[Frameworks] An invitation to attend: MONO NO AWARE V: Brooklyn NY

[steve cossman]

 Good evening Frameworkers,  
 I know its a bit early but, I;m very excited about this years event - 
 We would like to invite you to join us for an unrepeatable evening of live 
performance art installation and cinema projections.

 Saturday December 3rd @ Causey Contemporary 92 Wythe Avenue, Brooklyn NEW 
YORK, USA.
 Doors will open at 6 pm and the screening will begin at 7pm SHARP 

 Full program available on our website by clicking the GALLERY link. HERE:  
WWW.MONONOAWAREFILM.COM

 Participating artists include: Lindsay Mcintyre, Edward Merton Casey, Monica 
Baptista, Robert Aiki Aubrey Lowe aka Lichens, Joey Huertas aka Jane Public, 
Patricia Ordonez, Morgan Nance, Luke Munn, Eric Ostrowski, Jodie Mack, Jasa 
Baka, Julia Thomas, Tyr Jami, Alex Mallis, Hunter Simpson, Theodore Rex King, 
Jordan Stone, Alex Cunningham and Amanda Long.

 It will be a wonderful evening filled with live musical performances, dance, 
poetry, installation, multiple-projections and audience participation! That 
means YOU! : )   

 There is NO FEE TO ATTEND, so invite your friends, feel free to forward this 
onto anyone you know in the area.

 Various snacks / drinks / treats will be available from our sponsors (BELOW) 
Adobe software will raffle a new version of CS5.5 and Flash !

ADOBE, KODAK, DIJIFI, PAC-LAB, RAW REVOLUTION, IZZE, ROUTE 11 CHIPS, REEDS 
GINGER BREW, DAVID LYNCH'S ORGANIC COFFEE, EMERGEN-C, LARABAR 

This event is sponsored, in part, by the Greater New York Arts Development Fund 
of the New York City Department of Cultural 
Affairs, administered by the Brooklyn Arts Council, Inc (BAC) and by the 
participants of MNA filmmaking workshops. 
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Mono No 
Aware is a sponsored project of Fractured Atlas, a non-profit arts service 
organization. Contributions for the purposes 
of Mono No Aware must be made payable to Fractured Atlas and are tax-deductible 
to the extent permitted by law.
Thank you, 
 Steve Cossman___
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Re: [Frameworks] 35mm film will be dead by 2015 and News Corp

[Freya]

> Sadly, we should probably be thinking about whether there
> are  
> improvements to 4K and digital projection systems that will
> get us  
> closer to the look of films that may soon not be available
> on film, or  
> are already unavailable.

Well having more than a tiny few cinemas capable of projecting in 4k might be a 
start!

I suspect that what we have is what we will be stuck with.
It will be very expensive to rip out all those newly installed video projectors 
and replace them with some new improved video projection systems and what would 
be the commercial motivation to do that?

I guess for festivals, there might be some kind of wave of 4k one day in the 
future but for the near future I think it will be 1080p all the way. I suspect 
that innovations in video are likely to come to the home ahead of cinema chains 
and that's where we may see 4k and other improvements in video.

love

Freya

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[Frameworks] Research: use of archive footage in experimental film and video art

[Anna Briggs]

Hello,


 I am looking for publications and resources regarding the use of archive
footage in experimental film and video art.


 Any links to articles, books, conference proceedings, bibliographies, etc.
would be greatly appreciated.


 Thank you,


 Anna Briggs

annamibri...@gmail.com

Université Paris 1 Panthéon-Sorbonne
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Re: [Frameworks] 35mm film will be dead by 2015 and News Corp

[Tom Whiteside]

In the future we will see more programs listed as "projected through celluloid 
on authentic period instruments" just as we now see for some performances of 
Baroque music. When Walter Carlos released "Switched-On Bach," introducing a 
new electronic sound to 250 year old music, other musicians did not throw away 
their viol de gambas (or cellos, or pianos, on which we had "inauthentically" 
been playing Bach for years) just because the Moog was the new thing. Without a 
doubt, some of them considered the new sound to be horrendous, objectionable, 
and a scandal (perhaps they knew that JS Bach preferred the simpler sound of a 
Fender Rhodes) but perhaps they also realized that their "authentic" methods 
(cat gut instead of steel, for one thing) would become more popular once again. 
Some audiences would want to hear the music as it was originally performed. 
Personally I love the Moog, but do prefer to hear Bach performed by ensembles, 
each playing their own instruments. 

