[Frameworks] Outdated Super 8mm Gone

[info]

arly, in Raul Ruiz’s “Hypothesis of the
>> Stolen Painting” a guy is sitting in a chair talking in rather flat tones,
>> it becomes increasingly boring, he slows down…. and he falls asleep. On
>> camera, the narration just goes to sleep. I only saw that film once and am
>> probably not remembering this correctly, but I do remember the singularity
>> of my experience sitting there, listening to this guy, trying to make sense
>> of it, getting a bit bored, then watching him nod off. That woke me up!
>> 
>> TomDurham Cinematheque
>> 
>> *From:* frameworks-boun...@jonasmekasfilms.com [mailto:
>> frameworks-boun...@jonasmekasfilms.com] *On Behalf Of *Ittai Rosenbaum
>> *Sent:* Wednesday, January 23, 2013 2:37 AM
>> *To:* frameworks@jonasmekasfilms.com
>> *Subject:* [Frameworks] Singularity and intentional incoherence
>> 
>> 
>> Hi
>> My name is Ittai Rosenbaum, I am a doctoral student at the music
>> composition department at UCSC and in the process of defining my
>> Qualification Exams topics. I wondered if anyone could perhaps have
>> interesting knowledge or insights about a subject in film theory that might
>> parallel one of my topics.
>> 
>> I am interested in singular events in composition: events that occur only
>> once, contrasted and incoherent to the main musical language of the work,
>> yet deliberately conceived and intentionally inserted in the composition,
>> contributing, by way of distraction and surprise, to the conception of the
>> piece.
>> 
>> Coherence seems to constitute a compulsory element in composition, and
>> even incoherence (surprise, collage etc.) as it happens in the music of,
>> say, Charles Ives, George Crumb or John Zorn, becomes coherent and even
>> homogenous once it recurs. I suspect that *singular*, incoherent events
>> may have a genuine effect, different than that.
>> 
>> I am interested in parallel or similar phenomena in film, as my own
>> compositions are more than often related to the visual, verbal, social and
>> other elements usually inherent in film.
>> Far from an expert in films, I do recall several instances where I felt I
>> have viewed such singular events in film: the awakening in Chris Marker’s
>> La jetée – a single moment of two seconds of movement in a film made
>> entirely of stills, some moments that I can't recall now in Fellini's films
>> (although usually there is a certain "homogeneity of singularity" in the
>> ones I saw), and a comic one, in Mel Brooks’s *Silent Movie*, when the
>> famous pantomime Marcel Marceau utters the only single word in the film:
>> “no!”
>> 
>> I would be very interested to know if this is something that has been
>> written about and generally what your experience and opinion is.
>> 
>> thank you
>> 
>> 
>> --
>>  Ittai Rosenbaum
>> www.ittairosenbaum.com
>> 
>> (650) 704-6566
>> 
>> PRÆSENTEM
>> 
>> http://earbits.com/
>>   ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> 
>> 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> 
> 
> 
> --
> Ittai Rosenbaum
> www.ittairosenbaum.com
> 
> (650) 704-6566
> 
> PRÆSENTEM
> 
> http://earbits.com/
> 
> 
> ___
> FrameWorks mailing 
> listFrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 


-- 
Ittai Rosenbaum
www.ittairosenbaum.com

(650) 704-6566

PRÆSENTEM

http://earbits.com/
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Message: 4
Date: Fri, 25 Jan 2013 12:46:56 + (GMT)
From: jaime cleeland 
Subject: [Frameworks] two new videos from Laptop Hooligans
To: Experimental Film Discussion List 
Message-ID:
<1359118016.37746.yahoomail...@web171202.mail.ir2.yahoo.com>
Content-Type: text/plain; charset="utf-8"

http://www.youtube.com/watch?v=9So_t5oqlFQ

http://www.youtube.com/watch?v=6dezBKEXdfA
-- next part -

Re: [Frameworks] Singularity and intentional incoherence

[Ittai Rosenbaum]

Andy,

I will look for that scene. If indeed "It has a sort of purpose, but no
meaning" then it is exactly what I'm searching for.

