Re: [Frameworks] Entertaining the film

[Patrick Friel]

Buster Keaton's SHERLOCK JR. is the classic example. 
Also, HELLZAPOPPIN' with Ole Olson and Chic Johnson. 
Chuck Jones' great cartoon DUCK AMUCK is a variant on this.  

On Tuesday, July 17, 2018 7:48 PM, Nicole Baker  wrote:
 

 Hey frameworkers!
I'm trying to gather together a list of films where a person or persons enter 
into the film world/narrative.I know I've seen it, but can't think of any 
examples! Besides that Take on Me music video (which is close but no 
cigar).Examples from TV would work too.
Thanks everyone!Nicole___
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[Frameworks] Onion CIty Festival Opens Tomorrow - Chicago

[Patrick Friel]

Hi All,
Just a quick reminder for Chicago and near-Chicago folks (and, I guess, those 
who like to make spur-of-the-moment road trips):
The Onion City Experimental Film + Video Festival opens tomorrow and runs 
through Sunday.
Thursday, March 8 - Sunday, March 11 
At Chicago Filmmakers (come see our new firehouse space!)5720 N. Ridge 
Ave.Chicago, IL 60660(enter on the Hollywood Ave. side)
Opening NIght is Basma Alsharif's OUROBOROS.  Saturday Night Feature is Martine 
Syms' INCENSE, SWEATERS & ICE.
Shorts programs include: Josh Weissbach, Katya Yakubov, Tommy Heffron, Zachary 
Epcar, Marianna Milhorat, Grace Mitchell, Jesse McLean, Jesse Malmed, Sally 
Lawton, Alee Peoples, Sky Hopinka, Orr Menirom, Linnea Nugent, Carleen Maur, 
Cameron Gibson, Frédéric Moffet, Sasha Waters Freyer, Dani Restack and Sheilah 
Restack, Craig Neeson, eteam, Ben Edelberg, Michael Robinson, Olivia Ciummo, 
Ben Balcom, Scott Fitzpatrick, Inaya Graciana Yusuf, Carl Elsaesser, Zachary 
Hutchinson, Akosua Adoma Owusu, Steve Reinke, Jaakko Pallasvuo, Jeffrey Chong, 
Kristin Reeves, Laurentia Genske, Ephraim Asili, Lynne Sachs, Lorenzo Gattorna, 
Richard Tuohy, Lynne Siefert, and Bill Brown and Sabine Gruffat.
2018 Festival Judges: Carl Bogner, Hannah Piper Burns, Amina Ross
2018 Festival Programmer: Emily Eddy
Full schedule at http://www.onioncity.org./
Onion City is a production of Chicago Filmmakers
Best,
Patrick Friel(currently - Interim Marketing and Communications Manager, Chicago 
Filmmakers)

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[Frameworks] Call For Entries - Onion City Experimental Film and Video Festival

[Patrick Friel]

Hello All,

FYI -- the call for entries for the Onion City Experimental Film and Video 
Festival is ongoing (regular deadline is January 5; late deadline is January 
15).  Onion City is a  presentation of Chicago Filmmakers.

http://www.onioncity.org/

FilmFreeway is active. Withoutabox should be by tomorrow.

Best,
Patrick Friel
No, I'm not back programming OC; just filling in with some part-time work at 
Chicago Filmmakers.
OC is programmed this year by Emily Eddy (filmmaker, artist, programmer at the 
Nightingale, staff at Video Data Bank)
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Re: [Frameworks] Seeking 16mm print of Begone Dull Care

[Patrick Friel]

Hi Darren,

The Museum of Modern Art Circulating Film and Video Library has it.
https://www.moma.org/research-and-learning/research-resources/circulatingfil
m

Also, the New York Public Library does, too. Not sure if it¹s part of their
circulating collection.
https://www.nypl.org/about/locations/lpa/circulating-collections/reserve-fil
m

Have you tried the National Film Board of Canada directly?


