Re: [Frameworks] Films or videos with one person playing all the parts

[Chris Kennedy]

Body Double Series - Brice Dellspringer

And there’s a Godzilla remake circulating on YouTube that’s pretty fun
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[Frameworks] 16mm black film for scratching

[Chris Kennedy]

Magnetic stock works really well and is quite cheap/free if you can find it. 
The stock projects pitch black with sharp scratches 

C
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Re: [Frameworks] Saul Levine - resources

[Chris Kennedy]

> On Apr 2, 2018, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:
> 
> I suspect that there's an element here of things that
> seemed passionate and committed to one generation now seeming outrageous to
> another.* - Scott MacDonald

Is there a moment in film history when that wasn’t the case? Isn’t the point of 
many the films we hold dear the disruption of the status quo (sometimes to 
redefine it, sometimes to just destroy it)?

I certainly remember films and videos that led to (comparatively mild) 
confrontations in classrooms when I was an undergrad 20 years ago in a 
relatively conservative university. Certainly seeing films like Flaming 
Creatures, Nitrate Kisses and Un Chien Andalou confronted me and disrupted my 
own more conservative plans for my future. And they were definitely more 
provocative in their time.

There were also confrontations of what constitutes appropriate art and how one 
should talk about art one dislikes when I was a grad student 10 years ago at a 
relatively liberal art school. In that case, those confrontations also led to 
firings of tenured track professors by those that ultimately held the power, 
the administration.

If this case really boils down to has Saul has framed it—as blowback for what 
he showed in his class (and by the testimony of his supporters, it wasn’t 
uncommon for him to show these two films), then it is a terrible bellwether but 
it is also more of the same. I don’t think we can define it as a “difference” 
between generations, as much as it seems a continued difficulty of showing this 
work—even to other artists. Isn't that their point?

Chris
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Re: [Frameworks] "Husbands" and "Wives"

[Chris Kennedy]

Ironic that Fred points that the idea of relationship was "understood to
mean sexual, when it doesn't always" and then ends with yet another tale
of that randy ol' genius Hollis Frampton.

It's true that I'm trained as a frameworker to respond quickly to all
frameworks queries in the drinking game style that Chuck lampoons, but
what was interesting about this query and made me respond to it is that
the query raises some interesting questions about parallel artists. How
does cohabitation or romantic attachment (sexual or otherwise) effect very
different people? How does that effect art: Many of the the people listed
have very different styles, some have very similar styles (are these
styles formed post or pre attraction?), some are propelled into a new
creative direction by their courtship. How does that effect reception:
Some of the people listed are overshadowed by their partners, some have
just recently been noticed by history, some have equal recognition, some
gain notice because of the partnership.

How does the couple--in all its forms (trios, too)--negotiate the
selfishness of creation we often say is required by the artist? And most
importantly, how does this list trouble the genius narrative of the
"avant-garde" that often requires the man to run around the circuit,
libido engorged...

Chris


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[Frameworks] Subject: "Husbands" and "Wives"

[Chris Kennedy]

Couples once, maybe and still:

Guvnor Nelson and Robert Nelson
Henry Hills and Abigail Child
Lewis Klahr and Jeanie Geisler
Ben Russell and Basma Alsharif
George Kuchar and Curt McDowell
Sandra Davis and Larry Jordan (?)
Yuiko Matsuyama and Takashi Ishida
Peggy ahwesh and keith sanborn
Morgan Fisher and Margaret Honda

There are also a few May-December romances out there, too, but the US film 
scene also has March-October romances, otherwise known as Ann Arbor-Projections

C
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Re: [Frameworks] Sally Berger, film curator, fired at MoMA

[Chris Kennedy]

"At the very least, it seems to me that someone who cares about this 
curator should try to do the work a good journalist would do and get to 
the bottom of the situation. An authoritative analysis that could show
the firing was really wrong might actually help." -Fred Camper

That's a nice idea, but journalists at least have institutional protection 
against libel laws. Any organization even half as  big as MoMA has a large HR 
dept and is lawyered up to prevent the bottom of the situation from ever being 
reached. In short, no one besides Berger's immediate confidants and those that 
did the firing are ever going to know what happened. An online petition is 
likely all that anyone can do, unless local NYers are willing to boycott the 
MoMA.

