[Frameworks] HASENHERZ N°9 Stephen Dwoskin

[Anderwald Grond]

This time HASENHERZ travels to Great Britain to bring you the video of an accomplished experimental filmmaker whose work had a decisive effect on the British film theorists. Between the screenings we will speak with the philosopher Franz Schuh. Be sure not to miss it!http://www.hasenherz.at     © Stephen Dwoskin		       Franz Schuh - netzleitung.deKulturzentrum bei den Minoriten, Graz Mariahilferplatz 3 8020 Graz, AustriaSaturday, March 16, 2013  11 a.m.IN 2012 ARTISTS RUTH ANDERWALD + LEONHARD GROND STARTED THE SERIES HASENHERZ - NOW IT IS GOING TO LIVE ITS SECOND YEAR!Imagine the format the following way: International film and video artists are shown. Duration: Approximately one hour. However there are specific rules to be followed. In the style of Schönberg ́s Association for Private Musical Performance (founded in 1918) the concept of wanting to understand the new, is now transferred to the medium of experimental film: A precise program is not being published in order to accomplish a well balanced visit of the event. The movies on display are being repeated and in between screenings they are discussed with the artist. As it was the goal of the format`s model “to provide artists and art lovers with a real and profound knowledge of modern music“, similiar should be achieved for the experimental film and video. If the artists whose work is being shown, are not present, they will be cut into the discussion via skype or telephone. In 2013 the experimental character of HASENHERZ will be strengthened.___
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[Frameworks] HASENHERZ N°9 Stephen Dwoskin

[Anderwald Grond]

This time HASENHERZ travels to Great Britain to bring you the video of an accomplished experimental filmmaker whose work had a decisive effect on the British film theorists. Between the screenings we will speak with the philosopher Franz Schuh. Be sure not to miss it!http://www.hasenherz.at     © Stephen Dwoskin		       Franz Schuh Kulturzentrum bei den Minoriten, Graz Mariahilferplatz 3 8020 Graz, AustriaSaturday, March 16, 2013  11 a.m.IN 2012 ARTISTS RUTH ANDERWALD + LEONHARD GROND STARTED THE SERIES HASENHERZ - NOW IT IS GOING TO LIVE ITS SECOND YEAR!Imagine the format the following way: International film and video artists are shown. Duration: Approximately one hour. However there are specific rules to be followed. In the style of Schönberg ́s Association for Private Musical Performance (founded in 1918) the concept of wanting to understand the new, is now transferred to the medium of experimental film: A precise program is not being published in order to accomplish a well balanced visit of the event. The movies on display are being repeated and in between screenings they are discussed with the artist. As it was the goal of the format`s model “to provide artists and art lovers with a real and profound knowledge of modern music“, similiar should be achieved for the experimental film and video. If the artists whose work is being shown, are not present, they will be cut into the discussion via skype or telephone. In 2013 the experimental character of HASENHERZ will be strengthened.___
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Re: [Frameworks] fast film

[Raymond Rea]

I do miss the brief time period when Kodak made 800T. I shot a roll on a
back porch with one 100W bare light bulb as illumination (existing light).
Not only did highlights expose well but I got some subtle detail in the
shadows (no change in contrast as with pushing).