Patrick Friel
Chicago


On 2/24/17 9:59 AM, "Darren Hughes" <longpau...@gmail.com> wrote:

> Good morning,
> 
> We just discovered that the print of Evelyn Lambart and Norman McLaren's
> Begone Dull Care we'd planned to screen at Big Ears Festival next month is
> unavailable. Any advice for tracking down another print on relatively short
> notice?
> 
> Thanks,
> Darren Hughes
> 
> http://publiccinema.org/bigears
> 
> 
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Re: [Frameworks] leads for research on USIA and avant-garde film?

[Patrick Friel]

The National Archives YouTube channel has TONS of great films up. Many in
720p.

All public domain.


On 8/2/16 11:08 PM, "Adam Hyman" <a...@lafilmforum.org> wrote:

> Thank you Patrick for taking the two minutes and finding that.  I should
have
> as well; didn't even cross my mind.  It's nice that the NA might be
posting
> these.

On 8/2/16 11:52 AM, "Patrick Friel" <patrick.fr...@att.net>
> wrote:

>FYI: GRAND CENTRAL MARKET is on YouTube @ 720p, uploaded by the
> National
>Archives.
>
>Searching for "U.S. Information Agency" on YouTube
> draws over 1700 results
>(though those would need to be checked to see which
> are actually USIA
>films).
>
>Patrick Friel
>
>
>
>On 8/2/16 12:23 PM, "Adam
> Hyman" <a...@lafilmforum.org> wrote:
>
>> Directed by William Hale - sorry
> forgot his name.
>
>On 8/2/16 10:11 AM, "Adam
>> Hyman" <a...@lafilmforum.org>
> wrote:
>
>>For another angle, one film to look at
>> is "Grand Central Market"
> (1963)
>>who also directed a film on the Watts
>> Towers, filmed by Haskell
> Wexler,
>>edited by Mel Sloan and visible as a
>> shopper at the eponymous
> market in
>>downtown LA is Lelia Goldoni, star of
>> Cassevetes's SHADOWS, who
> was
>>friends with Wexler I believe.  Distributed by
>> USIA, not available to
> be
>>seen in the US for 25 years, and now available at
>> the National
> Archives
>>(and I have a file).  It isn't on-the-nose propaganda,
>> but uses
> the tools
>>of verité documentary to show the market, with the subtext
>> of
> how people
>>of multiple backgrounds and ethnicities are able to come
>>
> together
>>peacefully in the grand American world of commerce.
>>
>>The
> best
>> resource to see the films is the National Archives of the
> United
>>States, the
>> College Park branch, where copies of most or all of
> the USIA
>>films went to be
>>
> archived.
>>https://www.archives.gov/research/catalog/
>>
>>For example, if
> you
>> type in Grand Central Market, they have two listings.
>>I happen to
> know from
>> ordering it that one of those copies doesn't exist
>>anymore, but
> they have
>> one.  Those identfiers are the info you need.  They
>>are not
> available online,
>> unless someone has posted it on YouTube.  They
>>are all
> public domain.  Ignore
>> the year of creation (which relates to when
>>it was
> deposited at the NA), but
>> you can see
>>Creator: U.S. Information Agency.
> 1982-10/1/1999
>>
>>Here are
>> these two listings:
>>
>>GRAND CENTRAL
>>
> MARKET
>><https://catalog.archives.gov/id/50048?=%7B%22q%22%3A%22Grand%20Ce
> n
>> 
> tral
>>%
>>20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%
> 22
>> 
> facet
>>%
>>22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2Cmater
> ia
>> 
> lsType
>>%
>>2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%
> 3A
>> %22true
>>%
>>22%7D=0>
>>From RG: 306
>>Moving Images Relating to
> U.S. Domestic
>> and International Activities
>>PORTRAYS ACTIVITY IN A LOS
> ANGELES, CA. FOOD
>> STORE - GRAND CENTRAL MARKET.
>>SHOWS VENDORS,
> REPRESENTING THE MELTING POT
>> THAT IS AMERICA, SELLING THEIR
>>WARES TO
> PEOPLE
>>National Archives Identifier:
>> 50048  Local Identifier: 306.3714
> Creator:
>>U.S. Information Agency.
>> 1982-10/1/1999
>>
>>
> <https://catalog.archives.gov/>
>>GRAND CENTRAL
>>
> MARKET
>><https://catalog.archives.gov/id/47130?=%7B%22q%22%3A%22Grand%20Ce
> n
>> 
> tral
>>%
>>20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%
> 22
>> 
> facet
>>%
>>22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2Cmater
> ia
>> 
> lsType
>>%
>>2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%
> 3A
>> %22true
>>%
>>22%7D=1>
>>From RG: 306
>>Moving Images Relating to
> U.S. Domestic
>> and International Activities
>>PORTRAYS ACTIVITY IN A LOS
> ANGELES, CA. FOOD
>> STORE - GRAND CENTRAL MARKET.
>>SHOWS VENDORS,
> REPRESENTING THE MELTING POT
>> THAT IS AMERICA, SELLING THEIR
>>WARES TO
> PEOPLE
>>National Archives Identifier:
>> 47130  Local Identifier: 306.346
> Creator:
>>U.S. Information Agency.
>> 1982-10/1/

