Re: [Frameworks] 2. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
Without getting into questions of essential, I would say that this is not my experience at all with screening Wavelength. My students - definitely curious and excited people - generally loved watching it, and there was much productive discussion. I've also shown it publicly in my film series on several occasions, again with good results and much discussion afterward (though of course the reactions were not uniformly positive). You see it as mid-century high modernism (thus presumably representing a fixed, major tradition), whereas I see it as a film particularly vulnerable to attacks based precisely upon its *difference*, which is perhaps one reason I'm sympathetic to it. In any case, there's no reason that screenings of this film cannot be deeply sensuous and engaging experiences, especially for artists. Best, Andy Ditzler On Sun, Mar 29, 2015 at 9:11 AM, Sasha Waters Freyer swfre...@vcu.edu wrote: If you want to take a group of curious, excited young artists and basically make them want to kill themselves, by all means, show them Wavelength. I call shenanigans on equating essential with mid-century high modernism which is but one of many 'major traditions.' Another, more engaging legacy might be the fascinating intersections between art history, critical theory, politics and popular culture that coalesces and build in the '90-s and early 00s, exemplified in different but totally exciting and unique ways by: It Wasn't Love - Sadie Benning November - Hito Steyerl A Little Death - Sam Taylor-Wood So much richness here! Relationships between realism and (high/post) modernism; identity/queer performance pre-youtube/selfie era; the explosion of new tech in the 90s on and their formal implications; post-9/11 everything; the 'Celebrity-artist' career trajectory of STW, etc., etc, etc Sasha -- ‡‡‡ Sasha Waters Freyer Chair, Department of Photography Film VCU School of the Arts 325 N. Harrison St. / PO Box 843088 Richmond, VA 23284 tel. 804.828.2162 email: swfre...@vcu.edu http://www.arts.vcu.edu/photofilm/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
ahhhahaaa http://listverse.com/2011/08/11/top-10-avant-garde-filmmakers/ jonas on top so here we are: http://en.wikipedia.org/wiki/Experimental_film its a good entry actually but i think it misses some info we have here in the minds on this listserv - i want to remind of the importance of wikipedia - that the enlightenment front lines were fought by making encyclopedias - people went to prison for it even... i am not a feminist because i have been 'assaulted' by the fascism of feminists (including women that want to kill all men) i think it creates polemics division (even in its very name) and we dont need more constructs to divide us i have argued for a long time (in a theory class writing a treatise entitled 'woman who kill' pulling out the portraiture of societies 'female' that is far far from a murderer) that woman and others can shift society in ways that do not envelope the female in victimhood *scene of virginia woolf putting rocks in her pockets to make sure she sank* from the film by todd haynes who has done a ton of work to shift the female out just starting with superstar but then really going on to lift heavy weights with clearing that i would like to put out two 'female' filmmakers that work on this shift out type of level for me dorit cypis http://www.doritcypis.com/ chantal akerman http://www.criterion.com/explore/151-chantal-akerman dorit cypis however is also a social practice artist .. she set up a rape crisis center among other social practice activities ... she continues On Sun, Mar 29, 2015 at 3:13 PM, Rob Gawthrop r...@robgawthrop.co.uk wrote: Although your question is for a specific purpose, the implications open up a broader and deeper debate than choosing three films. Having been in higher education for a long time and shown many works to different groups of students (fine art in particular), certain works have come to the fore: T*he Seashell and the Clergyman* - Germaine Dulac France 1927. This opens up the whole problem of interpretation as well as the cultural contexts of surrealism, feminism, censorship and in respect of authorship; Dulac being the first feminist film theorist and proponent of a 'pure cinema' and Artaud's theories of theatre of cruelty. *Sailboat* - Joyce Wieland Canada 1967. Positions the viewer in relation to the camera - of three-dimensional space (including sound), flatness and time. *RayDay Film* - Jeff Keen England 1967 Connects the 'underground' with pop art, collage, performance, abstraction, destruction, noise and expanded cinema. Discussion around the works is central and if it is one screening, then films such as *Wavelength* or *Zorns Lemma* (or *Nostalgia*) may be too long. The above films connect well with other art works and other experimental films that can be referred to. The idea of a 'canon' or a hagiographical 'history' is problematic. The contexts of these films - social, political, cultural - cannot be separated from their form/content. There are many others that could be substituted but I seem to return to these three. Rob. On 27 Mar 2015, at 17:43, Donal OCeilleachair donalo...@gmail.com wrote: Dear Frameworkers: I am working on a new film project with the Ealaíontóirí Mhuscraí (that's Irish for the Muskerry Region Artists Group) Part of the project will involve film / video making workshops where I will show them works from experimental film, creative documentary and artists' moving image works as a point of reference and inspiration for their own initial explorations into the realm of the moving image I am compiling a short-list of 'Essential' works to show them during these workshops and I would appreciate responses to the question: 'What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?' I look forward to hearing any suggestions Le míle buíochas (with many thanks) -- Dónal Ó'Céilleachair www.anupictures.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 -- Cari Machet NYC 646-436-7795 carimac...@gmail.com AIM carismachet Syria +963-099 277 3243 Amman +962 077 636 9407 Berlin +49 152 11779219 Reykjavik +354 894 8650 Twitter: @carimachet https://twitter.com/carimachet 7035 690E 5E47 41D4 B0E5 B3D1 AF90 49D6 BE09 2187 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. ___ FrameWorks mailing list
[Frameworks] Mona Hatoum contact?