Many thanks

Ittai

On Fri, Jan 25, 2013 at 7:32 AM, Andy Ditzler  wrote:

> Hello,
>
> Consider the brief close-up appearance of the cockatoo around the last
> third of Citizen Kane. Cut to bird, loud bird shriek on soundtrack, then
> back to the story. Welles' purpose in this odd cutaway was to wake up the
> audience, exactly as Tom Whiteside describes with his experience. ("It has
> a sort of purpose, but no meaning" - reference on p. 72 of This Is Orson
> Welles.) I suspect other singularities, at least in the novel use of them
> by Hollywood, have a similar purpose/effect.
>
> D. A. Miller has written interestingly on Hitchcock's cameos in a way that
> could be connected to their "singularity" within each film; but then again,
> the cameos as a whole represent a coherence in that they occur throughout
> Hitchcock's career.
>
> Andy Ditzler
>
>
> On Wed, Jan 23, 2013 at 2:37 AM, Ittai Rosenbaum wrote:
>
>> Hi
>>
>> My name is Ittai Rosenbaum, I am a doctoral student at the music
>> composition department at UCSC and in the process of defining my
>> Qualification Exams topics. I wondered if anyone could perhaps have
>> interesting knowledge or insights about a subject in film theory that might
>> parallel one of my topics.
>>
>> I am interested in singular events in composition: events that occur only
>> once, contrasted and incoherent to the main musical language of the work,
>> yet deliberately conceived and intentionally inserted in the composition,
>> contributing, by way of distraction and surprise, to the conception of the
>> piece.
>>
>> Coherence seems to constitute a compulsory element in composition, and
>> even incoherence (surprise, collage etc.) as it happens in the music of,
>> say, Charles Ives, George Crumb or John Zorn, becomes coherent and even
>> homogenous once it recurs. I suspect that *singular*, incoherent events
>> may have a genuine effect, different than that.
>>
>> I am interested in parallel or similar phenomena in film, as my own
>> compositions are more than often related to the visual, verbal, social and
>> other elements usually inherent in film.
>> Far from an expert in films, I do recall several instances where I felt I
>> have viewed such singular events in film: the awakening in Chris Marker’s
>> La jetée – a single moment of two seconds of movement in a film made
>> entirely of stills, some moments that I can't recall now in Fellini's films
>> (although usually there is a certain "homogeneity of singularity" in the
>> ones I saw), and a comic one, in Mel Brooks’s *Silent Movie*, when the
>> famous pantomime Marcel Marceau utters the only single word in the film:
>> “no!”
>>
>> I would be very interested to know if this is something that has been
>> written about and generally what your experience and opinion is.
>>
>> thank you
>>
>>
>> --
>> Ittai Rosenbaum
>> www.ittairosenbaum.com
>>
>> (650) 704-6566
>>
>> PRÆSENTEM
>>
>> http://earbits.com/
>>
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>


-- 
Ittai Rosenbaum
www.ittairosenbaum.com

(650) 704-6566

PRÆSENTEM

http://earbits.com/
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[Frameworks] Free Outdated Super 8mm

[info]

Hi:

I have a box of TRI-X reversal 7278, Kodachrome 40, and more-10 new Super 8mm  
carts in all
New in box dated 1985(!).
Must arrange for pickup in SF.
If not-will use as leader!




Best regards,

Stephen Parr
Director

Oddball Film+Video
www.oddballfilm.com
Oddball Films
www.oddballfilms.blogspot.com

275 Capp Street
San Francisco, CA 94110
Phone 415.558.8112
Fax 415.558.8116


For a link to our latest projects:
oddballfilm.com/projects_2013.pdf

Follow us on facebook and Twitter!
http://www.facebook.com/oddballfilm
http://twitter.com/Oddballfilms

On Jan 23, 2013, at 10:02 AM, frameworks-requ...@jonasmekasfilms.com wrote:

Send FrameWorks mailing list submissions to
frameworks@jonasmekasfilms.com

To subscribe or unsubscribe via the World Wide Web, visit
https://mailman-mail5.webfaction.com/listinfo/frameworks
or, via email, send a message with subject or body 'help' to
frameworks-requ...@jonasmekasfilms.com

You can reach the person managing the list at
frameworks-ow...@jonasmekasfilms.com

When replying, please edit your Subject line so it is more specific
than "Re: Contents of FrameWorks digest..."