Re: [Frameworks] leads for research on USIA and avant-garde film?

[Patrick Friel]

FYI: GRAND CENTRAL MARKET is on YouTube @ 720p, uploaded by the National
Archives.

Searching for "U.S. Information Agency" on YouTube draws over 1700 results
(though those would need to be checked to see which are actually USIA
films).

Patrick Friel



On 8/2/16 12:23 PM, "Adam Hyman" <a...@lafilmforum.org> wrote:

> Directed by William Hale - sorry forgot his name.

On 8/2/16 10:11 AM, "Adam
> Hyman" <a...@lafilmforum.org> wrote:

>For another angle, one film to look at
> is "Grand Central Market" (1963)
>who also directed a film on the Watts
> Towers, filmed by Haskell Wexler,
>edited by Mel Sloan and visible as a
> shopper at the eponymous market in
>downtown LA is Lelia Goldoni, star of
> Cassevetes's SHADOWS, who was
>friends with Wexler I believe.  Distributed by
> USIA, not available to be
>seen in the US for 25 years, and now available at
> the National Archives
>(and I have a file).  It isn't on-the-nose propaganda,
> but uses the tools
>of verité documentary to show the market, with the subtext
> of how people
>of multiple backgrounds and ethnicities are able to come
> together
>peacefully in the grand American world of commerce.
>
>The best
> resource to see the films is the National Archives of the United
>States, the
> College Park branch, where copies of most or all of the USIA
>films went to be
> archived.
>https://www.archives.gov/research/catalog/
>
>For example, if you
> type in Grand Central Market, they have two listings.
>I happen to know from
> ordering it that one of those copies doesn't exist
>anymore, but they have
> one.  Those identfiers are the info you need.  They
>are not available online,
> unless someone has posted it on YouTube.  They
>are all public domain.  Ignore
> the year of creation (which relates to when
>it was deposited at the NA), but
> you can see
>Creator: U.S. Information Agency. 1982-10/1/1999
>
>Here are
> these two listings:
>
>GRAND CENTRAL
> MARKET
><https://catalog.archives.gov/id/50048?=%7B%22q%22%3A%22Grand%20Cen
> tral
>%
>20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%22
> facet
>%
>22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2Cmateria
> lsType
>%
>2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%3A
> %22true
>%
>22%7D=0>
>From RG: 306
>Moving Images Relating to U.S. Domestic
> and International Activities
>PORTRAYS ACTIVITY IN A LOS ANGELES, CA. FOOD
> STORE - GRAND CENTRAL MARKET.
>SHOWS VENDORS, REPRESENTING THE MELTING POT
> THAT IS AMERICA, SELLING THEIR
>WARES TO PEOPLE
>National Archives Identifier:
> 50048  Local Identifier: 306.3714 Creator:
>U.S. Information Agency.
> 1982-10/1/1999
>
> <https://catalog.archives.gov/>
>GRAND CENTRAL
> MARKET
><https://catalog.archives.gov/id/47130?=%7B%22q%22%3A%22Grand%20Cen
> tral
>%
>20Market%22%2C%22rows%22%3A%2220%22%2C%22tabType%22%3A%22all%22%2C%22
> facet
>%
>22%3A%22true%22%2C%22facet.fields%22%3A%22oldScope%2Clevel%2Cmateria
> lsType
>%
>2CfileFormat%2ClocationIds%2CdateRangeFacet%22%2C%22highlight%22%3A
> %22true
>%
>22%7D=1>
>From RG: 306
>Moving Images Relating to U.S. Domestic
> and International Activities
>PORTRAYS ACTIVITY IN A LOS ANGELES, CA. FOOD
> STORE - GRAND CENTRAL MARKET.
>SHOWS VENDORS, REPRESENTING THE MELTING POT
> THAT IS AMERICA, SELLING THEIR
>WARES TO PEOPLE
>National Archives Identifier:
> 47130  Local Identifier: 306.346 Creator:
>U.S. Information Agency.
> 1982-10/1/1999
>
>
>You can also search on
>U.S. Information Agency.
> 8/1/1953-3/27/1978
>This gives you thousands of listings.  Limit it to motion
> pictures, etc.
>
>Best regards,
>
>Adam Hyman
>Los Angeles
> Filmforum
>
>
>
>
>On 7/31/16 5:17 AM, "Mark Webber" <m...@markwebber.org.uk>
> wrote:
>
>>Dear Ben
>>
>>You might want to speak to Malcolm Le Grice - he
> worked with the USIA and
>>American Embassy to organise several screenings in
> London in the early
>>1970s, until they reached a point where he felt that he
> could no longer
>>collaborate with them. These events included the Whitneys,
> Oskar
>>Fischinger, Stan Vanderkbeek and Lillian Schwartz.
>>
>>Email me off
> list if you¹d like Malcolm¹s contact details.
>>
>>Mark
>>
>>> Date: Fri, 29
> Jul 2016 13:13:03 -0400
>>> From: Ben Ogrodnik <ben.ogrod...@gmail.com>
>>>
> Subject: [Frameworks] leads for research on USIA and avant-garde film?
>>>
> 
>>> Hi all,
>>> I'm interested in conducting a bit

