Re: [Frameworks] France and Film

[Baba Hillman]

l'Etna
Atelier de cinéma expérimental

http://www.etna-cinema.net


Baba

On 6/12/15, 5:28 PM, Francisco Torres wrote:

L’Abominable
*http://www.filmlabs.org/
*



2015-06-12 17:08 GMT-04:00 Roger D. Wilson >:


Hi folks,

I have a friend who is moving to France to attend school and I
want to hook her up to some film organizations that offer
resources like training and equipment. Any recommendations is
appreciated.

Roger

Sent from Outlook 


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Re: [Frameworks] TV jargon

[Gene Youngblood]

Thanks, all, for your kind responses.

> On Jun 12, 2015, at 9:45 PM, Bernd Luetzeler  wrote:
> 
> If I’m getting you right you’re talking about a sequence at the beginning of 
> the TV program,
> showing the protagonists, often mixed with Motion Graphics and music?
> And that sequence would appear at the beginning of each episode, right?
> When I was working in a German TV channel (2000-2009), they were calling them 
> the “Signation”.
> But I think the term might differ from country to country or even from 
> channel to channel.
> I hope that helps...
> Bernd
> 
> 
> 
>> On 13-Jun-2015, at 05:23, k. a.r. > > wrote:
>> 
>> I agree w Francisco. Intros.. 
>> source: I used to work in live TV
>> 
>> Kristie Reinders, B.F.A. 
>> Director of Cinematography, Electric Visions 
>> Curator and Head Projectionist, Electric Mural Project 
>> The Mission, San Francisco, CA 
>> 
>> 'A first class technician should work best under pressure.' 
>> - - - Issac Asimov 
>> 
>> Date: Fri, 12 Jun 2015 13:16:44 -0400
>> From: fjtorre...@gmail.com 
>> To: frameworks@jonasmekasfilms.com 
>> Subject: Re: [Frameworks] TV jargon
>> 
>> Back in the 90s we used to call them 'Intros'' or  ''I.D.s''. (because they 
>> were supposed to create an identity or ''Personality'' for each time slot). 
>> Sigh
>> 
>> 2015-06-12 10:04 GMT-04:00 Gene Youngblood > >:
>> Frameworkers whose day job is TV, can you tell me what is the industry term 
>> for moving image introductions to program series. I’m thinking of TCM’s 
>> non-verbal mini-narratives that precede movies — one imitating Edward 
>> Hopper’s “Nighthawks,” another where golden Adonis’s push a giant world 
>> globe. They function like logos, but logos are still graphics.
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com 
>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>> 
>> 
>> 
>> ___ FrameWorks mailing list 
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>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>> 
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Re: [Frameworks] TV jargon

[Bernd Luetzeler]

If I’m getting you right you’re talking about a sequence at the beginning of 
the TV program,
showing the protagonists, often mixed with Motion Graphics and music?
And that sequence would appear at the beginning of each episode, right?
When I was working in a German TV channel (2000-2009), they were calling them 
the “Signation”.
But I think the term might differ from country to country or even from channel 
to channel.
I hope that helps...
Bernd



> On 13-Jun-2015, at 05:23, k. a.r.  wrote:
> 
> I agree w Francisco. Intros.. 
> source: I used to work in live TV
> 
> Kristie Reinders, B.F.A. 
> Director of Cinematography, Electric Visions 
> Curator and Head Projectionist, Electric Mural Project 
> The Mission, San Francisco, CA 
> 
> 'A first class technician should work best under pressure.' 
> - - - Issac Asimov 
> 
> Date: Fri, 12 Jun 2015 13:16:44 -0400
> From: fjtorre...@gmail.com 
> To: frameworks@jonasmekasfilms.com 
> Subject: Re: [Frameworks] TV jargon
> 
> Back in the 90s we used to call them 'Intros'' or  ''I.D.s''. (because they 
> were supposed to create an identity or ''Personality'' for each time slot). 
> Sigh
> 
> 2015-06-12 10:04 GMT-04:00 Gene Youngblood  >:
> Frameworkers whose day job is TV, can you tell me what is the industry term 
> for moving image introductions to program series. I’m thinking of TCM’s 
> non-verbal mini-narratives that precede movies — one imitating Edward 
> Hopper’s “Nighthawks,” another where golden Adonis’s push a giant world 
> globe. They function like logos, but logos are still graphics.
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 
> 
> 
> ___ FrameWorks mailing list 
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> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 
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Re: [Frameworks] TV jargon

[k. a.r.]