Today's Topics:

  1. Singularity and intentional incoherence (Ittai Rosenbaum)
  2. Re: contemporary animation texts (Eric Theise)
  3. Re: contemporary animation texts (Michael Betancourt)
  4. Re: Singularity and intentional incoherence (Tom Whiteside)
  5. Re: Singularity and intentional incoherence (Bryan McManus)
  6. Video Art and Experimental Film Festival 2013 (Katya Yakubov)
  7. About Gamma (mat fleming)
  8. Re: About Gamma (40 Frames)


--

Message: 1
Date: Tue, 22 Jan 2013 23:37:28 -0800
From: Ittai Rosenbaum 
Subject: [Frameworks] Singularity and intentional incoherence
To: frameworks@jonasmekasfilms.com
Message-ID:

Content-Type: text/plain; charset="windows-1252"

Hi

My name is Ittai Rosenbaum, I am a doctoral student at the music
composition department at UCSC and in the process of defining my
Qualification Exams topics. I wondered if anyone could perhaps have
interesting knowledge or insights about a subject in film theory that might
parallel one of my topics.

I am interested in singular events in composition: events that occur only
once, contrasted and incoherent to the main musical language of the work,
yet deliberately conceived and intentionally inserted in the composition,
contributing, by way of distraction and surprise, to the conception of the
piece.

Coherence seems to constitute a compulsory element in composition, and even
incoherence (surprise, collage etc.) as it happens in the music of, say,
Charles Ives, George Crumb or John Zorn, becomes coherent and even
homogenous once it recurs. I suspect that *singular*, incoherent events may
have a genuine effect, different than that.

I am interested in parallel or similar phenomena in film, as my own
compositions are more than often related to the visual, verbal, social and
other elements usually inherent in film.
Far from an expert in films, I do recall several instances where I felt I
have viewed such singular events in film: the awakening in Chris Marker’s
La jetée – a single moment of two seconds of movement in a film made
entirely of stills, some moments that I can't recall now in Fellini's films
(although usually there is a certain "homogeneity of singularity" in the
ones I saw), and a comic one, in Mel Brooks’s *Silent Movie*, when the
famous pantomime Marcel Marceau utters the only single word in the film:
“no!”

I would be very interested to know if this is something that has been
written about and generally what your experience and opinion is.

thank you


-- 
Ittai Rosenbaum
www.ittairosenbaum.com

(650) 704-6566

PRÆSENTEM

http://earbits.com/
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Message: 2
Date: Tue, 22 Jan 2013 23:51:56 -0800
From: Eric Theise 
Subject: Re: [Frameworks] contemporary animation texts
To: Experimental Film Discussion List 
Message-ID:

Content-Type: text/plain; charset=ISO-8859-1

On Thu, Jan 17, 2013 at 2:18 PM, Jodie Mack  wrote:
> Here are a few neat books on individual animators written in the past ten
> years:
> PAUL SHARITS (Beauvais)

Would anyone care to share their opinions of this book?  I wasn't
aware of it before this thread (thanks Jodie), and I'm not finding it
in any libraries that I have access to.  Even Pacific Film Archive
doesn't have it.

I'm especially interested in analysis of Sharits' sequencing of colors
and the effects he was trying to achieve.

Thanks in advance, Eric


--

Message: 3
Date: Wed, 23 Jan 2013 09:08:52 -0500
From: Michael Betancourt 
Subject: Re: [Frameworks] contemporary animation texts
To: Experimental Film Discussion List 
Messag

[Frameworks] Los Angeles - Farther Than Far: The Cinema of Jean Rouch Starts Tonight!

[Adam Hyman]

For those of you in Los Angeles:

Los Angeles Filmforum, the UCLA Film and Television Archive, Film at REDCAT,
and the French Film and TV Office—Consulate General of France in Los Angeles
present, starting tonight:

FARTHER THAN FAR: THE CINEMA OF JEAN ROUCH

Friday, January 25 - Saturday, February 23

A once-in-a-really-really-long-time opportunity, with many films brought in
from Europe and almost never screened.
The whole schedule is below by date.  Please read carefully to see venue
time.
A must for all documentary makers!

