfidy suggested, 'And why not an empty film 
frame, its shape and composition that of the screen itself?' To which my reply, 
exploding in the immediate relief of laughter, could only be: 'But then, whose 
frame or screen is it to be? To which filmmaker do I go, to Brakhage, Snow, 
Jacobs, or Frampton? To Breer, Mekas, Kubelka, Sharits?'”

Har har. (The “friend” turns out to have been Noel Carroll, who was a Masters 
student in Cinema Studies at NYU at the time). Anyway, clearly the Montreux 
catalog does not have an empty frame on the cover, so I wondered whether there 
was a separate catalog for the first version of “New Forms in Film,” which was 
as part of the Summer Arts Festival at the Guggenheim in 1972. I’ve not been 
able to find that - though there is something in a box in the Guggenheim 
archive that may be it, or maybe not. I’m pretty sure Michelson’s anecdote is 
about producing the Montreux catalog, and her interview with Mey seems to 
confirm this.

Anyway, I opened up this rabbit hole all because I’m using an image of the 
catalog cover in a book, and felt like I needed to address the discrepancy 
between the story and the catalog. Thanks for everyone who helped me do that. 

All best,
Jonathan

> On Oct 5, 2019, at 12:12 PM, Jonathan Walley  wrote:
> 
> Hello folks,
> 
> Wondering if anyone can identify the film this image is from (attached). This 
> is the cover of Annette Michelson’s “New Forms in Film” screening in 
> Montreux, Switzerland, from 1974 (the screening began its life in 1972 at the 
> Guggenheim). I thought it might be from Tom, Tom, the Piper’s Son, but am not 
> sure (Michelson did use a frame from that film for the cover of the Sept. 
> 1971 Artforum she edited).
> 
> Thanks anyone and everyone,
> Jonathan
> 
> Dr. Jonathan Walley
> Associate Professor
> Department of Cinema
> Denison University
> https://denison.edu/people/jonathan-walley 
> <https://denison.edu/people/jonathan-walley>
> 
> 
> 
> 

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[Frameworks] Bruce Checefsky contact?

[Jonathan Walley]

Hello everyone,

I know that Bruce Checefsky has posted to Frameworks in the past, but the email 
he used doesn’t seem to work anymore. Does anyone have current contact info?
Thank you!
Jonathan

Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




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Re: [Frameworks] Films with montage sequences

[Jonathan Walley]

Some of my favorites include the “Ax Gang” montage from Kung Fu Hustle (Stephen 
Chow, 2005): https://www.youtube.com/watch?v=YvCa6FH9nro 
<https://www.youtube.com/watch?v=YvCa6FH9nro>.

Pretty much every montage from Citizen Kane is a master class in how it’s done: 
https://www.youtube.com/watch?v=Rfl2M8B9WA8 
<https://www.youtube.com/watch?v=Rfl2M8B9WA8> and 
https://www.youtube.com/watch?time_continue=32=pKS_fSDP3-E=emb_logo 
<https://www.youtube.com/watch?time_continue=32=pKS_fSDP3-E=emb_logo>.

Not the most memorable film, but Notting Hill has a single-shot montage that’s 
interesting: https://www.youtube.com/watch?v=Ce_BXD_ONQ8 
<https://www.youtube.com/watch?v=Ce_BXD_ONQ8>.

In his later films (but still pre-Morrissey), Warhol did some things with 
temporality that I would call variants of montage, created by rapidly stopping 
and starting the camera, and sort of “sampling” some banal activity that, in 
earlier years, he might have shown in its entirety. Early scenes in I, a Man 
are exemplary of this: https://archive.org/details/1967andywarholiamaniaman 
<https://archive.org/details/1967andywarholiamaniaman>.

And to jump on Chris Freeman’s bandwagon: 
https://southpark.cc.com/clips/153324/sports-training-montage 
<https://southpark.cc.com/clips/153324/sports-training-montage>. The kids used 
to love this, but these days South Park might not be so hip (even if you tell 
them that the character Stan is named after Stan Brakhage). 

Echoes of Silence has a terrific sequence, beginning with still frames then 
becoming “animated” again, at about the midpoint: 
https://www.youtube.com/watch?v=1NpYOBQ1feE 
<https://www.youtube.com/watch?v=1NpYOBQ1feE>. 

Finally, Edgar Wright is a modern montage master. Shaun of the Dead and Hot 
Fuzz are standouts.