I agree w Francisco. Intros.. 
source: I used to work in live TV

Kristie Reinders, B.F.A.

Director of Cinematography, Electric Visions

Curator and Head Projectionist, Electric Mural Project

The Mission, San Francisco, CA



'A first class technician should work best under pressure.' 

- - - Issac Asimov 

Date: Fri, 12 Jun 2015 13:16:44 -0400
From: fjtorre...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] TV jargon

Back in the 90s we used to call them 'Intros'' or  ''I.D.s''. (because they 
were supposed to create an identity or ''Personality'' for each time slot). 
Sigh
2015-06-12 10:04 GMT-04:00 Gene Youngblood :
Frameworkers whose day job is TV, can you tell me what is the industry term for 
moving image introductions to program series. I’m thinking of TCM’s non-verbal 
mini-narratives that precede movies — one imitating Edward Hopper’s 
“Nighthawks,” another where golden Adonis’s push a giant world globe. They 
function like logos, but logos are still graphics.

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Re: [Frameworks] TV jargon

[Kasper Lauritzen]

I'm not in TV but "motion graphics" perhaps? At least I think Michael
Betancourt has used that term for similar phenomenons.

Kasper

2015-06-12 19:16 GMT+02:00 Francisco Torres :

> Back in the 90s we used to call them 'Intros'' or  ''I.D.s''. (because
> they were supposed to create an identity or ''Personality'' for each time
> slot). Sigh
>
> 2015-06-12 10:04 GMT-04:00 Gene Youngblood :
>
>> Frameworkers whose day job is TV, can you tell me what is the industry
>> term for moving image introductions to program series. I’m thinking of
>> TCM’s non-verbal mini-narratives that precede movies — one imitating Edward
>> Hopper’s “Nighthawks,” another where golden Adonis’s push a giant world
>> globe. They function like logos, but logos are still graphics.
>> ___
>> 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
>
>
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Re: [Frameworks] Andrew Noren

[Rob Gawthrop]

Interestingly I saw the LFMC print of Kodak Ghost Poems as a student at 
Maidstone college of art in the early 1970s, it was in good condition then.  
I’ve not forgotten it (obviously).

Rob


On 12 Jun 2015, at 16:19, Rise Hall-Noren  wrote:

> Dear Gene,
> 
> To clarify the record, Eastman Kodak did send Andrew a letter in late 1973 or 
> early 1974, which very politely requested that he change the title of Part I, 
> since Kodak was a protected trademark.  I still remember when we received the 
> letter, which is in our files, and there was a small exchange of 
> correspondence in which Andrew promised to immediately make the change and 
> follow up to track down any prints.  
> 
> Of course, when a major US corporation sends a letter that they wish to 
> protect  their registered trademark, at the time to a very poor artist, the 
> threat of a lawsuit was implied. 
> 
> Perhaps a year or so later, Kodak's Legal Dept. sent another letter that 
> concerned a bootleg print of Part I, now known to us as "Huge Pupils", that 
> travelled through Europe for 4-5 years that he and the London Coop had never 
> been able to track down.  At the end of that period, the London Coop somehow 
> managed to get their hands on it, and Andrew requested that they destroy it, 
> as it was in terrible condition.  No one ever wants their work exhibited that 
> way.
> 
> Just for the record, Kodak showed nothing but courtesy and restraint, and 
> they did own the trademark, after all.
> 
> Rise' Hall-Noren
> 
> On Thu, Jun 11, 2015 at 5:08 PM, Gene Youngblood  wrote:
> There’s no particular point to this except the memory of when Kodak 
> threatened to sue Andrew and he changed the name of his work to Adventures of 
> the Exquisite Corpse. Now there’s two corpses and two ghosts, each haunting a 
> different world I guess...
> 
> 
>> On Jun 11, 2015, at 2:03 PM, Alex Lake  wrote:
>> 
>> I viewed the three titles at the NYPL just last year and can attest that all 
>> the prints are in great shape. Now if there were only viewing copies of 
>> Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of Wind 
>> Variations in Berlin!
>> 
>> On Thu, Jun 11, 2015 at 3:33 PM, Jacob  wrote:
>> For what it's worth, I had the chance to view Charmed Particles, The Lighted 
>> Field and Imaginary Light at the NYPL in the Summer of 2012.  Admittedly, my 
>> perception of the condition of the prints may have been swayed by how 
>> incredible the films are, but I remember them being in fantastic condition...
>> 
>> 
>> -- 
>>   ---
>> JACOB WALTMAN
>> Carolina MacGillavrylaan 2148 1098XK
>> Amsterdam
>> http://making-light-of-it.blogspot.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
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> 
> 
> -- 
>  Rise'
> ___
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Re: [Frameworks] France and Film