Jean Rouch is simply one of the most significant filmmakers of the 20th
century, his approaches influencing innumerable films after him. A seminal
figure of both film art and social science, Jean Rouch (1917-2004)
represents a fountainhead of many aspects.  A filmmaker who came to cinema
gradually, Rouch had been a civil engineer in colonial Niger, where his
observation of possession rituals formed the basis of his interest in
anthropology.  Formally trained to gather visual evidence, he evolved
radically new approaches to documentary practice in Africa over many
decades.  Among these, one finds the assumption of scientific neutrality
replaced by the possibility of fruitful and revealing stimulations in the
acknowledgement of the camera, and the possibility of cinema as
participating in and subject to trance states.  Such affronts to received
Western notions opened still-ongoing debates within anthropological circles.
Rouch's interest in the ontology of cinema led to experiments that proved
hugely influential in his native France and worldwide, as in his most famous
work Chronique d'un Été (1961), co-directed with Edgar Morin, now regarded
as a foundation document of cinema verité, and of the French New Wave.
Rouch's continuing work in post-colonial Africa evolved collaborative
filmmaking approaches with colleagues including Damouré Zika and Oumarou
Ganda, creating proto-fictional modes only partly distinct from documentary
practice, and opening up the distinction of "ethno-fiction."  This series
samples but a fraction of Rouch's vast cinematic output, and celebrates his
unique contributions to human understanding.

All films directed by Jean Rouch, unless otherwise noted.  All films in
French with English subtitles, unless otherwise noted.

This series draws inspiration in partfrom the series "Here and Elsewhere:
The Films of Jean Rouch" presented in Fall 2012 at the French Institute
Alliance Française and Anthology Film Archives in New York, and curated by
Sam Di Iorio and Jamie Berthe.

Special thanks to:  Adrien Sarre, Lise de Sablet, Beatrice Arnaud, Delphine
Selles-Alvarez--The Cultural Services of the French Embassy in the United
States; Centre National du Cinéma et de l'imageanimée (Paris); Centre
national de la Recherche Scientifique (Paris);Comité du film ethnographique
(Paris); Institut français; MarieLosier-French Institute Alliance Française
(New York); Jed Rapfogel—Anthology Film Achives; Sam Di Iorio—Hunter
College; Jamie Berthe—New York University; Ayuko Babu--Pan African Film and
Art Festival (Los Angeles); Emilie de Brigard.

FRIDAY, JANUARY 25 @ 7:30 p.m.
UCLA Film  Television Archive at the Billy Wilder Theater
http://www.cinema.ucla.edu/events/2013-01-25/farther-far-cinema-jean-rouch

MOI UN NOIR  (Me, a Black Man) (1958, Digital video from 35mm, color, 70
min.)
Termed by Jean-Luc Godard "the best French film since the liberation," Moi
Un Noir is a fanciful experiment, depicting the lives of poor immigrants in
the slum of Treichville, in the city of Abidjan, Ivory Coast.  Seeking to
penetrate social realities of these lives, Rouch involved locals (including
Oumarou Ganda) in scripting, acting and narrating scenes of daily dreams and
disappointments.  Upending assumptions about authorship and social science,
Rouch's approach here became a hallmark of his oeuvre and of "ethno-fiction"
as a distinction in art and anthropology.

Preceded by:
GARE DU NORD (1964, 35mm, color, 16 min.)
SCR: Jean Rouch.  CAST: Nadine Ballot, Gilles Quéant, Barbet Schroeder.
Rouch's deceptively simple short employs long takes in anexperiment to unite
real and cinematic time.

MAMMY WATER (1953, Digital video from 16mm, color, 18 min.)
This lyrical, short documentary depicts Ghanian fishermenmaking offerings to
the sea gods.  

SATURDAY, JANUARY 26 @ 7:30 p.m.
UCLA Film  Television Archive at the Billy Wilder Theater
http://www.cinema.ucla.edu/events/2013-01-25/farther-far-cinema-jean-rouch

CHRONIQUE D'UN ÉTÉ  (Chronicle of a Summer) (1961, 35mm, b/w, 85 min.)
DIR: Jean Rouch, Edgar Morin.  CAST: J. Rouch, E. Morin, Marceline Loridan
Ivens.
Rouch and sociologist Edgar Morin set out to create a portrait and time
capsule of Paris, following a small group of French and African
acquaintances as they discuss geopolitics and daily life.  The use of
lightweight cameras and sound recording equipment, and the involvement of
participants in the process of filmmaking gave th

Re: [Frameworks] transformer question

[David Tetzlaff]

You might not even need transformers. If a projector has a belt or pulley 
change for 50/60 Hz, that would indicate it was designed to be sold in both 
Europe and North America with only minor tweaks. So I would suspect there's a 
transformer inside the projector that can be wired for either 110/60 or 220/50. 
Could be just a matter of switching a few wire connections around inside, at 
the same time you change the belt position. If you can find a service manual 
for your projectors with schematics that should tell the tale.