Ray


--
>
> Message: 1
> Date: Sun, 10 Mar 2013 09:46:15 -0700 (PDT)
> From: Jason Halprin 
> To: Experimental Film Discussion List 
> Subject: Re: [Frameworks] fast film
> Message-ID:
> <1362933975.44852.yahoomail...@web122103.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset="utf-8"
>
> No 800 speed color neg film has been made by Kodak for some time. And, as
> was pointed out, Fuji stopped manufacturing all motion picture film. I
> second Nicky's sentiment - rate Vision3 500T at 1000 or even 2000, and then
> have it pushed a stop or two. Or, shoot it at 500, and just have the
> print/transfer brightened. It has a huge latitude and can handle it.
>
> -Jason
>
>
>
>
> 
>  From: Nicholas Hamlyn 
> To: Experimental Film Discussion List 
> Sent: Sunday, March 10, 2013 6:38 AM
> Subject: Re: [Frameworks] fast film
>
>
> Why don't you push the 500 a stop or two?
>
> Nicky.
>
>
>
> On 10 Mar 2013, at 09:42, J Vent wrote:
>
> No - 500T is the fastest speed motion picture film made by Kodak at this
> time. Fuji has ceased production of motion picture film. Vision 3 500T is
> very forgiving it can easily be rated at 250 to give one stop of over
> exposure. What is your intent with a higher speed emulsion?
> >
> >
> >JV
> >
> >
> >
> >
> >"Black Metal relaxes me"
> >
> >
> >Roy Griffin '13
> >
> >
> >
> >On Sat, Mar 9, 2013 at 9:54 PM, matthew brown <
> matthewfrancisbr...@gmail.com> wrote:
> >
> >Hi,
> >>
> >>
> >>I have looked at both the Kodak and Fuji Websites and only see 500 speed
> film.
> >>Is there anywhere I can get color negative faster than that anymore???
> >>
> >>
> >>
> >>
> >>thanks so much,
> >>Matthew Brown
> >>___
>
___
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Re: [Frameworks] fast film

[J Vent]

Good Morning- According to Kodak they no longer make anything over Vision 3
500T asa rating and have not for some time now. Long gone are the days when
Kodak would/could reformulate almost any of their stocks past or present
for an extra fee.

http://motion.kodak.com/motion/Products/Production/index.htm

All of the stocks listed on the above link are available with the exception
of Color Reversal 7285 which was removed from production in Dec/Jan.

Since the vision 3 emulsion is so forgiving they rated it down from 800 to
500, this info from the Hollywood Kodak Student rep. The film can easily be
re rated at 800 or 1000 asa, however beyond that there will be a noticeable
increase in grain, particularly in the shadow areas. This emulsion holds
its highlights exceedingly well but by rating it 2 or more stops over you
will degrade the shadow or underexposed areas. This may not be an issue for
your project, and certainly you can alter the result with lab work as
suggested above. Vision 3 works especially well when rated down to 250, for
a stop of overexposure, this technique provides superior results and is
used exclusively on my Cinematography lab students projects. One light work
prints come out nice with this technique.

JV


On Mon, Mar 11, 2013 at 5:25 AM, Raymond Rea  wrote:

> I do miss the brief time period when Kodak made 800T. I shot a roll on a
> back porch with one 100W bare light bulb as illumination (existing light).
> Not only did highlights expose well but I got some subtle detail in the
> shadows (no change in contrast as with pushing).
>
> Ray
>
>
> --
>>
>> Message: 1
>> Date: Sun, 10 Mar 2013 09:46:15 -0700 (PDT)
>> From: Jason Halprin 
>>
>> To: Experimental Film Discussion List 
>> Subject: Re: [Frameworks] fast film
>> Message-ID:
>> <1362933975.44852.yahoomail...@web122103.mail.ne1.yahoo.com>
>> Content-Type: text/plain; charset="utf-8"
>>
>>
>> No 800 speed color neg film has been made by Kodak for some time. And, as
>> was pointed out, Fuji stopped manufacturing all motion picture film. I
>> second Nicky's sentiment - rate Vision3 500T at 1000 or even 2000, and then
>> have it pushed a stop or two. Or, shoot it at 500, and just have the
>> print/transfer brightened. It has a huge latitude and can handle it.
>>
>> -Jason
>>
>>
>>
>>
>> 
>>  From: Nicholas Hamlyn 
>> To: Experimental Film Discussion List 
>> Sent: Sunday, March 10, 2013 6:38 AM
>> Subject: Re: [Frameworks] fast film
>>
>>
>> Why don't you push the 500 a stop or two?
>>
>> Nicky.
>>
>>
>>
>> On 10 Mar 2013, at 09:42, J Vent wrote:
>>
>> No - 500T is the fastest speed motion picture film made by Kodak at this
>> time. Fuji has ceased production of motion picture film. Vision 3 500T is
>> very forgiving it can easily be rated at 250 to give one stop of over
>> exposure. What is your intent with a higher speed emulsion?
>> >
>> >
>> >JV
>> >
>> >
>> >
>> >
>> >"Black Metal relaxes me"
>> >
>> >
>> >Roy Griffin '13
>> >
>> >
>> >
>> >On Sat, Mar 9, 2013 at 9:54 PM, matthew brown <
>> matthewfrancisbr...@gmail.com> wrote:
>> >
>> >Hi,
>> >>
>> >>
>> >>I have looked at both the Kodak and Fuji Websites and only see 500
>> speed film.
>> >>Is there anywhere I can get color negative faster than that anymore???
>> >>
>> >>
>> >>
>> >>
>> >>thanks so much,
>> >>Matthew Brown
>> >>___
>>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
___
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[Frameworks] Seeking Mark Lapore Prints