Chris 
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[Frameworks] Film/video programers/curators and campus film screenings

[Chris Kennedy]

Hi Mike,

In undergrad at Queen's University in Kingston, I tried to do a small film
salon with a couple other people in the film department (arty films at
that point; I don't think they were experimental) but we were actually
shut down by the Student Union(!), who had their own lucrative contract
bringing in 35mm prints of latest blockbusters (Something about Mary and
the like) and showing them in a large lecture hall on Friday or Saturday
night (somehow our 20 seat classroom was a threat). The Film Department's
blanket rights didn't cover us. My first introduction to film rights.
Somehow other clubs got away with showing sci-fi and stuff.

When I went to grad school in San Francisco about 10 years later, I
started the weekly SFAI Film Salon with Vanessa O'Neill to show
experimental films. I had already been programming with Images Festival
and Pleasure Dome and Vanessa had festival background from her Boston
days, so we already had experience. We started the Film Salon as a
reaction to an obvious lack in the school (and to take advantage of their
great print library). I think we managed to get $1000 or two a semester
(or year?) to rent prints and ran it for most of our two years there
(starting, I believe, the middle of the first semester in 2006). It
definitely had an impact on us and our future programming (Vanessa does
the experimental program at the SF Film Festival now with Kathy Geritz and
I do EMS & Free Screen back in Toronto. EMS was directly inspired by what
Vanessa and I were able to do in SF). But I also have always seen it as a
natural outgrowth of being an artist in this field--having to organize
stuff in order to see it.

There's a little online shrine here:
http://theworldviewed.com/2011/the-sfai-film-salon-san-francisco/

The SFAI Film Salon lasted for a couple more years, programmed by friends
in the next class down (Carling MacManus & Bamboo Hsu and a couple
undergrads, I believe) who continued to show experimental stuff. I lost
track of it after that, but the web shows that someone was at least
programming it into 2013.

best
Chris


Message: 4
Date: Thu, 17 Mar 2016 14:20:26 -0400
From: Michael Zryd 
To: Experimental Film Discussion List 
Subject: [Frameworks] Film/video programers/curators and campus film
screenings
Message-ID: <7f862ce8-d96c-4254-a002-a55d7eccb...@yorku.ca>
Content-Type: text/plain; charset="utf-8"

Hi Frameworks: I’m doing some research on what connections (if any) exist
between
people who program or curate film, video, and other moving image media and
their
experiences in college and university.

Question: If you are currently programming or curating, did you get any
experience
at a college or university campus film society or screening series?

I know of histories in Toronto at universities like Ryerson, University of
Toronto,
and York University, and have read anecdotal accounts from schools like
Binghamton,
NY, where students from those schools programmed ambitious experimental
screenings
on campus and then continued to program/curate afterwards, but I’m
wondering how
widespread that connection is. And whether it’s a North American
phenomenon or if it
occurs elsewhere.

Please share any stories or personal histories, either privately to me, or
to the
listserv.

Thanks!
Michael Zryd • Associate Professor
Department of Cinema & Media Arts
School of the Arts, Media, Performance & Design

YORK UNIVERSITY
York Lanes 230 • 4700 Keele Street
Toronto ON • Canada M3J 1P3
T 416.736.2100 x66957 / cell: 647-430-8680 / Skype: mjpzryd
z...@yorku.ca  •
http://ampd.yorku.ca/about-us/our-faculty/michael-zryd
 • ampd.yorku.ca



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[Frameworks] things

[Chris Kennedy]

> Today's Topics:
>
>
> 1. things (Bernard Roddy)
> 2. Re: things (Chuck Kleinhans)
>
>
> I just noticed that Ann Arbor gave it an award.  This is not a comment on
>  the jurors, of course (although we probably need to at least remark on
> the prominence of women's voices in these matters, both as jurors in the
> case of Ann Arbor and as represented artists, not to mention award
> recipients).