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[Frameworks] Hasta Nunca at Union Docs 2.2.13

[Mark Street]

Hey All,

My new feature *Hasta Nunca* (shot in Uruguay) will be at Union Docs in NYC
Saturday February 2.  As always at Union Docs, the screening will be
followed by a spirited conversation.  Details on the film are on the link,
and also below.

http://www.uniondocs.org/2013-02-02-hasta-nunca/

Hope to see you there!

Mark Street
www.markstreetfilms.com

*Hasta Nunca *follows MARIO LIGETTI, a middle aged hipster DJ who
produces an underground radio show in Montevideo, Uruguay. On his
show  Secrets and Stories he invites listeners to share their intimate
thoughts with him and a live radio audience. Mario re-negotiates his
public and private personas during the course of the film and enters
into an extra marital affair with JULIA, a divorcee searching for a
new artistic spark.
 In this international production (USA, Uruguay) each call in to the
show was written and performed by local actors. Topics  addressed in
telephone conversations:  lingering effects of the military
dictatorship in Uruguay, the difficulty of obtaining an -illegal-
abortion and varied identity issues.  Ligetti’s show is a modern
rollicking *Miss Lonelyhearts*, with its host increasingly suffocated by
the personal predicaments of his listeners.
 Shot in cinéma vérité style, *Hasta Nunca *reveals Montevideo as a
strong background character in the film’s visual landscape. Callers’
voices on the radio provide an acoustic counterpoint for an
observational investigation of this ramshackle port city which retains
the architectural vestiges of its colonial past.
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Re: [Frameworks] transformer question

[Ekrem Serdar]

I'm told you also want to get a Voltage converter that can handle more than
%50 of your wattage. So for 400W, you'd want to get at least a 600W
transformer. (just found this
link-
while it's a store and they probably want to sell you the more
expensive
transformer, it may be helpful.)

I had an issue where I took a Pageant over (900w - the bulb was 750, the
machine another 100 or so, the sound 20w, etc) and plugged it into a 1000w
converter. It worked, but after a bit, it didn't, as in, it just stopped
(no burn smell or anything) and it was done.

I didn't have time to troubleshoot back then, but I wonder if the %50 thing
was one of the possible issues (crappy converter from sketchy store being
another possible suspect.), though now I'm wondering what   what Scott
Dorsey wrote above about the motor running hotter was the issue.

As that's the extent of my projector travels, I'd listen to someone who has
more experience however.

And regarding frequency - also remember that it's not just the image that
goes slower, but also the sound, giving it a very noticeable warble.


On Fri, Jan 25, 2013 at 11:47 AM, Scott Dorsey  wrote:

> If you use a normal crappy autotransformer from the hardware store, it will
> probably be fine.  However, the projector motor will run 20% slower.  This
> means your 24 fps setting will not be 24 fps but it also means the motor
> will run hotter and the cooling fan will not move as much air past the
> lamp.  So if you do this, I would use a smaller lamp size.
>
> It's easy to change voltage, it's very hard to change operating frequency.
>
> If these are Kodak Analyst projectors there are some belt changes that will
> make them operate properly on 50 Hz.  If they are Specos there are some
> pulley
> replacements.  Check the projector manual.
> --scott
>
> ___
> FrameWorks mailing list
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> https://mailman-mail5.webfaction.com/listinfo/frameworks
>



-- 
ekremserdar.info
austin, tx
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Re: [Frameworks] transformer question

[Scott Dorsey]

If you use a normal crappy autotransformer from the hardware store, it will
probably be fine.  However, the projector motor will run 20% slower.  This
means your 24 fps setting will not be 24 fps but it also means the motor
will run hotter and the cooling fan will not move as much air past the 
lamp.  So if you do this, I would use a smaller lamp size.

It's easy to change voltage, it's very hard to change operating frequency.