[Mad Stork Cinema]

Hi Folks,

I'm a programmer for The Mad Stork Cinema, a small microcinema in Austin,
Texas that screens experimental and avant-garde film and video. We're
associated with the University of Texas at Austin. We're going to rent a
sample of Mark Lapore's work in late April from Canyon. However, we're
trying to also get a 16mm print of The Five Bad Elements or Kolkata. Does
anyone have any insight? Please respond directly.

Best,

David
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[Frameworks] March 19 Screening: Unlimited Subjectivity: The Written and Sung Work of Duke and Battersby

[Patrick Friel]

The Nightingale and White Light Cinema Present
 
 
 
Unlimited Subjectivity: The Written and Sung Work of Duke and Battersby
Screening and Book Release
With Emily Vey Duke and Cooper Battersby in Person!
 
Tuesday, March 19 ­ 7:00pm
At the Nightingale (1084 N. Milwaukee Ave.)
 
 
Copies of Mike Hoolboom¹s (Ed.) new book, "The Beauty is Relentless: The
Short Movies of Emily Vey Duke and Cooper Battersby," will be available for
purchase.
 
 
 
The Nightingale and White Light Cinema are please to welcome Canadian
artists and video makers Emily Vey Duke and Cooper Battersby to present a
mini-retrospective of their videos, including two Chicago premieres, and to
continue the launch of a new publication on their work. Many of Duke and
Battersby¹s videos include original songs, sung by Duke, and tonight¹s
program will feature Duke singing a number of these songs live in
accompaniment to the videos.
 
 
³The literary post-punk short movies of Emily Vey Duke and Cooper Battersby
have been tearing up the festival/gallery circuit for the past fifteen years
with their blend of bedroom pop, perverse animations and hopes for fame.²
(Mike Hoolboom)
 
"Often working with the disconnects between human and animal - and their
urge to reconcile the sterile mechanics of our world versus the intuitive
viscerality we keep buried within - their dark sense of humour has yielded a
slate of bizarre taxidermies, installations, videos and sculpture, all
tinged with a gutsy, mystical longing that's sweet, sinister, hilarious and
disturbing all at once." (Murray Whyte, Toronto Star)
 
 
 
 
Program Details:
 
Bad Ideas for Paradise (2001, 20 min)
Steve Reinke on Bad Ideas for Paradise: "There is no such thing as
self-esteem. Self-esteem as a construct is illogical and contradictory, so
its frequent deployment as the lynch-pin of New Age discourse seems to me
satisfyingly appropriate. I don't trust anyone who doesn¹t have frequent
bouts of self-loathing. There is something truly monstrous about the
self-righteous. Eating a well-balanced diet is a horrible act of aggression.
Whenever I hear the word "culture" I think of bacteria mutating under an
ultraviolet light and I'm happy again for a while. Within the petri dish:
unfettered egoless desire, the proliferation of new possibilities ideas made
flesh, uncaring and finally airborne. Empathy is a tool for making the
cruelty more precise. Beauty is independent of taste; the sublime only works
for suckers. Whenever I laugh I feel guilty."
Bad Ideas for Paradise is a
20-minute episodic videotape. Funny, touching and ambitious in scope, Bad
Ideas continues to deal with many of the themes addressed in Duke and
Battersby's earlier works: addiction, spirituality, identity, relationship
dynamics and the ongoing quest for joy.
 