[Roger D. Wilson]

Thanks Francisco!

Sent from Outlook

_
From: Francisco Torres 
Sent: Friday, June 12, 2015 5:28 PM
Subject: Re: [Frameworks] France and Film
To: Experimental Film Discussion List 


   L’Abominable http://www.filmlabs.org/
 
 
  
   2015-06-12 17:08 GMT-04:00 Roger D. Wilson 
:
   Hi folks,
I have a friend who is moving to France to attend school and I 
want to hook her up to some film organizations that offer resources like 
training and equipment. Any recommendations is appreciated.
Roger  
  
 Sent fromOutlook
  
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Re: [Frameworks] France and Film

[Francisco Torres]

L’Abominable

*http://www.filmlabs.org/ *



2015-06-12 17:08 GMT-04:00 Roger D. Wilson :

> Hi folks,
>
> I have a friend who is moving to France to attend school and I want to
> hook her up to some film organizations that offer resources like training
> and equipment. Any recommendations is appreciated.
>
> Roger
>
> Sent from Outlook 
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
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[Frameworks] France and Film

[Roger D. Wilson]

Hi folks,
I have a friend who is moving to France to attend school and I want to hook her 
up to some film organizations that offer resources like training and equipment. 
Any recommendations is appreciated.
Roger

Sent from Outlook___
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Re: [Frameworks] Andrew Noren

[Gene Youngblood]

Thanks for this, Rise. It’s good to know Kodak was civilized. Maybe this 
information is in Scott’s interview with Andrew, but if not, it is now a matter 
of record. Of the many life-works of artists’ cinema that deserve restoration 
and wide recognition, Andrew’s certainly ranks among the very best.




> On Jun 12, 2015, at 9:19 AM, Rise Hall-Noren  wrote:
> 
> Dear Gene,
> 
> To clarify the record, Eastman Kodak did send Andrew a letter in late 1973 or 
> early 1974, which very politely requested that he change the title of Part I, 
> since Kodak was a protected trademark.  I still remember when we received the 
> letter, which is in our files, and there was a small exchange of 
> correspondence in which Andrew promised to immediately make the change and 
> follow up to track down any prints.  
> 
> Of course, when a major US corporation sends a letter that they wish to 
> protect  their registered trademark, at the time to a very poor artist, the 
> threat of a lawsuit was implied. 
> 
> Perhaps a year or so later, Kodak's Legal Dept. sent another letter that 
> concerned a bootleg print of Part I, now known to us as "Huge Pupils", that 
> travelled through Europe for 4-5 years that he and the London Coop had never 
> been able to track down.  At the end of that period, the London Coop somehow 
> managed to get their hands on it, and Andrew requested that they destroy it, 
> as it was in terrible condition.  No one ever wants their work exhibited that 
> way.
> 
> Just for the record, Kodak showed nothing but courtesy and restraint, and 
> they did own the trademark, after all.
> 
> Rise' Hall-Noren
> 
> On Thu, Jun 11, 2015 at 5:08 PM, Gene Youngblood  > wrote:
> There’s no particular point to this except the memory of when Kodak 
> threatened to sue Andrew and he changed the name of his work to Adventures of 
> the Exquisite Corpse. Now there’s two corpses and two ghosts, each haunting a 
> different world I guess...
> 
> 
>> On Jun 11, 2015, at 2:03 PM, Alex Lake > > wrote:
>> 
>> I viewed the three titles at the NYPL just last year and can attest that all 
>> the prints are in great shape. Now if there were only viewing copies of 
>> Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of Wind 
>> Variations in Berlin!
>> 
>> On Thu, Jun 11, 2015 at 3:33 PM, Jacob > > wrote:
>> For what it's worth, I had the chance to view Charmed Particles, The Lighted 
>> Field and Imaginary Light at the NYPL in the Summer of 2012.  Admittedly, my 
>> perception of the condition of the prints may have been swayed by how 
>> incredible the films are, but I remember them being in fantastic condition...
>> 
>> 
>> -- 
>>   ---
>> JACOB WALTMAN
>> Carolina MacGillavrylaan 2148 1098XK
>> Amsterdam
>> http://making-light-of-it.blogspot.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 
>> 
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 
> 
> 
> 
> 
> -- 
>  Rise'
> ___
> FrameWorks mailing list
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> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] TV jargon