Re: [Frameworks] Camera obscura films

[Patrick Friel]

I strongly second Thomas Comerford¹s pinhole films!

Gioli has more than the one pinhole that Pip mentions.

Minyong¹s THE DARK ROOM is a very beautiful film.  Canyon doesn¹t seem to
have it; it¹s probably only available from him.  According to his Facebook,
he¹s back in South Korea (he went to SFAI).

Ernie Gehr¹s video/digital work is only available from him directly, as far
as I know.

Tomonari Nishikawa¹s CLEAR BLUE SKY is not a pinhole film (video), per se,
but uses a narrow slit to achieve a sort of similar effect.  Plus, it¹s
lovely.


pf



On 3/19/16 12:30 PM, "Pip Chodorov"  wrote:

> Paolo Gioli's FILM STENOPEICO was made in 16mm using a pinhole camera.
> 
> And Patrick Bokanowski's LA FEMME QUI SE POUDRE is a beautiful film made using
> a camera obscura and reworked glass  (he called his lenses subjectifs instead
> of objectifs)
> 
> 
> At 13:18 -0400 19/03/16, Jonathan Walley wrote:
>> I'm looking for experimental films (including videos) about camera obscuras,
>> and/or made using camera obscuras or pinhole cameras. I know about Glider by
>> Ernie Gehr and Minyong Jang's The Dark Room, although I don't know who
>> distributes these (anyone know?). But any other suggestions are welcome.
> 
> 
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Re: [Frameworks] Films about glass and light

[Patrick Friel]

GLASS HOUSE (2005) - Chi Jang Yin

http://www.chijangyin.com/video/glasshouse.php




On 2/2/16 8:19 PM, "Sheri Wills"  wrote:

> Hello Everyone,

As part of a celebration of the 50th anniversary of the glass
> department at RISD for next year, we are beginning to plan a series of
> screenings of (mostly experimental) films that engage with materials, ideas,
> experiences of glass and/or light - materially, abstractly, physically,
> metaphysicallyŠ..