Dear Frameworkers, does anyone of you know by any chance, how I could get in touch with Mona Hatoum? Please contact me off list! Thanks, Insa -- www.insalanghorst.com +44 778 93 8 22 84 (UK) +49 176 86 74 83 45 (D) insa.langho...@gmail.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
Although your question is for a specific purpose, the implications open up a broader and deeper debate than choosing three films. Having been in higher education for a long time and shown many works to different groups of students (fine art in particular), certain works have come to the fore: The Seashell and the Clergyman – Germaine Dulac France 1927. This opens up the whole problem of interpretation as well as the cultural contexts of surrealism, feminism, censorship and in respect of authorship; Dulac being the first feminist film theorist and proponent of a ‘pure cinema’ and Artaud’s theories of theatre of cruelty. Sailboat – Joyce Wieland Canada 1967. Positions the viewer in relation to the camera – of three-dimensional space (including sound), flatness and time. RayDay Film – Jeff Keen England 1967 Connects the ‘underground’ with pop art, collage, performance, abstraction, destruction, noise and expanded cinema. Discussion around the works is central and if it is one screening, then films such as Wavelength or Zorns Lemma (or Nostalgia) may be too long. The above films connect well with other art works and other experimental films that can be referred to. The idea of a ‘canon’ or a hagiographical ‘history’ is problematic. The contexts of these films – social, political, cultural – cannot be separated from their form/content. There are many others that could be substituted but I seem to return to these three. Rob. On 27 Mar 2015, at 17:43, Donal OCeilleachair donalo...@gmail.com wrote: Dear Frameworkers: I am working on a new film project with the Ealaíontóirí Mhuscraí (that's Irish for the Muskerry Region Artists Group) Part of the project will involve film / video making workshops where I will show them works from experimental film, creative documentary and artists' moving image works as a point of reference and inspiration for their own initial explorations into the realm of the moving image I am compiling a short-list of 'Essential' works to show them during these workshops and I would appreciate responses to the question: 'What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?' I look forward to hearing any suggestions Le míle buíochas (with many thanks) -- Dónal Ó'Céilleachair www.anupictures.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
Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
To say three film ? I would start with the history of Film / then the Man with the moive camera ? On Sat, Mar 28, 2015 at 11:29 PM, Elizabeth McMahon elizmcma...@gmail.com wrote: RIP Cecile Starr. She championed so many experimental filmmakers, especially those who were women, and yes, it, gender, it is an important distinction. Few would know about Mary Ellen Bute (and Ted Nemeth), or (Alexander Alexeieff and) Claire Parker (or Starr and her husband, recently newly widowed husband, partner is celluloid crime Aram Boyajian) who, without her intense and incisive scholarship, advocacy, and distribution of experimental, avant garde, and animation of each type, we would all be so diminished in our understanding of film history. Dennis is right about McClaren as so brilliant as to be included in the top of essentials, but I won't play this silly 3 films limit nonsense. All you need is the filmography from Anthology Film Archives ongoing, infamous Essential CInema series, a stalwart primer in basic film knowledge, to know what to program for your students or friends. Gary Handman, nee of UCLA, happily retired albeit available if you seek him out, is a librarian after just about everyone's heart, his syllabi in film studies over the years he worked and taught are essential, too, if what to see and know about in film history and studies. Perfect distillations with no BS. But, yeah, for each of the 3 chosen, I would program McLaren. Neigbours and Spook Sport are my two faves. Geez, Oskar Fischinger is my favorite, anything just anything, and good golly, Lotte Reineger, anyone? See, I succumbed and fell in to this nonsense. This is just absurd. Elizabeth On Sat, Mar 28, 2015 at 5:26 PM, Dennis Doros milefi...@gmail.com wrote: There are no three possible to represent the entire world of experimental film. But for women, you might want to start with Suspense by Lois Weber and Philip Smalley. It's extremely experimental for the year it was made. And with Shirley Clarke, having seen all of them now about two dozen times each over the past six years, I know that BRIDGES-GO-ROUND is everybody's favorite but I would say MOMENT IN LOVE is mine. Seeing her outtakes and notebooks, it's the one she worked the hardest to create and I love the work of choreographer Anna Sokolow. Also, we are just starting to show D. A. Pennebaker and Shirley Clarke's BRUSSELS LOOP films (there were also four or five other filmmakers involved) and they are really incredible up on the screen. But especially for artists, it's almost impossible not to include the best of experimental film without my favorite, which is BEGONE DULL CARE by Norman McLaren (and Evelyn Lambert) and it's tough to show him without the best of Len Lye. Also in mind with artists, and for more collaborations between man and a woman, you can't really go wrong with Alexeieff and Parker pin animation. Best regards, Dennis Doros Milestone Film Video PO Box 128 / Harrington Park, NJ 07640 Phone: 201-767-3117 / Fax: 201-767-3035 / Email: milefi...