Changes will come and much will be lost, no doubt. I am holding onto my 16mm 
projectors, even the dead ones as I know they will be needed for parts in years 
to come. And although we all spend time in this digital age trying to keep 
files up to date (OMG, that is two years old!!) and migrating media so we can 
still use it, it is calming and refreshing to me that 80 year old film prints 
still run smoothly through my projectors.

How come no one on this list serve is celebrating the fact that second-hand 
35mm projectors are going to be so unbelievably cheap in the next few years?  

- Tom


-Original Message-
From: frameworks-boun...@jonasmekasfilms.com 
[mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of Fred Camper
Sent: Wednesday, November 16, 2011 8:20 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] 35mm film will be dead by 2015 and News Corp

Programmers I know say that it is harder and harder to rent 35mm  
prints. Studios try to offer blu-ray, or, better, 4 K files on hard  
drives. Sometimes they don't make prints anymore. And archives, as a  
result, are now overwhelmed with requests for prints, and are cutting  
back and limiting how often they will send their prints out.

Sadly, we should probably be thinking about whether there are  
improvements to 4K and digital projection systems that will get us  
closer to the look of films that may soon not be available on film, or  
are already unavailable.

Fred Camper
Chicago

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Re: [Frameworks] Research: use of archive footage in experimental film and video art

[Robert Haller]

Dear Anna,

There are a few books on this subject, the best is one we published, William
Wees, Recyled Images. I think the price is $20.  Order quickly, as our
supply of the books is running low. -- Robert Haller


On 11/17/11 8:28 AM, "Anna Briggs"  wrote:

> Hello, 
> 
> 
> 
> I am looking for publications and resources regarding the use of archive
> footage in experimental film and video art.
> 
> 
> 
> Any links to articles, books, conference proceedings, bibliographies, etc.
> would be greatly appreciated.
> 
> 
> 
> Thank you,
> 
> 
> 
> Anna Briggs
> 
> annamibri...@gmail.com 
> 
> Université Paris 1 Panthéon-Sorbonne
> 
> 
> 
> ___ FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks


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Re: [Frameworks] Research: use of archive footage in experimental film and video art

[L G THOMAS]

Here's the programme of a symposium I co curated a while back - 
http://www.tate.org.uk/modern/eventseducation/symposia/anticipatingthepastartistsarchivefilm5202.htm

And this book published around the same time by Picture This in the UK - 
http://www.picture-this.org.uk/library/print-publications/2006/ghosting

On 17 Nov 2011, at 13:28, Anna Briggs  wrote:

> Hello,
> 
> I am looking for publications and resources regarding the use of archive 
> footage in experimental film and video art.
> 
> Any links to articles, books, conference proceedings, bibliographies, etc. 
> would be greatly appreciated.
> 
> Thank you,
> 
> Anna Briggs
> annamibri...@gmail.com
> Université Paris 1 Panthéon-Sorbonne
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
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Re: [Frameworks] Research: use of archive footage in experimental film and video art

[Francisco Torres]

This subject has been discussed here before in great detail. Please do a
search.
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Re: [Frameworks] Research: use of archive footage in experimental film and video art

[elizabeth mcmahon]

Anna is brand new to this listserv. I would hope that the community could be 
welcoming to her. So it gets discussed again; what is the harm? Not all that is 
available was necessarily discussed in the past. Let's play nice. 


Elizabeth
 
 "You see, I don't believe that libraries should be drab places where people 
sit in silence, and that's been the main reason for our policy of employing 
wild animals as librarians."
--Monty Python



>
>From: Francisco Torres 
>To: Experimental Film Discussion List 
>Sent: Thursday, November 17, 2011 2:29 PM
>Subject: Re: [Frameworks] Research: use of archive footage in experimental 
>film and video art
>
>
>
>
>This subject has been discussed here before in great detail. Please do a 
>search.
>
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>
>
>___
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Re: [Frameworks] Research: use of archive footage in experimental film and video art

[Francisco Torres]

I meant that there was information about the subject already . Just trying
to help.
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[Frameworks] ORWO North America info

[40 Frames]

ORWO NORTH AMERICA
*www.orwona.com

*George Campbell
Campbell Representation Inc.
Brooklyn, NY,
phone: 917.566.6789
mail: g.campb...@filmotec.de, gcampb...@orwona.com


ORWO film is now available for order in the US.