We are planning a projection of Line Describing a Cone, and
> a screening of Text of Light. The preliminary long list includes Moholy-Nagy¹s
> films, Tacita Dean¹s Green Ray, and the 1959 industrial film, Glas, by Bert
> Haanstra.

It would be wonderful to hear thoughts from this group.

Many
> thanks in 
> advance,
Sheri
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Re: [Frameworks] Women filmmaker autobiographies

[Patrick Friel]

"A Woman Who" by Yvonne Rainer

Almost any book by Trinh T. Minh-ha ??

Maybe "This Is Called Moving" by Abigail Child




On 9/16/15 12:33 AM, "Noé Rodríguez" <noe.rodrigu...@gmail.com> wrote:

> Thanks Patrick, that is exactly the kind of book I need!
Essential Deren is
> another book that would work for me.

thanks.

On 15-09-15 9:41 PM, Patrick
> Friel wrote:
> Home Movies and Other Necessary Fictions by Michelle Citron
>
>
> https://www.upress.umn.edu/book-division/books/home-movies-and-other-necessa
>
> ry-fictions
>
>
>
>
> On 9/15/15 10:59 PM, "Noé Rodríguez"
> <noe.rodrigu...@gmail.com> wrote:
>
>> Hello frameworkers,
> I am compiling a
> list of books written by filmmakers
>> about their own
> work and
> contextualizing it within their life experience in
>> the form of
> an
> autobiography of their life in relation to film.
> I am
>> interested in books
> by filmmakers reflecting on their practice in a
> deep
>> personal way, where
> their ideas about film are framed within their
> particular
>> approach to
> film-making and their personal understanding of
> what film is.
> I
>> am
> looking for full books, not articles. Books that compile personal
> essays
>>
> reflecting on the filmmakers work are also considered. i.e
> Antonioni's
>>
> Architecture of Vision.
> I have found numerous books written by filmmakers
>>
> ranging from Jean
> Renoir to Brackhage, however I am having trouble
> finding
>> examples of
> books like this written by women filmmakers.
> If you
> could give me
>> some recommendations, that would be greatly
>
> appreciated.
>
> Thank you very
>> much,
> Noé
>
> ___
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>> list
>
> FrameWorks@jonasmekasfilms.com
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>>
> nfo/frameworks
>
>
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>
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Re: [Frameworks] Women filmmaker autobiographies

[Patrick Friel]

Home Movies and Other Necessary Fictions by Michelle Citron

https://www.upress.umn.edu/book-division/books/home-movies-and-other-necessa
ry-fictions




On 9/15/15 10:59 PM, "Noé Rodríguez"  wrote:

> Hello frameworkers,

I am compiling a list of books written by filmmakers
> about their own 
work and contextualizing it within their life experience in
> the form of 
an autobiography of their life in relation to film.
I am
> interested in books by filmmakers reflecting on their practice in a 
deep
> personal way, where their ideas about film are framed within their 
particular
> approach to film-making and their personal understanding of 
what film is.
I
> am looking for full books, not articles. Books that compile personal 
essays
> reflecting on the filmmakers work are also considered. i.e 
Antonioni's
> Architecture of Vision.

I have found numerous books written by filmmakers
> ranging from Jean 
Renoir to Brackhage, however I am having trouble finding
> examples of 
books like this written by women filmmakers.
If you could give me
> some recommendations, that would be greatly 
appreciated.

Thank you very
> much,

Noé
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> list
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Re: [Frameworks] Titles of scratch films

[Patrick Friel]

³Chemical Scratching²  -  I¹m sticking to that. Yeah.



On 8/25/15 4:26 PM, Beebe, Roger W. beebe...@osu.edu wrote:

 But her Hand Eye Coordination certainly counts, even if Removed doesn¹tŠ
 
 On Aug 25, 2015, at 5:21 PM, Warren Cockerham warrencocker...@gmail.com
 wrote:
 
 Hey Patrick (and Tess)..
 