@gmail.com Visit our main website! www.milestonefilms.com Visit our new websites! www.mspresents.com, www.portraitofjason.com, www.shirleyclarkefilms.com, To see or download our 2014 Video Catalog, click here http://cdn.shopify.com/s/files/1/0150/7896/files/2014MilestoneVideoCatalog.pdf?75 ! Support Milestone Film on Facebook http://www.facebook.com/pages/Milestone-Film/22348485426 and Twitter https://twitter.com/#!/MilestoneFilms! On Fri, Mar 27, 2015 at 1:43 PM, Donal OCeilleachair donalo...@gmail.com wrote: Dear Frameworkers: I am working on a new film project with the Ealaíontóirí Mhuscraí (that's Irish for the Muskerry Region Artists Group) Part of the project will involve film / video making workshops where I will show them works from experimental film, creative documentary and artists' moving image works as a point of reference and inspiration for their own initial explorations into the realm of the moving image I am compiling a short-list of 'Essential' works to show them during these workshops and I would appreciate responses to the question: 'What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?' I look forward to hearing any suggestions Le míle buíochas (with many thanks) -- Dónal Ó'Céilleachair www.anupictures.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 -- Elizabeth ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] 2. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
If you want to take a group of curious, excited young artists and basically make them want to kill themselves, by all means, show them Wavelength. I call shenanigans on equating essential with mid-century high modernism which is but one of many 'major traditions.' Another, more engaging legacy might be the fascinating intersections between art history, critical theory, politics and popular culture that coalesces and build in the '90-s and early 00s, exemplified in different but totally exciting and unique ways by: It Wasn't Love - Sadie Benning November - Hito Steyerl A Little Death - Sam Taylor-Wood So much richness here! Relationships between realism and (high/post) modernism; identity/queer performance pre-youtube/selfie era; the explosion of new tech in the 90s on and their formal implications; post-9/11 everything; the 'Celebrity-artist' career trajectory of STW, etc., etc, etc Sasha On Sun, Mar 29, 2015 at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote: Send FrameWorks mailing list submissions to frameworks@jonasmekasfilms.com To subscribe or unsubscribe via the World Wide Web, visit https://mailman-mail5.webfaction.com/listinfo/frameworks or, via email, send a message with subject or body 'help' to frameworks-requ...@jonasmekasfilms.com You can reach the person managing the list at frameworks-ow...@jonasmekasfilms.com When replying, please edit your Subject line so it is more specific than Re: Contents of FrameWorks digest... Today's Topics: 1. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ? (Jorge Lorenzo Flores Garza) 2. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ? (Dennis Doros) 3. animation cut out (jaime cleeland) 4. Re: Seeking source for this quote: (nicky.ham...@talktalk.net) 5. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ? (Elizabeth McMahon) -- Forwarded message -- From: Jorge Lorenzo Flores Garza jorgelore...@hotmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Sat, 28 Mar 2015 20:38:25 + Subject: Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ? I would certainly add Marie Menken to this names. It is so important nowadays in the world of selfies and Go-Pro footage we find in the web. Jorge L. Enviado con Correo de Windows *De:* o...@thenowcorporation.com *Enviado el:* sábado, 28 de marzo de 2015 11:22 a. m. *Para:* Experimental Film Discussion List I AM a feminist, and here are three essential films, that answer the question 'What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?' Maya Deren *Meshes of the Afternoon* *Mary Ellen ButePolka Graph* *Shirley Clarke Bridges Go-Round* Owen's iphone On Mar 28, 2015, at 9:01 AM, Cari Machet carimac...@gmail.com wrote: no no only white men make important work why is a very old work of a woman the only woman filmmaker being hailed here peggy ahwesh anyone? https://vimeo.com/user2889626 and there are tons of euro ones fuck do we need a comprehensive list of woman filmmakers posted somewhere on the net to point to when this shit happens? wikipedia? i am no feminist but this seems really bad On Sat, Mar 28, 2015 at 1:10 PM, Kim Knowles kim.know...