Can you expand on this remark, because I don't see the connection between
gender and the film you don't like?

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Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in December

[Chris Kennedy]

The past couple years I've actually been heartened by the other film 
manufacturing companies out there, as we've been working to stock LIFT's store 
with options. Even while kodak's offerings are diminishing, there have been a 
lot of replacement options (many which have been hiding in plain sight). Adox, 
Agfa (smaller quantities can be ordered through wittner), orwo, foma.  Ferrania 
will be making announcements in mid September, so I look forward to hearing 
what they have come up with. Although, they need to get in production soon to 
take advantage of kodak's collapsing of stocks.

The worry, of course, is that certain elements of lab printing and general 
peripheries (daylight spools, super 8 cartridges) that are largely supported by 
the volume of kodak's production will start to disappear. Wittner has stated 
that they have enough super 8 cartridges to last quite a few years, but we're 
still looking for a good stock of daylight spools. 

And of course, what will labs do in the next couple years?

Best
Chris


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Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in December

[Chris Kennedy]

Oh, yeah, and importantly, soundtracks... How close are we to loosing the 
ability to make those?

C
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Re: [Frameworks] Sleazeball attacks on avant-garde film

[Chris Kennedy]

As an interesting aside, $10k in 1964 is $76k in today's cash. Pretty generous 
grants from the ford foundation.
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Re: [Frameworks] Food

[Chris Kennedy]

Robert Fiore has beautiful prints of many of Smithson's films. Don't know
if he has this one. I'll try and suss out his contact. Scott B?


> You can find it at EAI here <http://www.eai.org/title.htm?id=761>. And the
> Robert Frank collection is at the Houston MFA.
>
>
> Best regards,
> Dennis Doros
> Milestone Film & Video/Milliarium Zero
> 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.shirleyclarkefilms.com,
> www.comebackafrica.com
>   www.ontheboweryfilm.com
> <http://www.killerofsheep.com/>
> Support "Milestone Film" on
> Facebook<http://www.facebook.com/pages/Milestone-Film/22348485426>
>  and Twitter <https://twitter.com/#!/MilestoneFilms>!
>
> See the website: Association of Moving Image
> Archivists<http://www.amianet.org/> and
> like them on
> Facebook<http://www.facebook.com/pages/Association-of-Moving-Image-Archivists/86854559717>
> AMIA 2013 Conference, Richmond, Virginia, November
> 5-9!<http://www.amianet.org/>
>
>
> On Mon, Mar 18, 2013 at 5:20 PM, graeme hogg
> wrote:
>
>>
>> Anyone know who holds 16mm copies of Matta-Clarks 'Food'?
>>
>>
>>
>> --
>> | | | | | | | | | | | | | | | | | | |
>> http://www.bristol-channel.**org/skomer<http://www.bristol-channel.org/skomer>
>> http://www.cubecinema.com/
>> | | | | | | | | | | | | | | | | | | |
>>
>> __**_
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>>
>
>
>
> --
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-- 
Chris Kennedy - Executive Director

Liaison of Independent Filmmakers of Toronto (LIFT)
1137 Dupont Street, Toronto, Ontario, M6H 2A3
Tel:  416.588.6444
Fax:  416.588.7017
Web:  www.lift.on.ca

Charitable # 125986406RR0001
Donate via CanadaHelps.org


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Re: [Frameworks] double 8mm camera

[Chris Kennedy]

LIFT in Toronto carries FOMA regular 8, so you already save on the
cross-atlantic shipping.  Info on how to order at
http://lift.ca/equipment/store
best
Chris