Perfect Nature World (2002, 4 min) - with live singing
Perfect Nature World is a short single-channel animation. The genesis for
the work was Emily Duke's song of the same name, which describes the
feelings of longing and inadequacy we experience when faced with the
exquisite indifference of the natural world. The song was beautifully
illustrated on a twenty foot scroll of butter-coloured paper by Shary Boyle
and then animated by Cooper Battersby.
 
Songs of Praise for the Heart Beyond Cure (2006, 15 min)
Songs of Praise for the Heart Beyond Cure marks Emily Vey Duke and Cooper
Battersby¹s return to the episodic structure of their earlier works Rapt and
Happy, Being Fucked Up and Bad Ideas for Paradise. As with earlier works,
Songs of Praise takes on difficult, often painful subject matter.  Themes of
addiction, violence, the destruction of the natural world and the agonies of
adolescence are woven through the work, but as Sarah Milroy writes for the
Globe and Mail, the work is "anything but depressing... [it is founded in] a
sense of wonder at the endearing weirdness of life and all the vulnerable,
furry little creatures immersed in it (especially us)."
 
Beauty Plus Pity (2008, 14 min)
Beauty Plus Pity sets a colourful single-channel video within a lush viewing
environment populated by costumed taxidermic animals. Presented in seven
parts, the video considers the potential for goodness amidst the troubled
relations between God, humanity, animals, parents and children. While an
animated cast of animal ³spirit guides² quote Philip Larkin¹s poem, This Be
the Verse, and implore us to ³get out as early as you can² from life and our
parents¹ grasp, a hunter dreams of a zoo where he might lie next to
tranquilized animals calmed of their savagery. A senile and unstable God
stumbles, forgets to take his medication, and turns frost into diamonds.
Beauty Plus Pity contemplates the shame and beauty of existence; it is part
apologia, part call to arms.
 
The Beauty Is Relentless (2010, 4 min) - with live singing
A diary of incidental images: a bedazzled cat in a deciduous wood; a dead or
sleeping woman; a scarred arm; some whisky in a tumbler; a song that makes
promises its singer can

[Frameworks] Going rate for licensing film footage to large museums

[Bruce McPherson]

 Does anyone have an idea, roughly, what the rate per minute of film would be for inclusion in a 5-month art exhibition at a major museum, e.g. MOMA, Walker, etc.?Thanks,Bruce McPherson 
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[Frameworks] new film from Laptop Hooligans

[jaime cleeland]

https://archive.org/details/TheFallingCity
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Re: [Frameworks] March 19 Screening: Unlimited Subjectivity: The Written and Sung Work of Duke and Battersby

[Patrick Friel]

Of course, when I finally remember to post something to the This Week in
Avant-Garde list I accidentally post here as well!

So to clarify ­ this is in Chicago.

Best to all,

pf


On 3/11/13 4:12 PM, "Patrick Friel"  wrote:

> 
> The Nightingale and White Light Cinema Present
>  
>  
>  
> Unlimited Subjectivity: The Written and Sung Work of Duke and Battersby
> Screening and Book Release
> With Emily Vey Duke and Cooper Battersby in Person!
>  
> Tuesday, March 19 ­ 7:00pm
> At the Nightingale (1084 N. Milwaukee Ave.)
>  
>  
> Copies of Mike Hoolboom¹s (Ed.) new book, "The Beauty is Relentless: The Short
> Movies of Emily Vey Duke and Cooper Battersby," will be available for
> purchase.
>  
>  
>  
> The Nightingale and White Light Cinema are please to welcome Canadian artists
> and video makers Emily Vey Duke and Cooper Battersby to present a
> mini-retrospective of their videos, including two Chicago premieres, and to
> continue the launch of a new publication on their work. Many of Duke and
> Battersby¹s videos include original songs, sung by Duke, and tonight¹s program
> will feature Duke singing a number of these songs live in accompaniment to the
> videos.
>  
>  
> ³The literary post-punk short movies of Emily Vey Duke and Cooper Battersby
> have been tearing up the festival/gallery circuit for the past fifteen years
> with their blend of bedroom pop, perverse animations and hopes for fame.²
> (Mike Hoolboom)
>  
> "Often working with the disconnects between human and animal - and their urge
> to reconcile the sterile mechanics of our world versus the intuitive
> viscerality we keep buried within - their dark sense of humour has yielded a
> slate of bizarre taxidermies, installations, videos and sculpture, all tinged
> with a gutsy, mystical longing that's sweet, sinister, hilarious and
> disturbing all at once." (Murray Whyte, Toronto Star)
>  
>  
>  
>  
> Program Details:
>  
> Bad Ideas for Paradise (2001, 20 min)
> Steve Reinke on Bad Ideas for Paradise: "There is no such thing as
> self-esteem. Self-esteem as a construct is illogical and contradictory, so its
> frequent deployment as the lynch-pin of New Age discourse seems to me
> satisfyingly appropriate. I don't trust anyone who doesn¹t have frequent bouts
> of self-loathing. There is something truly monstrous about the self-righteous.
> Eating a well-balanced diet is a horrible act of aggression. Whenever I hear
> the word "culture" I think of bacteria mutating under an ultraviolet light and
> I'm happy again for a while. Within the petri dish: unfettered egoless desire,
> the proliferation of new possibilities ideas made flesh, uncaring and finally
> airborne. Empathy is a tool for making the cruelty more precise. Beauty is
> independent of taste; the sublime only works for suckers. Whenever I laugh I
> feel guilty." Bad Ideas for Paradise is a 20-minute episodic videotape. Funny,
> touching and ambitious in scope, Bad Ideas continues to deal with many of the
> themes addressed in Duke and Battersby's earlier works: addiction,
> spirituality, identity, relationship dynamics and the ongoing quest for joy.
>  
> Perfect Nature World (2002, 4 min) - with live singing
> Perfect Nature World is a short single-channel animation. The genesis for the
> work was Emily Duke's song of the same name, which describes the feelings of
> longing and inadequacy we experience when faced with the exquisite
> indifference of the natural world. The song was beautifully illustrated on a
> twenty foot scroll of butter-coloured paper by Shary Boyle and then animated
> by Cooper Battersby.
>  
> Songs of Praise for the Heart Beyond Cure (2006, 15 min)
> Songs of Praise for the Heart Beyond Cure marks Emily Vey Duke and Cooper
> Battersby¹s return to the episodic structure of their earlier works Rapt and
> Happy, Being Fucked Up and Bad Ideas for Paradise. As with earlier works,
> Songs of Praise takes on difficult, often painful subject matter.  Themes of
> addiction, violence, the destruction of the natural world and the agonies of
> adolescence are woven through the work, but as Sarah Milroy writes for the
> Globe and Mail, the work is "anything but depressing... [it is founded in] a
> sense of wonder at the endearing weirdness of life and all the vulnerable,
> furry little creatures immersed in it (especially us)."
>  
> Beauty Plus Pity (2008, 14 min)
> Beauty Plus Pity sets a colourful single-channel video within a lush viewing
> environment populated by costumed taxidermic animals. Presented in seven
> parts, the video considers the potential for goodness amidst the troubled
> relations between God, humanity, animals, parents and children. While an
> animated cast of animal ³spirit guides² quote Philip Larkin¹s poem, This Be
> the Verse, and implore us to ³get out as early as you can² from life and our
> parents¹ grasp, a hunter dreams of a zoo where he might lie next to
> tranquilized animals calmed of their savagery. A senile and unstable God
> stumbl