@edfilmfest.org.uk wrote: The problem with this list, as is often the case, is that women filmmakers are written out of the 'canon'. Please include Maya Deren! (as per Vicky Smith's post) -- *From:* FrameWorks frameworks-boun...@jonasmekasfilms.com on behalf of Gene Youngblood ato...@comcast.net *Sent:* Friday, March 27, 2015 6:56 PM *To:* Frameworks Listserv *Subject:* Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ? Three is a severe limitation, but if you insist, one way to get at it is to start not with films but with major traditions since mid-century and select exemplary works within them. So for example abstract (Brakhage), minimalist (Warhol, Wavelength), essayistic (Marker, Farocki, Forgacs). I include Brakhage’s lens-captured films in the problematic “abstract. On Mar 27, 2015, at 11:43 AM, Donal OCeilleachair donalo...@gmail.com wrote: Dear Frameworkers: I am working on a new film project with the Ealaíontóirí Mhuscraí (that's Irish for the Muskerry Region Artists Group) Part of the project will involve film / video making workshops where I will show them works from experimental film, creative documentary and artists' moving image works as a point of reference and
Re: [Frameworks] 2. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
The original question is so absurd that I almost didn’t respond, but i did, only to make the point that, within such a restricted frame, you don’t start with specific films, you start with possibilities: Isn’t it exciting that you can make an “abstract” work, or a minimal one, or you can compose an essay? What do those words mean? How have artists interpreted them? And isn’t it exciting that you can combine all of them, which is the thin edge of the interventionist wedge today. Another point: mid-century isn’t synonymous with Modernism; it’s simply when the new American cinema began in full force. I showed Wavelength and Nostalgia for 38 years, in both fine arts and mainstream contexts, and never once did my students, as a group, “want to kill themselves.” No one who is truly “curious” and “excited” would have such a response. It’s an admission of failure (if not laziness, cowardice or outright betrayal) as a teacher. Your responsibility is to make them curious, to make them excited. Out of 60 students every semester from the late 90s on, I could count on at least 10 percent of them writing term papers on one or both of those films, and these were people who thought Spielberg is a genius. On Mar 29, 2015, at 9:37 AM, Andy Ditzler a...@andyditzler.com wrote: Without getting into questions of essential, I would say that this is not my experience at all with screening Wavelength. My students - definitely curious and excited people - generally loved watching it, and there was much productive discussion. I've also shown it publicly in my film series on several occasions, again with good results and much discussion afterward (though of course the reactions were not uniformly positive). You see it as mid-century high modernism (thus presumably representing a fixed, major tradition), whereas I see it as a film particularly vulnerable to attacks based precisely upon its difference, which is perhaps one reason I'm sympathetic to it. In any case, there's no reason that screenings of this film cannot be deeply sensuous and engaging experiences, especially for artists. Best, Andy Ditzler On Sun, Mar 29, 2015 at 9:11 AM, Sasha Waters Freyer swfre...@vcu.edu mailto:swfre...@vcu.edu wrote: If you want to take a group of curious, excited young artists and basically make them want to kill themselves, by all means, show them Wavelength. I call shenanigans on equating essential with mid-century high modernism which is but one of many 'major traditions.' Another, more engaging legacy might be the fascinating intersections between art history, critical theory, politics and popular culture that coalesces and build in the '90-s and early 00s, exemplified in different but totally exciting and unique ways by: It Wasn't Love - Sadie Benning November - Hito Steyerl A Little Death - Sam Taylor-Wood So much richness here! Relationships between realism and (high/post) modernism; identity/queer performance pre-youtube/selfie era; the explosion of new tech in the 90s on and their formal implications; post-9/11 everything; the 'Celebrity-artist' career trajectory of STW, etc., etc, etc Sasha -- ‡‡‡ Sasha Waters Freyer Chair, Department of Photography Film VCU School of the Arts 325 N. Harrison St. / PO Box 843088 Richmond, VA 23284 tel. 804.828.2162 email: swfre...@vcu.edu mailto:swfre...@vcu.edu http://www.arts.vcu.edu/photofilm/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com mailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org http://www.filmlove.org/ www.johnq.org http://www.johnq.org/ Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com mailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] VSW - to your attention!