 I thought that Naomi Uman's REMOVED was a scratched film for many years too.
 But, she told me a few years ago that she applied (clear?) nail polish to the
 parts of the images she wanted to keep -- frame by frame - for many months.
 Then, she gave the film a bleach bath...  I guess that's why there are faint
 images of bodies left on the bleached out portions of the film and cracks and
 crevices on the other parts of the image.
 
 hope that helps,
 Warren 
 
 On Tue, Aug 25, 2015 at 4:08 PM, Patrick Friel patrick.fr...@att.net wrote:
 Animated scratching: Broken Down Film (Osamu Tezuka, 1985)
 
 Naomi Uman¹s Removed (1999)
 
 Isidore Isou¹s Venom and Eternity (1951)
 
 But, these and the other suggestions so far, um, only scratch the surface.
 
 
 Patrick F.
 
 
 
 
 On 8/25/15 3:44 PM, Carl E Bogner crlel...@uwm.edu
 http://crlel...@uwm.edu/  wrote:
 
 
 
 
 
 Tess, hi - 
 
 
 
 I had a colleague in the Film Department, recently transplanted to Ann
 Arbor, who wouldn¹t let a frame of her film go through the gate unless she
 had scratched on it.
 
 
 
 I overstate but Naz Dincel¹s practice relentlessly involves scratching on
 her film -- or, that is to say, involves relentless scratching. Her film
 ³Her Silent Seaming² -- to cite an example -- was a Jury Award winner at
 FLEX this year and also screened at Images, among other places.
 
 
 
 (I think she has her ear to the ground so she may respond to you off-list?
 Naz, contact Tess.)
 
 
 
 Also there is that propositional film that Frampton talked about in ³A
 Lecture,² its constantly inscribed scratch transplanting what the film is
 about from ³Lana Turner² to that very scratch, if I recall correctly.
 
 
 
 What¹s with Roger Beebe¹s premature fatigue? Man!
 
 
 
 Carl
 
 Milwaukee
 
 
 
 
 
 
 
 From: FrameWorks frameworks-boun...@jonasmekasfilms.com
 http://frameworks-boun...@jonasmekasfilms.com/  on behalf of Tess
 Takahashi tess.takaha...@gmail.com http://tess.takaha...@gmail.com/ 
 Sent: Tuesday, August 25, 2015 2:08 PM
 To: Experimental Film Discussion List
 Subject: [Frameworks] Titles of scratch films
  
 I'm doing something on films that employ scratching directly on celluloid
 like Brakhage's Chinese Series, David Gatten's Fragrant Portals..., Dona
 Cameron's World Trade Alphabet, Barbel Neubauer's work, Pierre Hebert's
 work, Storm DeHirsch's Peyote Queen, and Len Lye's Free Radicals.
 
 What am I missing? Old and New?
 
 Bonus points it it's set to African drums...
 
 
 
 
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 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
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 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 ___
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 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
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 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks 

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Re: [Frameworks] Titles of scratch films

[Patrick Friel]

Animated scratching: Broken Down Film (Osamu Tezuka, 1985)

Naomi Uman¹s Removed (1999)

Isidore Isou¹s Venom and Eternity (1951)

But, these and the other suggestions so far, um, only scratch the surface.


Patrick F.




On 8/25/15 3:44 PM, Carl E Bogner crlel...@uwm.edu wrote:

 
 
 
 
 Tess, hi - 
 
 
 
 I had a colleague in the Film Department, recently transplanted to Ann Arbor,
 who wouldn¹t let a frame of her film go through the gate unless she had
 scratched on it. 
 
 
 
 I overstate but Naz Dincel¹s practice relentlessly involves scratching on her
 film -- or, that is to say, involves relentless scratching. Her film ³Her
 Silent Seaming² -- to cite an example -- was a Jury Award winner at FLEX this
 year and also screened at Images, among other places.
 
 
 
 (I think she has her ear to the ground so she may respond to you off-list?
 Naz, contact Tess.)
 
 
 
 Also there is that propositional film that Frampton talked about in ³A
 Lecture,² its constantly inscribed scratch transplanting what the film is
 about from ³Lana Turner² to that very scratch, if I recall correctly.
 
 
 
 What¹s with Roger Beebe¹s premature fatigue? Man!
 