> RE: shipping costs
> I would definitely go in on a few rolls and save on shipping costs from
> foma czech rep. to NYC... private message me, I guess, and we can all
> arrange?
>
> ---
> ---
> .
>
>
>
> On Feb 20, 2013, at 9:33 PM, Phaeton Graph 
> wrote:
>
>> they're spoilt for choice on the continent of Europe. To import that
>> film into the UK *doubles* the price instantly :-( but it is great to
>> see some small independent firms producing film :)
>>
>> From: Pip Chodorov 
>> To: ev petrol ; Experimental Film Discussion List
>> 
>> Sent: Thursday, 21 February 2013, 0:04
>> Subject: Re: [Frameworks] double 8mm camera
>>
>> Double-8mm film: http://www.kahlfilm.de/content.php?nav=15
>>
>>
>>
>> At 9:48 -0800 20/02/13, ev petrol wrote:
>> >Hey folks
>> >emailing for a friend of mine who recently acquired a bell & howell
>> >double 8mm camera
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>>
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> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>


-- 
Chris Kennedy - Executive Director

Liaison of Independent Filmmakers of Toronto (LIFT)
1137 Dupont Street, Toronto, Ontario, M6H 2A3
Tel:  416.588.6444
Fax:  416.588.7017
Web:  www.lift.on.ca

Charitable # 125986406RR0001
Donate via CanadaHelps.org


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[Frameworks] Call for Submissions: International Artist Residencies 2013/2014

[Chris Kennedy]

Hi all,
we've just posted this year's call for submissions for our International
artist in residence program. Please pass on to anyone you think is
interested. Info below and at:
http://lift.ca/programming/call-submissions-international-artist-residencies-20132014

best,
Chris



The Liaison of Independent Filmmakers of Toronto (LIFT) is seeking
applications from international (non-Canadian) artists for 4–6 week
individual production residencies to take place between September 2013 and
August 2014. LIFT is an artist-run production and educational media arts
organization dedicated to celebrating excellence in the moving image. We
support a wide range of production formats including Regular 8mm, Super
8mm, 16mm, Super 16mm, 35mm and HD; film and digital editing; optical
printers; contact printers; animation stands; a darkroom and more. Toronto
also offers a range of lab facilities, a large pool of experienced
technicians and talent, a vibrant film community and a dynamic arts
environment.

LIFT's residency program focuses on the production of film-based works
with equipment and facilities to which the artist would not have access in
their local region. Artists are expected to be at an established point in
their practice (although not necessarily working predominantly with film).
Applicants must also consider what they would bring to Toronto in terms of
community collaboration, teaching, artist talks and/or presentation
activities—these engagements are a critical part of each residency offered
by LIFT.

The maximum cash funding for projects is $3,000 (CAD) for travel,
accommodation and per diems. Equipment and facilities will be provided by
LIFT to a maximum of $3,000 (CAD), LIFT equipment rates can be found at
www.lift.ca. The artist is responsible for the costs of all film stock,
chemicals, lab fees and other expendables.

Interested artists should submit proposals, including:
·   Proposal/Artist statement (including how they intend to engage the
local community during their stay and how LIFT can help create access to
equipment or facilities not available at their home location)
·   Curriculum vitae
·   Proposed budget (including funding sources for materials)
·   Visual support material of past work (do not send originals,
documentation will not be returned)

Submissions must be received no later than Monday, April 1, 2013.

Proposals are submitted on the understanding that the project’s execution
is contingent on funding yet to be secured.

Questions to:

Executive Director: Chris Kennedy at submissions(at)lift.on.ca

Subject Heading: LIFT International Artist Residencies 2013/14

Mail applications to:

International Artist Residencies 2013/14 Application
c/o Liaison of Independent Filmmakers of Toronto (LIFT)
1137 Dupont Street
Toronto, Ontario
M6H 2A3  CANADA

Due:
Monday, April 1, 2013 (All day)


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[Frameworks] FW: Seeking suggestions - Polaroids in film or video

[Chris Kennedy]

There's Rosario Sotelo's "Spectra" vimeo.com/2276
And Neil Henderson's "Polaroid Films"

C

On 1/25/13 1:21 AM, "frameworks-requ...@jonasmekasfilms.com"
 wrote:

Hi All,

Mimi Brody at Northwestern University¹s Block
> Cinema is looking for
films/videos that use Polaroids (see below) - especially
> experimental works.
Contact her directly (m-br...@northwestern.edu) or, if you
> reply here, I¹ll
forward to her.