JW

Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




> On Sep 11, 2020, at 1:07 PM, Chris Freeman 
>  wrote:
> 
> WE'RE GONNA NEED A MONTAGE!
> 
> https://www.youtube.com/watch?v=pFrMLRQIT_k 
> <https://www.youtube.com/watch?v=pFrMLRQIT_k>
> 
> 
> 
> On Fri, Sep 11, 2020 at 5:51 AM Michael Betancourt 
> mailto:hinterland.mov...@gmail.com>> wrote:
> Satoshi Kon's animated montage in the title sequence to Paprika: 
> http://artofthetitle.com/title/paprika 
> <http://artofthetitle.com/title/paprika>
> 
> Michael
> 
> 
> 
> Michael Betancourt, Ph.D
> https://michaelbetancourt.com <https://michaelbetancourt.com/> 
> cell 305.562.9192
> https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/ 
> <https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/>
> Sent from my phone
> 
>> On Sep 11, 2020, at 7:28 AM, Cecilia Dougherty > <mailto:cecilia.doughe...@gmail.com>> wrote:
>> 
>> Hi everyone,
>> I’m looking for films and videos, specifically  ones with online access, 
>> that have montage scenes, for my classes. These can be popular, classics, 
>> experimental. I’ve got a short list that starts with Eisenstein and Vertov 
>> and also includes Rocky II, the Incredibles2, The Godfather, and Robert 
>> Breer, Recreation.
>> Any ideas?
>> Thank you!
>> Cecilia D.
>> -- 
>> Cecilia Dougherty
>> https://www.ceciliadougherty.com/ <http://www.ceciliadougherty.com/>
>> https://drift.ceciliadougherty.com/ <http://inbetweentheories.com/>
>> https://paleolithic.ceciliadougherty.com/ 
>> <https://microscopegallery.com/platform/>
>> 
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Re: [Frameworks] Seeking 2 Archival, Public Domain Images

[Jonathan Walley]

Hey Ken (and everyone),

Have you checked out archive.org? Searchable collection of multiple forms of 
media, many of which are public domain or have CC license info. Lots of 
educational films, PSAs, and the like. I did a quick search for “beat poetry 
reading” and it brought up quite a lot.

Hope this helps - even if not, it’s the mother of all rabbit holes.

Best,
JW

Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




> On May 26, 2020, at 10:32 AM, Ken Paul Rosenthal 
>  wrote:
> 
> I've been scouring the internet and archival footage archives for two public 
> domain moving images for a grant sample. One is of a woman (ideally) 
> devouring food with abandon (about 15 seconds) and the other is of a beatnik 
> poetry reading or someone reading poetry (15 seconds). Such images in a 
> contemporary setting are not difficult to find, but older one are. 
> Educational and social hygiene films have the right tone.
> 
> Suggestions?
> 
> Many thanks...Ken
>  <http://www.kenpaulrosenthal.com/> 
> <http://www.kenpaulrosenthal.com/>www.kenpaulrosenthal.com 
> <http://www.kenpaulrosenthal.com/>
> 
> 
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[Frameworks] Book

[Jonathan Walley]

Dear Frameworkers,

I am pleased to announce the publication of my book, Cinema Expanded: 
Avant-Garde Film in the Age of Intermedia, from Oxford University Press:

https://global.oup.com/academic/product/cinema-expanded-9780190938642?lang=en=us
 
<https://global.oup.com/academic/product/cinema-expanded-9780190938642?lang=en=us>

This very long book benefited substantially from discussions and debates on 
this very forum over many years, as well as from information, ideas, materials, 
time, and energy from many of this lists members. It makes a very 
“cine-centric” argument about expanded cinema, placing it primarily in the 
context of avant-garde/experimental film culture. 

I’m not fishing for compliments or congratulations (nor complaints), just 
passing along information to any interested parties. I highly recommend the 
e-book version, in which the images (over 270 of them) are reproduced in color 
(they are BW in print) and enlargeable. 

I’m especially excited that this book has been released in the same year as the 
50th anniversary edition of Gene Youngblood’s Expanded Cinema. While my account 
differs from Gene’s, it is certainly in dialogue with that landmark book.

I beg your forgiveness for this brief eruption of self-aggrandizement. 

All best wishes,
Jonathan


Dr. Jonathan Walley
Associate Professor
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley




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Re: [Frameworks] Book

[Jonathan Walley]

If you’re really bored staying at home, Erika Balsom and I discuss my book at 
Light Industry (not really “at” Light Industry - remotely, but on the LI 
website). 

http://www.lightindustry.org/cinemaexpanded 
<http://www.lightindustry.org/cinemaexpanded>

Very big thanks to Ed Halter and Thomas Beard (and Erika!) for making this 
happen. 

JW

> On Jul 12, 2020, at 8:42 PM, Bernard Roddy  wrote:
> 
> Jonathan Walley and friends:
> 
> Congratulations, Jonathan. I tried to take a look but only came up with the 
> introduction on Amazon. A few months ago I ordered Poor Man's Expression: 
> Technology, Experimental Film, Conceptual Art, a catalogue for a 2006 Berlin 
> exhibition. I am not sure why the book had that title (other than maybe 
> simply to mimic an exhibition title).
> 
> The summer edition of Art Journal has taken up digital and game imagery in 
> contemporary practice (Phil Solomon and Harun Farocki are featured). I would 
> be more inclined to think about Broodthaers as a filmmaker. Credits for 
> images include a few to Sony Interactive Entertainment and Rockstar Games. 
> 
> There's even "a manifesto for environmental game design" that includes a 
> section title "Building Better Game Worlds."
> 
> Bernie
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