For 16mm...

UN54 (ISO 100) camera negative can be processed as negative, reversal and
direct positive. Also available is N74 (ISO 400) and
PF2 (print stock). The optical sound film is available only in 35mm, not
certain yet if this can be slit and cut as 32/16mm?


--Alain


-- 
40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 N Williams Ave
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.org
www.16mmdirectory.org
www.emptyquarterfilm.org
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Re: [Frameworks] 35mm film will be dead by 2015 and News Corp

[Fred Camper]

Quoting carli...@aol.com:

> I also think that this "look" appeal-thing is like wanting to buy  a
> blow-up doll as a substitute for a girlfriend.

I really don't want to restart the film/video thing, but feel the need  
to make a couple of observations.

It seems to be entirely acceptable and unquestioned on this list to  
post that some or all forms of video projection look like crap, as the  
analogy above, film=live girlfriend and video=blow-up doll, confirms.  
Praise of video's own unique possibilities, many of which are  
different from film and can produce results that film cannot, seems  
almost entirely absent.

As a format for presenting film, it is, of course, imperfect, as I  
myself argued almost three decades ago, though that was in the days of  
VHS, a lot worse than more recent formats.

But we need to remember that film is not a "girlfriend." It is a strip  
of plastic with a bunch of chemicals, not a lot more "substantial"  
than digital formats, and almost as alienated from actual human  
presences. The pseudo mystical statements with words like "never"  
strike me as not substantiatable. We cannot predict what future  
technology will come up with. To the film critic who once defined a  
great film as time spent with people one likes that one wishes would  
never end, I would reply, if you want a real person, go out and spend  
time with one!

One analogy one might consider is to a live concert of classical music  
versus a recording. The difference there is huger than between film  
and high quality video, and some people I respect, John Cage and Peter  
Kubelka to name two, got/get pleasure out of recordings. Yet I can,  
and many times a good recording is preferable to me, and more musical,  
than a bad performance. I once heard one of my heroes, Ton Koopman,  
live, leading his group in some Bach cantatas. I have all his  
recordings of these. Yet, yet, yet, the acoustics in the hall were so  
poor,  much was lost, and in the end I got more pleasure from the  
recordings. Yet of course a recording can never replace, or be the  
same as, a concert with live performers. But recordings are invaluable  
for many reasons, not the least that they permit multiple listenings.

VHS wrecked the aesthetic of many, if not most, films. There are  
perhaps some films whose aesthetic will be mostly or totally lost even  
in 4K projection. I suspect they are very few compared to the films  
destroyed on VHS or even on DVD. A small or even medium-sized loss is  
not a ruination. I hope those who want to work with film will keep it  
alive in various ways. And I don't want to lose film, certainly not  
for preservation of films, and will still always prefer it for films  
shot on film. But we have little influence over what happens on the  
industrial scale, and while we should do what we can, a group of our  
size and influence is not going to stop time. In the end, no one can.

Fred Camper
Chicago



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Re: [Frameworks] Research: use of archive footage in experimental film and vi...

[Carlileb]

 
In a message dated 11/17/2011 11:29:36 A.M. Pacific Standard Time,  
fjtorre...@gmail.com writes:

This  subject has been discussed here before in great detail. Please do a  
search.


Who are you to make this demand? 
 
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[Frameworks] archive footage in experimental film and video art

[Wilbirg Brainin-Donnenberg]

dear Anna,

Two books on Austrian Filmmakers using found footage:

Gustav Deutsch (ed. Wilbirg Brainin-Donnenberg & Michael Loebenstein) 
FilmmusuemSynemaPublikationen, Vienna 2009

Peter Tscherkassky (ed. Alexander Horwath & Michael Loebenstein) 
FilmmseumSynemaPublikationen, Vienna 2005

both you can find on Amazon 

best

wilbirg

wilbirg brainin-donnenberg
grünentorgasse 17/15
A-1090 wien
mobil 0043 (0) 650 310 45 13
wilbirg.w...@aon.at


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