Thx.

Patrick Friel




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[Frameworks] voyeurism / street photography in exp cinema

[Chris Kennedy]

There's Steve Reinke's Speculative Anthropology, which ends with one of the
viewed throwing something at the camera.


On 1/27/13 1:00 PM, "frameworks-requ...@jonasmekasfilms.com"
 wrote:

Hello Frameworkers,

I am trying to drum up a list of
> films/videos that use voyeurism and/or
street photography as a central
> component.  But in typing this I realize
that neither 'voyeurism' nor 'street
> photography' are really the correct
words/terms to use for what I am looking
> for.  I am interested in the
cinematic equivalent of 'street photography,'
> specifically films like those
made by Nathaniel Dorsky or Jem Cohen, where the
> filmmaker is
filmming/recording people on the street and/or other public
> places without
their knowledge.  Voyeurism tends to be associated with
> watching people in
private spaces doing private things, which is not what i am
> interested in,
but the word still lends itself to this query.

Any ideas of
> films, and good words/terms to describe them would be
> much
appreciated!


-Matt



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[Frameworks] Experimental Media Congress

[Chris Kennedy]

Message: 16
Date: Tue, 7 Aug 2012 16:31:09 -0700 (PDT)

From: Bernard Roddy

 > 
I wish I knew what Halter said about institutionalization. 

You can find out. Most of the audio from the congress is available for
streaming or download online:

http://www.experimentalmediacongress.org/

best
Chris


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[Frameworks] Discontinuation of Eastman 35/32mm sound recording stock

[Chris Kennedy]

Transit in Toronto is still doing it and judging from the last project they
did for me in March, it looks like its 16mm.

Best
Chris

On 7/11/12 6:50 PM, "frameworks-requ...@jonasmekasfilms.com"
 wrote:

Transit 
> Audio in Toronto was doing it for a while but I believe they stop.
LIFT would
> know if anyone is still shooting track in Toronto,
or LIFT may now have a
> camera in their facility.





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[Frameworks] Rick Corrigan "Soundtracks For Brakhage"

[Chris Kennedy]

This is great. I just got it and just listened to it. Worth getting the old
sony walkman out for. Well recommended. The music stands the test of time.
Want to (re?) see the films now.

Chris


On 3/29/12 12:42 AM, "frameworks-requ...@jonasmekasfilms.com"
 wrote:

>

Dear Frameworkers,

I thought this may be of interest
> to some of you.

Through my imprint Imminent Frequencies, I have just released
> Rick Corrigan
"Soundtracks For Brakhage" a limited edition cassette release,
> which
compiles three of the soundtracks Rick Corrigan made between 1990-1992
> for
films by Stan Brakhage. The three soundtracks presented here are;
> Boulder
Blues and Pearls and ..., Crack Glass Eulogy and Visions in Meditation
> Part
3: Plato's Cave. The recordings were transferred from the original
> tape
masters by Rick himself and the artwork was created using strips from
> the
16mm films courtesy of Marilyn Brakhage and Fred Camper.


 *
*
*IF17 -
> RICK CORRIGAN "SOUNDTRACKS FOR BRAKHAGE"*
*c34 Edition of 150*

Three
> electronic soundtracks by Rick Corrigan composed for films by the
visionary
> filmmaker Stan Brakhage. During the mid 1980¹s Rick Corrigan was
part of the
> Colorado-based experimental ensemble Architect¹s Office when he
befriended
> local film legend Stan Brakhage. In the years that followed they
would
> collaborate on numerous film projects and live performances in and
around
> Boulder, Colorado. The three soundtracks presented here were made
between
> 1990-1992 and were composed on a variety of synthesizers and
electronic
> instruments. Over the course of each piece Corrigan uses various
techniques to
> create a wide range of otherworldly sounds. Layers constantly
shift in texture
> and tone forming an aural mosaic. Never redundant and
thoroughly genuine,
> these are the sounds of an amazing electronic
synthesis. Transferred from the
> original cassette masters and featuring
artwork created from Brakhage's
> original 16mm films.