Dear Frameworkers, I¹d like to draw your attention to the Visual Studies Workshop in Rochester, New York. It¹s a study facility for film and photography. Last week I had a film showing there of my more recent work. First, I¹d like to thank Tara Nelson for offering the venue to me to show my work. Quite wonderful. The facility has excellent projection and sound equipment and a large screen. Tara¹s husband Gordon Nelson (audio engineer), and Tara¹s assistant Ray Ray Mitrano (public relations) effectively completed the staff . I¹ll add a probing and very appreciative audience to my description, as a culmination of my presentation. I would send this message of appreciation privately to Tara, but it would not draw attention to the Visual Studies Workshop facility for the listserv. As an artist I am always looking for opportunities to exhibit my work, and I imagine many of you on this list, are in a similar place. Therefore I highly recommend contacting Tara Nelson at VSW for more information about film screenings there. Not to forget, nearby is the George Eastman House, another drove of archival material on film and photography. Thanks all for reading. Walter Ungerer ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] VSW - to your attention!
Thanks for sharing Walter! I also have a question on a similar subject for the group. I'm going to be doing a radio-art residency in upstate new york next fall (late October), and I was thinking of driving down with a few 16mm projectors and a bunch of my prints... I thought it might be nice to set up a sort of mini-road-trip-style-film-tour while I'm in the region (either on my way to or from the residency). I can do screenings, performances, and / or teach some workshops. In addition to films, I will also be travelling with theremins, radio gear, and basic electronics, so I could also teach workshops in those fields too if anyone is interested. I'll definitely get in touch with Tara at VSW. Does anyone on the list have other recommendations of places or people to talk to? I've never set anything like this up before, but I figure, that since I'll have a car, and films, and projectors... why not? Any suggestions of places or people to contact in the New York state or surrounding areas would be much appreciated. Thanks so much! Amanda Dawn Christie 506-871-2062 www.amandadawnchristie.ca ama...@amandadawnchristie.ca ___ On 2015-03-29, at 3:56 PM, Walter Ungerer wrote: Dear Frameworkers, I’d like to draw your attention to the Visual Studies Workshop in Rochester, New York. It’s a study facility for film and photography. Last week I had a film showing there of my more recent work. First, I’d like to thank Tara Nelson for offering the venue to me to show my work. Quite wonderful. The facility has excellent projection and sound equipment and a large screen. Tara’s husband Gordon Nelson (audio engineer), and Tara’s assistant Ray Ray Mitrano (public relations) effectively completed the staff . I’ll add a probing and very appreciative audience to my description, as a culmination of my presentation. I would send this message of appreciation privately to Tara, but it would not draw attention to the Visual Studies Workshop facility for the listserv. As an artist I am always looking for opportunities to exhibit my work, and I imagine many of you on this list, are in a similar place. Therefore I highly recommend contacting Tara Nelson at VSW for more information about film screenings there. Not to forget, nearby is the George Eastman House, another drove of archival material on film and photography. Thanks all for reading. Walter Ungerer ___ 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
Re: [Frameworks] VSW - to your attention!