 
 
 Carl
 
 Milwaukee
 
 
 
 
 
 
 
 From: FrameWorks frameworks-boun...@jonasmekasfilms.com on behalf of Tess
 Takahashi tess.takaha...@gmail.com
 Sent: Tuesday, August 25, 2015 2:08 PM
 To: Experimental Film Discussion List
 Subject: [Frameworks] Titles of scratch films
  
 I'm doing something on films that employ scratching directly on celluloid like
 Brakhage's Chinese Series, David Gatten's Fragrant Portals..., Dona Cameron's
 World Trade Alphabet, Barbel Neubauer's work, Pierre Hebert's work, Storm
 DeHirsch's Peyote Queen, and Len Lye's Free Radicals.
 
 What am I missing? Old and New?
 
 Bonus points it it's set to African drums...
 
 
 
 
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Re: [Frameworks] Women working in Expanded Cinema

[Patrick Friel]

Kristin Reeves
http://www.reevesmachine.com/



On 3/20/15 12:04 PM, Alex Balkam blueswingingd...@gmail.com wrote:

 Hello Frameworks, 
 
 At the Atlantic Filmmakers Cooperative where I work we are interested in
 inviting women working in the Expanded Cinema realm to join us as Visiting
 Artists for an Expanded Cinema program we are hoping to develop. 
 
 I was interested to know if anyone on the list would like to recommend
 practicing Expanded Cinema artists, ideally women who work in the practice. We
 are primarily interested in artists working with celluloid film, as opposed to
 video mapping, etc.
 
 Thank you,
 
 
 
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[Frameworks] Onion City Film Festival - Chicago

[Patrick Friel]

Hello All (Especially Chicago and Midwest Folks),


The Onion City Experimental Film and Video Festival opens this Wednesday,
January 28, at the Gene Siskel Film Center and continues through Saturday,
January 31 at Columbia College (Ferguson Theater).  There are seven
different programs (six shorts programs and Harun Farocki¹s 2013 feature
³Sauerbruch Hutton Architects²).

Expected in Person: Gregg Biermann, Phil Hoffman, Fern Silva, Jesse Malmed,
Dana Berman Duff, John Powers, Ben Balcom

With additional work by Janie Geiser, Phil Solomon, Mónica Savirón,
Jean-Paul Kelly, Robert Todd, Joshua Gen Solondz, Eytan Ipeker, MM Serra and
Josh Lewis, Tomonari Nishikawa, Clint Enns, Giuseppe Boccassini, Vika
Kirchenbauer and Martin Sulzer, Stephanie Wuertz and Sasha Janerus, Jesse
McLean, Zach Iannazzi, Josh Weissbach, Shiloh Cinquemani, Diane Kitchen,
Klaus Wyborny, Paulo Abreu, Talena Sanders, Pierre Yves Clouin, Olivia
Ciummo, Ross Meckfessel, Tânia Dinis, Susann Maria Hempel, Blake Williams,
Scott Fitzpatrick, Burak Çevik, Simon Payne, Yoel Meranda, and Jeremy Moss.

Full schedule here:

http://chicagofilmmakers.org/cf/content/onion-city-experimental-film-and-vid
eo-festival

Hope to see some of you there!


Best,

Patrick Friel
Festival Director/Programmer ­ Onion City



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Re: [Frameworks] educational film expertise?

[Patrick Friel]

Hello Caryn,

Rick Prelinger ­ Prelinger Archives
Skip Elsheimer ­ A/V Geeks
Stephen Parr ­ Oddball Film + Video

are likely the three most expert people to at least start with. And they
would likely know who might have more specialized knowledge, as would Dan
Streible (NYU and Orphans Film Symposium).

Best,

pf


On 12/2/14 9:22 PM, Caryn Cline carynycl...@gmail.com wrote:

 Hello Frameworkers,
 
 In a wonderful stroke of serendipity, I discovered the mid-20th century
 educational filmmaker--wait for it-- Mildred Morse Allen
 http://www.firstladies.org/documents/art_legacy.pdf .  (If you go to the
 pdf, page down to find out information about her.)  There is very little about
 her on the internet.  Is there any one on this list who knows the world of 60s
 educational film?  Is there anyone who could help me research this woman who
 produced, directed, photographed and edited her own 16mm educational nature
 films, working in her own back yard? 
 