> 
> For pictures, sound clips and purchasing info please
> visit:
www.imminentfrequencies.com






thanks,


ryan


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[Frameworks] new post on Brakhage

[Chris Kennedy]

Hi Mark,
Is Tortured Dust spliced with tape or hot splicing?
And is Brakhage's signature method of using two frames of black leader a way
to hide the splice in a single-roll of hot-spliced original or just a way to
pop out the image on screen a bit more (or a little of both)?
Best,
Chris

On 2/25/12 9:14 AM, "frameworks-requ...@jonasmekasfilms.com"
 wrote:

From: Mark Toscano

It's 
> fairly dorky, but in case anyone's curious, I posted something about Stan
> Brakhage and a little about his use of color negative stocks at my
> unpredictably updated blog:

http://preservationinsanity.blogspot.com

This
> post was specifically inspired by going through the original for his film Max
> (2002) the other day.

Comments most welcome.

thanks,

Mark T


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Re: [Frameworks] canyon in the news (bad news dept)

[Chris Kennedy]

From: "Fred Camper" 
Subject:
> Lately I am part time and
"junior" at a strongly "tuition-driven"
> school in which avant-garde film
is certainly not the focus. So I don't show a
> lot of that. But I have
found that if you intelligently and passionately make
> the case to students
for, for example, showing film on film, many are
> receptive. I use some of
my prints, borrow some from friends, and use the
> prints in the school's
library that few faculty there use today.

I would point out that none of those options directly help Canyon. One of
the revenue losses that distributors are suffering is related to the schools
that do have an archive. Why would they rent a Brakhage film from Canyon
when they bought one ten years ago and can use the library version? Very few
universities are now buying prints, so distributors are primarily a rental
only source.

Another disturbing thing from the article:
"..it has sent letters appealing for funds to its 325 filmmaker members and
to 1,500 renters. The letter-raising campaign has raised about $500 so far,
Mr. Angerame said."

I don't know how long that campaign has been running, but I $500 is pretty
disgruntling. 


Chris




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[Frameworks] MSNBC: "Report: 35mm film will be dead by 2015"

[Chris Kennedy]

"By the end of 2012, the share of 35mm will decline to 37 percent of global
cinema screens, with digital accounting for the remaining 63 percent. This
represents a dramatic decline for 35mm, which was used in 68 percent of
global cinema screens in 2010. In 2015, 35mm will be used in just 17 percent
of global movie screens, relegating it to a niche projection format."

Sounds like its time for a new slogan: "We are the 17%"

Anyone else surprised to be part of a niche market?

:)

Chris


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Re: [Frameworks] 35mm experimental films

[Chris Kennedy]

Chris Gehman's Refraction Series (CFMDC)
Christina Battle's Hysteria (CFMDC)
Joost Rekveld's 37 (Light Cone)
Tomonari Nishikawa's Lumphini 2552 (Canyon?)
Bart Vetgar's Zwerk (Light Cone)
Pat O'Neill's Horizontal Boundaries (the ultimate 35mm film, imho)
Gustav Deutsch's Film Ist (Six Pack)
Sami van Ingen's Fokus
Ilppo Pohjola's Routemaster (NYFC)
Kurt Kren's 50/96: Snapshots (for Bruce) (Canyon)
Kurt Kren's 46/90: Falter 2 (big fan of this one)
Kevin Everson's Chevelle
Kubelka's work 
Martha Colburn's Cosmetic Emergency
Steven Woloshen's work

You can search Canyon & NYFC's website by format... Gets you about a couple
dozen in 35mm. If you have the shipping budget, a similar search on Light
Cone's website calls up another 160 (some great stuff)

Chris



On 10/28/11 1:40 AM, "frameworks-requ...@jonasmekasfilms.com"
 wrote:

> 
 
Hello all,

I'm looking for recommendations of 35mm experimental films for
> a program I am planning.  I have already thought of some titles like these but
> I could use plenty of other recommendations:

Trees of Syntax, Leaves of Axis
> - Daichi Saito
Coming Attractions- Peter Tscherkassky
Instructions for a Light
> and Sound Machine- Peter Tscherkassky
Arnulf Rainer- Peter
> Kubelka
Strips- Felix Dufour-Laperriere
Ouverture- Christopher Becks
The Decay
> of Fiction- Pat O'Neill
Domashnyee Kino/Home Movie (and other films)-John
> Price

Thanks in advance.