A short list to start with: Squeaky Wheel, Buffalo Pittsburgh Filmmakers (pretty close to Buffalo) Cornell Cinema, Ithaca Hamilton College, Clinton NY (try contacting Scott MacDonald) Colgate University, Hamilton NY Binghamton University -Jason Halprin Jason Halprin jihalp...@gmail.com On Sun, Mar 29, 2015 at 3:30 PM, Amanda Christie ama...@amandadawnchristie.ca wrote: Thanks for sharing Walter! I also have a question on a similar subject for the group. I'm going to be doing a radio-art residency in upstate new york next fall (late October), and I was thinking of driving down with a few 16mm projectors and a bunch of my prints... I thought it might be nice to set up a sort of mini-road-trip-style-film-tour while I'm in the region (either on my way to or from the residency). I can do screenings, performances, and / or teach some workshops. In addition to films, I will also be travelling with theremins, radio gear, and basic electronics, so I could also teach workshops in those fields too if anyone is interested. I'll definitely get in touch with Tara at VSW. Does anyone on the list have other recommendations of places or people to talk to? I've never set anything like this up before, but I figure, that since I'll have a car, and films, and projectors... why not? Any suggestions of places or people to contact in the New York state or surrounding areas would be much appreciated. Thanks so much! Amanda Dawn Christie 506-871-2062 www.amandadawnchristie.ca ama...@amandadawnchristie.ca ___ On 2015-03-29, at 3:56 PM, Walter Ungerer wrote: Dear Frameworkers, I’d like to draw your attention to the Visual Studies Workshop in Rochester, New York. It’s a study facility for film and photography. Last week I had a film showing there of my more recent work. First, I’d like to thank Tara Nelson for offering the venue to me to show my work. Quite wonderful. The facility has excellent projection and sound equipment and a large screen. Tara’s husband Gordon Nelson (audio engineer), and Tara’s assistant Ray Ray Mitrano (public relations) effectively completed the staff . I’ll add a probing and very appreciative audience to my description, as a culmination of my presentation. I would send this message of appreciation privately to Tara, but it would not draw attention to the Visual Studies Workshop facility for the listserv. As an artist I am always looking for opportunities to exhibit my work, and I imagine many of you on this list, are in a similar place. Therefore I highly recommend contacting Tara Nelson at VSW for more information about film screenings there. Not to forget, nearby is the George Eastman House, another drove of archival material on film and photography. Thanks all for reading. Walter Ungerer ___ 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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] VSW - to your attention!
Hi Amanda--- In Buffalo, be sure to contact Steve Bukowski and/or Caroline Tennant at Hallwalls Contemporary Arts Center Jax Deluca at Squeaky Wheel (aka Buffalo Media Resources) You might also approach Barbara Lattanzi at Alfred University. I will mention this as well to my Media Study faculty in the University at Buffalo. t0ny On 03/29/2015 4:30 pm, Amanda Christie wrote: Thanks for sharing Walter! I also have a question on a similar subject for the group. I'm going to be doing a radio-art residency in upstate new york next fall (late October), and I was thinking of driving down with a few 16mm projectors and a bunch of my prints... I thought it might be nice to set up a sort of mini-road-trip-style-film-tour while I'm in the region (either on my way to or from the residency). I can do screenings, performances, and / or teach some workshops. In addition to films, I will also be travelling with theremins, radio gear, and basic electronics, so I could also teach workshops in those fields too if anyone is interested. I'll definitely get in touch with Tara at VSW. Does anyone on the list have other recommendations of places or people to talk to? I've never set anything like this up before, but I figure, that since I'll have a car, and films, and projectors... why not? Any suggestions of places or people to contact in the New York state or surrounding areas would be much appreciated. Thanks so much! Amanda Dawn Christie 506-871-2062 www.amandadawnchristie.ca [1] ama...@amandadawnchristie.ca ___ On 2015-03-29, at 3:56 PM, Walter Ungerer wrote: VSW - to your attention! Dear Frameworkers, I’d like to draw your attention to the Visual Studies Workshop in Rochester, New York. It’s a study facility for film and photography. Last week I had a film showing there of my more recent work. First, I’d like to thank Tara Nelson for offering the venue to me to show my work. Quite wonderful. The facility has excellent projection and sound equipment and a large screen. Tara’s husband Gordon Nelson (audio engineer), and Tara’s assistant Ray Ray Mitrano (public relations) effectively completed the staff . I’ll add a probing and very appreciative audience to my description, as a culmination of my presentation. I would send this message of appreciation privately to Tara, but it would not draw attention to the Visual Studies Workshop facility for the listserv. As an artist I am always looking for opportunities to exhibit my work, and I imagine many of you on this list, are in a similar place. Therefore I highly recommend contacting Tara Nelson at VSW for more information about film screenings there. Not to forget, nearby is the George Eastman House, another drove of archival material on film and photography. Thanks all for reading. Walter Ungerer ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks Links: -- [1] http://www.amandadawnchristie.ca ___ 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
Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
Just a note to follow up on Elizabeth's great post. The Cecile Starr Memorial Tribute in NY is October 1, separate announcement to follow. Also, sorry to report Cecile's widow Aram Boyajian had been quite ill, and passed recently this month. Spook Sport is a film by Mary Ellen Bute, in which she hired Norman McLaren to do the animation. It is not a film by Norman McLaren, despite the NFBC's attempt to 'reclaim' this film as McLaren's. Papers in Cecile Starr's Bute collection clearly prove this is a film by director Mary Ellen Bute best regards, Cindy Keefer Center for Visual Music www.centerforvisualmusic.org CVM email is cvmaccess (at) gmail.com -- Forwarded message -- From: Elizabeth McMahon elizmcma...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Sat, 28 Mar 2015 18:29:04 -0400 Subject: Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ? RIP Cecile Starr. She championed so many experimental filmmakers, especially those who were women, and yes, it, gender, it is an important distinction. Few would know about Mary Ellen Bute (and Ted Nemeth), or (Alexander Alexeieff and) Claire Parker (or Starr and her husband, recently newly widowed husband, partner is celluloid crime Aram Boyajian) who, without her intense and incisive scholarship, advocacy, and distribution of experimental, avant garde, and animation of each type, we would all be so diminished in our understanding of film history. Dennis is right about McClaren as so brilliant as to be included in the top of essentials, but I won't play this silly 3 films limit nonsense. All you need is the filmography from Anthology Film Archives ongoing, infamous Essential CInema series, a stalwart primer in basic film knowledge, to know what to program for your students or friends. Gary Handman, nee of UCLA, happily retired albeit available if you seek him out, is a librarian after just about everyone's heart, his syllabi in film studies over the years he worked and taught are essential, too, if what to see and know about in film history and studies. Perfect distillations with no BS. But, yeah, for each of the 3 chosen, I would program McLaren. Neigbours and Spook Sport are my two faves. Geez, Oskar Fischinger is my favorite, anything just anything, and good golly, Lotte Reineger, anyone? See, I succumbed and fell in to this nonsense. This is just absurd. Elizabeth ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Cecile Starr Tribute Celebration, NY October 1
HOLD THE DATE: Center for Visual Music and The New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, will present a *Cecile Starr Tribute Celebration* on Thursday, October 1, 6 pm, at *Lincoln Center, New York*. More information will follow soon, to be posted on CVM's Events site and to this list. www.centerforvisualmusic.org Contact CVM at cvmaccess (at) gmail.com best regards, Cindy Keefer Center for Visual Music www.centerforvisualmusic.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
just to open another shadowy can of worms on identity i think its problematic to confront gender but not middle-east-aphobia by certain peoples - sorry but this is kinda something i work on so... its perhaps not the greatest book in the world but maybe someone on the list will get a new pathway opened in their brain written by hamid dabashi - if some need him qualified he is a professor at columbia http://www.hamiddabashi.com/ book: masters masterpieces of iranian cinema https://www.google.com.tr/search?q=masters+masterpieces+of+iranian+cinemaie=utf-8oe=utf-8gws_rd=crei=H3UYVe7rN8H_aKT7gKAI the first link in the search gives you a a free download of the book in pdf form On Mon, Mar 30, 2015 at 12:06 AM, C Keefer keef...@gmail.com wrote: Just a note to follow up on Elizabeth's great post. The Cecile Starr Memorial Tribute in NY is October 1, separate announcement to follow. Also, sorry to report Cecile's widow Aram Boyajian had been quite ill, and passed recently this month. Spook Sport is a film by Mary Ellen Bute, in which she hired Norman McLaren to do the animation. It is not a film by Norman McLaren, despite the NFBC's attempt to 'reclaim' this film as McLaren's. Papers in Cecile Starr's Bute collection clearly prove this is a film by director Mary Ellen Bute best regards, Cindy Keefer Center for Visual Music www.centerforvisualmusic.org CVM email is cvmaccess (at) gmail.com -- Forwarded message -- From: Elizabeth McMahon elizmcma...