If these are Kodak Analyst projectors there are some belt changes that will
make them operate properly on 50 Hz.  If they are Specos there are some pulley
replacements.  Check the projector manual.
--scott

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[Frameworks] transformer question

[Alex MacKenzie]

I am taking two 16mm analytic projectors to the UK from North America, and 
require power transformers.
Each projector is marked as 120V 400W 60 Cycle. They are analytic projectors 
and I am pulsing the image (ie I am not looking for steady 24fps), 
Can I use standard transformers that convert 120V/230V  60Hz/50Hz? Or do I need 
to worry about the Cycles? It seems most places have transformers, but they 
might not be able to accomodate the 50 vs 60 aspect. If you have any 
suggestions, it would be appreciated, thanks!

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Re: [Frameworks] Singularity and intentional incoherence

[Andy Ditzler]

Hello,

Consider the brief close-up appearance of the cockatoo around the last
third of Citizen Kane. Cut to bird, loud bird shriek on soundtrack, then
back to the story. Welles' purpose in this odd cutaway was to wake up the
audience, exactly as Tom Whiteside describes with his experience. ("It has
a sort of purpose, but no meaning" - reference on p. 72 of This Is Orson
Welles.) I suspect other singularities, at least in the novel use of them
by Hollywood, have a similar purpose/effect.

D. A. Miller has written interestingly on Hitchcock's cameos in a way that
could be connected to their "singularity" within each film; but then again,
the cameos as a whole represent a coherence in that they occur throughout
Hitchcock's career.

Andy Ditzler


On Wed, Jan 23, 2013 at 2:37 AM, Ittai Rosenbaum  wrote:

> Hi
>
> My name is Ittai Rosenbaum, I am a doctoral student at the music
> composition department at UCSC and in the process of defining my
> Qualification Exams topics. I wondered if anyone could perhaps have
> interesting knowledge or insights about a subject in film theory that might
> parallel one of my topics.
>
> I am interested in singular events in composition: events that occur only
> once, contrasted and incoherent to the main musical language of the work,
> yet deliberately conceived and intentionally inserted in the composition,
> contributing, by way of distraction and surprise, to the conception of the
> piece.
>
> Coherence seems to constitute a compulsory element in composition, and
> even incoherence (surprise, collage etc.) as it happens in the music of,
> say, Charles Ives, George Crumb or John Zorn, becomes coherent and even
> homogenous once it recurs. I suspect that *singular*, incoherent events
> may have a genuine effect, different than that.
>
> I am interested in parallel or similar phenomena in film, as my own
> compositions are more than often related to the visual, verbal, social and
> other elements usually inherent in film.
> Far from an expert in films, I do recall several instances where I felt I
> have viewed such singular events in film: the awakening in Chris Marker’s
> La jetée – a single moment of two seconds of movement in a film made
> entirely of stills, some moments that I can't recall now in Fellini's films
> (although usually there is a certain "homogeneity of singularity" in the
> ones I saw), and a comic one, in Mel Brooks’s *Silent Movie*, when the
> famous pantomime Marcel Marceau utters the only single word in the film:
> “no!”
>
> I would be very interested to know if this is something that has been
> written about and generally what your experience and opinion is.
>
> thank you
>
>
> --
> Ittai Rosenbaum
> www.ittairosenbaum.com
>
> (650) 704-6566
>
> PRÆSENTEM
>
> http://earbits.com/
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
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[Frameworks] two new videos from Laptop Hooligans

[jaime cleeland]

http://www.youtube.com/watch?v=9So_t5oqlFQ

http://www.youtube.com/watch?v=6dezBKEXdfA
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Re: [Frameworks] Singularity and intentional incoherence

[Ittai Rosenbaum]

Thanks Carl, I'll look for it.