CH



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Re: [Frameworks] Forbes editorial about Kodak

[Chris Kennedy]

I'm sorry, is there something wrong with playing the fiddle while Rome
burns? You've got your fire-resistant vest and you're happy. Some people are
choosing similar options and others are choosing to keep fiddling. We like
the warmth, but its awfully hard to finish our tunes when you keep aiming
the damn fire-hose at us.
C

On 10/5/11 1:01 PM, "frameworks-requ...@jonasmekasfilms.com"
 wrote:

> The demise of film is
> inevitable. Labs are shutting down, stocks are 
being discontinued, Kodak
> itself is about to be placed on the 
chopping block. These are facts. What is
> your action plan? Shall we 
play the fiddle while Rome burns?

Aaron



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Re: [Frameworks] Today's Super-8 Services

[Chris Kennedy]

A friend of mine suggested that the main reason for this is because Yale's
right smack in middle of the valley and this policy was partly a way to not
have to work with the porn industry.


On 9/1/11 5:24 PM, Ekrem Serdar  wrote:

> still on their site :

*SUBJECT
> MATERIAL POLICY*
We realize that the artist has full and total choice of
> expression. However,
we reserve the right to refuse service to anyone. As a
> policy, we do not and
will not process, print, repair, or transfer any film
> containing: nudity,
pornography, sexual acts (either real or simulated),
> lewdness, satanic,
occultic, religiously blasphemous, exploitative of
> children, debasement of
women, containing S & M, anything illegal, or in any
> way extremely offensive
to us. Nor will we participate in the desensitization
> of or the
glorification of killing, rape, violence, gore, suicide, torture,
> profanity,
etc. whether in visual or audio form.

SATAN!


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[Frameworks] Moving to San Francisco

[Chris Kennedy]

My guess is Aaron has never lived anywhere else. Compared to most cities, SF
has a pretty great amount of resources.

That said, Carl, you're going to have to make it happen. Don't expect
anything to be handed to you (especially if you're in anyway associated to
SFAI), you've got to take charge and find things and do things. And when you
do, you'll find that there's both a decent community (yes, maybe not
"vibrant" anymore, but great in many ways) and one that is receptive to new
things when someone does do something new. SF is known for having a ton of
people who pass through for a few years and light the fire a bit AND people
who hole away in their neighborhoods after having been part of the fire for
a period of time (when you see their neighborhoods, you'll understand why).
But when they're active, its a lot of fun. Your turn.

Read "Radical Light", too. It's a pretty good. and yes, stay away from the
burners...

C


On 8/30/11 1:57 AM, "frameworks-requ...@jonasmekasfilms.com"
 wrote:

> --

Message: 4
Date: Mon, 29 Aug 2011 13:44:08
> -0700
From: "Aaron F. Ross" 
Subject: Re:
> [Frameworks] Moving to San Francisco
To: Experimental Film Discussion List
> 


The avant-garde film scene in
> this town has 
really degenerated in the last ten years. I took 
a break for a
> while to work on other things, and 
when I came back I found that the scene I
> knew 
and loved had fallen on hard times.

I can't recommend San Francisco as
> a place to 
find new and exciting avant-garde motion picture 
events. The
> venues Steve mentioned seem to be 
stuck in the 60's. I have nothing against
> 
structuralism, etc. per se, but frankly I see a 
lack of imagination and an
> inability to embrace 
new methods. This is an ill omen.

Don't come here
> expecting a vibrant community. 
It's stodgy, eccentric, self-absorbed,
> insular, 
and profoundly unimaginative. The old guard have 
no mojo left in
> them, and the young people are 
too busy fluffing their Burning Man costumes
> to do anything revolutionary.

Aaron



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