[Francisco Torres]

Back in the 90s we used to call them 'Intros'' or  ''I.D.s''. (because they
were supposed to create an identity or ''Personality'' for each time slot).
Sigh

2015-06-12 10:04 GMT-04:00 Gene Youngblood :

> Frameworkers whose day job is TV, can you tell me what is the industry
> term for moving image introductions to program series. I’m thinking of
> TCM’s non-verbal mini-narratives that precede movies — one imitating Edward
> Hopper’s “Nighthawks,” another where golden Adonis’s push a giant world
> globe. They function like logos, but logos are still graphics.
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] Andrew Noren

[Rise Hall-Noren]

Dear Gene,

To clarify the record, Eastman Kodak did send Andrew a letter in late 1973
or early 1974, which very politely requested that he change the title of
Part I, since Kodak was a protected trademark.  I still remember when we
received the letter, which is in our files, and there was a small exchange
of correspondence in which Andrew promised to immediately make the change
and follow up to track down any prints.

Of course, when a major US corporation sends a letter that they wish to
protect  their registered trademark, at the time to a very poor artist, the
threat of a lawsuit was implied.

Perhaps a year or so later, Kodak's Legal Dept. sent another letter that
concerned a bootleg print of Part I, now known to us as "Huge Pupils", that
travelled through Europe for 4-5 years that he and the London Coop had
never been able to track down.  At the end of that period, the London Coop
somehow managed to get their hands on it, and Andrew requested that they
destroy it, as it was in terrible condition.  No one ever wants their work
exhibited that way.

Just for the record, Kodak showed nothing but courtesy and restraint, and
they did own the trademark, after all.

Rise' Hall-Noren

On Thu, Jun 11, 2015 at 5:08 PM, Gene Youngblood  wrote:

> There’s no particular point to this except the memory of when Kodak
> threatened to sue Andrew and he changed the name of his work to Adventures
> of the Exquisite Corpse. Now there’s two corpses and two ghosts, each
> haunting a different world I guess...
>
>
> On Jun 11, 2015, at 2:03 PM, Alex Lake  wrote:
>
> I viewed the three titles at the NYPL just last year and can attest that
> all the prints are in great shape. Now if there were only viewing copies of
> Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of
> Wind Variations in Berlin!
>
> On Thu, Jun 11, 2015 at 3:33 PM, Jacob  wrote:
>
>> For what it's worth, I had the chance to view *Charmed Particles, The
>> Lighted Field *and *Imaginary Light *at the NYPL in the Summer of 2012.
>> Admittedly, my perception of the condition of the prints may have been
>> swayed by how incredible the films are, but I remember them being in
>> fantastic condition...
>>
>>
>> --
>>   ---
>> JACOB WALTMAN
>> Carolina MacGillavrylaan 2148 1098XK
>> Amsterdam
>> http://making-light-of-it.blogspot.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
>
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>


-- 
 Rise'
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[Frameworks] TV jargon

[Gene Youngblood]

Frameworkers whose day job is TV, can you tell me what is the industry term for 
moving image introductions to program series. I’m thinking of TCM’s non-verbal 
mini-narratives that precede movies — one imitating Edward Hopper’s 
“Nighthawks,” another where golden Adonis’s push a giant world globe. They 
function like logos, but logos are still graphics.
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