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Sat, 28 Mar 2015 18:29:04 -0400 Subject: Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ? RIP Cecile Starr. She championed so many experimental filmmakers, especially those who were women, and yes, it, gender, it is an important distinction. Few would know about Mary Ellen Bute (and Ted Nemeth), or (Alexander Alexeieff and) Claire Parker (or Starr and her husband, recently newly widowed husband, partner is celluloid crime Aram Boyajian) who, without her intense and incisive scholarship, advocacy, and distribution of experimental, avant garde, and animation of each type, we would all be so diminished in our understanding of film history. Dennis is right about McClaren as so brilliant as to be included in the top of essentials, but I won't play this silly 3 films limit nonsense. All you need is the filmography from Anthology Film Archives ongoing, infamous Essential CInema series, a stalwart primer in basic film knowledge, to know what to program for your students or friends. Gary Handman, nee of UCLA, happily retired albeit available if you seek him out, is a librarian after just about everyone's heart, his syllabi in film studies over the years he worked and taught are essential, too, if what to see and know about in film history and studies. Perfect distillations with no BS. But, yeah, for each of the 3 chosen, I would program McLaren. Neigbours and Spook Sport are my two faves. Geez, Oskar Fischinger is my favorite, anything just anything, and good golly, Lotte Reineger, anyone? See, I succumbed and fell in to this nonsense. This is just absurd. Elizabeth ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Cari Machet NYC 646-436-7795 carimac...@gmail.com AIM carismachet Syria +963-099 277 3243 Amman +962 077 636 9407 Berlin +49 152 11779219 Reykjavik +354 894 8650 Twitter: @carimachet https://twitter.com/carimachet 7035 690E 5E47 41D4 B0E5 B3D1 AF90 49D6 BE09 2187 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. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
Dear Cindy, Your distinction is well taken. However, I see Spook Sport so infused with the witticism and singularity of each of them! I think it is rightfully recognized as a brilliant tour de force of two of cinema's most fecund experimental filmmaking minds. I really appreciate the preliminary information on the memorial tribute for Cecille, one of the most under-appreciated seminal forces in driving experimental/avant garde filmmaking, with a particular spotlight on yeoman women filmmakers. I had learned privately of Aram's passage, and thank you for announcing it. It is important for people to recognize how essential each were to the other, as intimate partners, and partnered artists. I'd like to talk to you privately, if you don't mind emailing, regarding Cecille. I have been an admirer for many years, and always wanted to invite you for a program. Maybe one of these days! Best, Elizabeth On Sun, Mar 29, 2015 at 6:06 PM, C Keefer keef...@gmail.com wrote: Just a note to follow up on Elizabeth's great post. The Cecile Starr Memorial Tribute in NY is October 1, separate announcement to follow. Also, sorry to report Cecile's widow Aram Boyajian had been quite ill, and passed recently this month. Spook Sport is a film by Mary Ellen Bute, in which she hired Norman McLaren to do the animation. It is not a film by Norman McLaren, despite the NFBC's attempt to 'reclaim' this film as McLaren's. Papers in Cecile Starr's Bute collection clearly prove this is a film by director Mary Ellen Bute best regards, Cindy Keefer Center for Visual Music www.centerforvisualmusic.org CVM email is cvmaccess (at) gmail.com -- Forwarded message -- From: Elizabeth McMahon elizmcma...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Cc: Date: Sat, 28 Mar 2015 18:29:04 -0400 Subject: Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ? RIP Cecile Starr. She championed so many experimental filmmakers, especially those who were women, and yes, it, gender, it is an important distinction. Few would know about Mary Ellen Bute (and Ted Nemeth), or (Alexander Alexeieff and) Claire Parker (or Starr and her husband, recently newly widowed husband, partner is celluloid crime Aram Boyajian) who, without her intense and incisive scholarship, advocacy, and distribution of experimental, avant garde, and animation of each type, we would all be so diminished in our understanding of film history. Dennis is right about McClaren as so brilliant as to be included in the top of essentials, but I won't play this silly 3 films limit nonsense. All you need is the filmography from Anthology Film Archives ongoing, infamous Essential CInema series, a stalwart primer in basic film knowledge, to know what to program for your students or friends. Gary Handman, nee of UCLA, happily retired albeit available if you seek him out, is a librarian after just about everyone's heart, his syllabi in film studies over the years he worked and taught are essential, too, if what to see and know about in film history and studies. Perfect distillations with no BS. But, yeah, for each of the 3 chosen, I would program McLaren. Neigbours and Spook Sport are my two faves. Geez, Oskar Fischinger is my favorite, anything just anything, and good golly, Lotte Reineger, anyone? See, I succumbed and fell in to this nonsense. This is just absurd. Elizabeth ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Elizabeth ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