Re: [Frameworks] Going rate for licensing film footage to large museums

[Robert Haller]

Dear Bruce,

I don¹t understand the question. Some museums prefer to show a recycling DVD
instead of 16 or 35 mm films‹in galleries. If a film is to be shown two or
three times a week in a theater, the rate would be different. The Museum of
the Moving Image or MoMA have had experience in both options. The problem
with repeatedly showing a film print is that wear and tear degrade prints
rapidly (more than 10 to 20 times), requiring replacements. DVDs have much
less of this problem. Does this address your concerns? -- Robert Haller


On 3/11/13 4:20 PM, "Bruce McPherson"  wrote:

>  Does anyone have an idea, roughly, what the rate per minute of film would be
> for inclusion in a 5-month art exhibition at a major museum, e.g. MOMA,
> Walker, etc.?
> Thanks,
> Bruce McPherson
>  
> 
> 
> ___ FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks


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Re: [Frameworks] Going rate for licensing film footage to large museums

[Jason Stauffacher]

Are speaker to the Walker in Minneapolis??

On Monday, March 11, 2013, Robert Haller wrote:

>  Dear Bruce,
>
> I don’t understand the question. Some museums prefer to show a recycling
> DVD instead of 16 or 35 mm films—in galleries. If a film is to be shown two
> or three times a week in a theater, the rate would be different. The Museum
> of the Moving Image or MoMA have had experience in both options. The
> problem with repeatedly showing a film print is that wear and tear degrade
> prints rapidly (more than 10 to 20 times), requiring replacements. DVDs
> have much less of this problem. Does this address your concerns? -- Robert
> Haller
>
>
> On 3/11/13 4:20 PM, "Bruce McPherson"  'cvml', 'bmcp...@verizon.net');>>
> wrote:
>
>  Does anyone have an idea, roughly, what the rate per minute of film would
> be for inclusion in a 5-month art exhibition at a major museum, e.g. MOMA,
> Walker, etc.?
> Thanks,
> Bruce McPherson
>
>
> --
> ___ FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com  'FrameWorks@jonasmekasfilms.com');>
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
>
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Re: [Frameworks] Going rate for licensing film footage to large museums

[Cari Machet]

it depends on a lot of factors...

what is the going rate for a soul these days?

Cari Machet
NYC 646-436-7795
carimac...@gmail.com
AIM carismachet
Skype carimachet - 646-652-6434
Syria +963-099 277 3243
Amman +962 077 636 9407
Berlin +49 152 11779219
Twitter: @carimachet 

Ruh-roh, this is now necessary: This email is intended only for the
addressee(s) and may contain confidential information. If you are not the
intended recipient, you are hereby notified that any use of this
information, dissemination, distribution, or copying of this email without
permission is strictly prohibited.



On Tue, Mar 12, 2013 at 2:03 AM, Jason Stauffacher <
jasonstauffac...@gmail.com> wrote:

> Are speaker to the Walker in Minneapolis??
>
>
> On Monday, March 11, 2013, Robert Haller wrote:
>
>>  Dear Bruce,
>>
>> I don’t understand the question. Some museums prefer to show a recycling
>> DVD instead of 16 or 35 mm films—in galleries. If a film is to be shown two
>> or three times a week in a theater, the rate would be different. The Museum
>> of the Moving Image or MoMA have had experience in both options. The
>> problem with repeatedly showing a film print is that wear and tear degrade
>> prints rapidly (more than 10 to 20 times), requiring replacements. DVDs
>> have much less of this problem. Does this address your concerns? -- Robert
>> Haller
>>
>>
>> On 3/11/13 4:20 PM, "Bruce McPherson"  wrote:
>>
>>  Does anyone have an idea, roughly, what the rate per minute of film
>> would be for inclusion in a 5-month art exhibition at a major museum, e.g.
>> MOMA, Walker, etc.?
>> Thanks,
>> Bruce McPherson
>>
>>
>> --
>> ___ FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>>
> ___
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>
>
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