On Thu, Jan 24, 2013 at 1:35 PM, Carl Lee  wrote:

>  Hi Ittai --
>
> My memory is hazy, but I remember there's a Jane Campion film -- I think
> it might be The Piano, but possibly an earlier film than that -- where a
> girl is telling a story and it suddenly cuts to a short hand-drawn
> animation sequence.  It's the only moment in the film that's like that (the
> rest of the movie is "live-action") and it's never really explained why
> we're seeing it like this, though it does relate to the story the girl is
> telling.  (If I'm remembering correctly...it's possible I'm just imagining
> remembering it.but I'm sure others on fw would know for sure.)
>
> Carl
>
>
>
> On 1/23/2013 6:04 PM, Ittai Rosenbaum wrote:
>
> Tom, Bryan, Roger
>
> Thank you so much! The examples - of which I knew only one: "Blazing
> Saddles" - sound very interesting and relevant. I will check them all out
> and share any further information.
>
> Ittai
>
>
> On Wed, Jan 23, 2013 at 10:13 AM, Beebe, Roger  wrote:
>
>>  Just to piggyback on/unpack Tom's mention of "Hapax Legomena"--it's
>> actually 7 films (that can be considered as one larger unit).  The title
>> refers to words that only appear once in the written record, in an author's
>> work, etc.  (In ancient texts, this makes them especially difficult to
>> decipher, as you might imagine.)  So the title itself refers to
>> singularity--you'll have to take a look at the films, three of which are on
>> the Frampton Criterion set, to see if the films seem to speak to/embody
>> that concept.
>>
>>  ...
>>  Roger
>>
>>   On Jan 23, 2013, at 10:22 AM, Tom Whiteside wrote:
>>
>> This is interesting – thanks for asking a fresh question. As a “film
>> person” who started out in music decades ago, I have always envied and
>> admired the breadth and depth of musicology. Film studies is such a young
>> field – we are centuries behind.
>>
>>   Filmmaker Hollis Frampton made a film titled “Hapax Legomena” which
>> immediately comes to mind.
>>
>>  And although Mel Brooks doesn’t make this list too often, he’s going to
>> hit it twice right away. A good example of your singular event would be in
>> his Western film “Blazing Saddles,” the cowboys are galloping across the
>> plains and the movie music is playing on the soundtrack, sounds like Count
>> Basie and His Orchestra – well my goodness, it IS Count  Basie and His
>> Orchestra and the cowboys just rode right past them, out there on the
>> plains. It’s a simple thing, played for laughs – the previously unseen
>> soundtrack orchestra revealed – but it is quite a singular moment.  And for
>> many people it probably changed, at least a little bit, the way they think
>> about “movie music.”
>>
>>  There is the moment in Jem Cohen’s “Lost Book Found” when the
>> conventional “unseen narrator” voice slowly fades out and is replaced by a
>> different, unexpected voice, delivering a more cryptic message. It is a
>> pivotal moment in that film. Similarly, in Raul Ruiz’s “Hypothesis of the
>> Stolen Painting” a guy is sitting in a chair talking in rather flat tones,
>> it becomes increasingly boring, he slows down…. and he falls asleep. On
>> camera, the narration just goes to sleep. I only saw that film once and am
>> probably not remembering this correctly, but I do remember the singularity
>> of my experience sitting there, listening to this guy, trying to make sense
>> of it, getting a bit bored, then watching him nod off. That woke me up!
>>
>>  TomDurham Cinematheque
>>
>>  *From:* frameworks-boun...@jonasmekasfilms.com [mailto:
>> frameworks-boun...@jonasmekasfilms.com] *On Behalf Of *Ittai Rosenbaum
>> *Sent:* Wednesday, January 23, 2013 2:37 AM
>> *To:* frameworks@jonasmekasfilms.com
>> *Subject:* [Frameworks] Singularity and intentional incoherence
>>
>>
>> Hi
>>  My name is Ittai Rosenbaum, I am a doctoral student at the music
>> composition department at UCSC and in the process of defining my
>> Qualification Exams topics. I wondered if anyone could perhaps have
>> interesting knowledge or insights about a subject in film theory that might
>> parallel one of my topics.
>>
>> I am interested in singular events in composition: events that occur only
>> once, contrasted and incoherent to the main musical language of the work,
>> yet deliberately conceived and intentionally inserted in the composition,
>> contributing, by way of distraction and surprise, to the conception of the
>> piece.
>>
>> Coherence seems to constitute a compulsory element in composition, and
>> even incoherence (surprise, collage etc.) as it happens in the music of,
>> say, Charles Ives, George Crumb or John Zorn, becomes coherent and even
>> homogenous once it recurs. I suspect that *singular*, incoherent events
>> may have a genuine effect, different than that.
>>
>> I am interested in parallel or similar phenomena in film, as my own
>> compositions are more than often related to the visual, verbal, social and
>>