 As always, thank you for being out there.
 
 CC
 -- 
 Caryn Cline
 Experimental Filmmaker  Teacher
 vimeo.com/carynyc http://vimeo.com/carynyc
 Co-producer  cinematographer, Acts of Witness
 www.actsofwitness.com http://www.actsofwitness.com/
 
 
 
 
 
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[Frameworks] Onion City - call for entries

[Patrick Friel]

Hello Frameworkers and Framemakers,

The 26th Onion City Experimental Film and Video Festival will be in Winter 
2015, a temporary slot as we try to shift it to November (so two festival next 
year? I think so!).

Call for entries is now live.  Very short window to submit.  Questions/concerns 
- email me directly or at onionc...@chicagofilmmakers.org.

http://chicagofilmmakers.org/cf/content/onion-city-experimental-film-and-video-festival



Best to All,

Patrick Friel
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Re: [Frameworks] Modern 16mm features, distributed on film

[Patrick Friel]

Ben's TWO YEARS AT SEA was shot in 16mm but released in 35mm.

pf


On Friday, July 18, 2014 11:45 AM, Adam Hyman a...@lafilmforum.org wrote:
 


Re: [Frameworks] Modern 16mm features, distributed on film
Didn’t one by Ben Rivers?



On 7/18/14 6:46 AM, Warren Cockerham warrencocker...@gmail.com wrote:


Let Each One Go Where He May (2009) - Ben Russell 


On Fri, Jul 18, 2014 at 1:50 AM, John Woods jawood...@yahoo.ca wrote:

Differently, Molussia (2012) and Empty Quarter (2011) are the only feature 
length films that I am aware of that were distributed on 16mm film in the past 
few years. Does anyone else know of any others? Thank you!

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Re: [Frameworks] Dara Greenwald videos?

[Patrick Friel]

I don't think they're at the Video Data Bank (as Oona suggested), but they
should be!

I'd contact her partner, Josh McPhee.  I don't have his info, but I think
he's findable on the web.  Maybe Dara's website has been updated with info
on renting her work.

One of her pieces showed in a retrospective program at the Chicago
Underground Film Festival last year.  Check with them (Bryan Wendorf).

pf



On 1/7/14 11:45 AM, Scott Stark sst...@hi-beam.net wrote:

 Does anyone know where to find (the late) Dara Greenwald's videos for
 rental?

thanks
Scott

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[Frameworks] R.I.P - sad news

[Patrick Friel]

Hello All,

I¹ve not seen it mentioned here, but some sad news from Chicago.
Experimental filmmaker, artist, and educator Michele (Shellie) Fleming
passed away on Monday, December 30, after a long battle with cancer.

Shellie was an extraordinary person, an accomplished filmmaker and artist,
and, perhaps most importantly, a passionate, dedicated, and beloved
instructor at the School of the Art Institute of Chicago for many years.

Shellie¹s husband Zack Stiglicz, also an experimental film/video maker and
artist, died several years ago now.


http://www.saic.edu/~mflemi/Five_Films_Four_Scripts.pdf


Best to All,

Patrick Friel


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Re: [Frameworks] Found Soundtrack Films

[Patrick Friel]

GLOBE is great, imo.


On 11/25/13 7:05 PM, Fred Camper f...@fredcamper.com wrote:

 Quoting Albert Alcoz albertalc...@yahoo.es:



 Hi,

 Institutional
 Qualityby George Landow was created from a found  
 soundtrack, in this case
 a tape recorder about an instructional test.

 Does anyone know other
 examples that uses found soundtracks for  
 experimental films, especially
 from the sixties and seventies?

There is this one by Ken Jacobs:

GLOBE
 (1971, 22 mins, 16mm, color, sound on cassette)
(Previously titled: EXCERPT
 FROM THE RUSSIAN REVOLUTION)
³Flat image (of snowbound suburban housing tract)
 blossoms into 3D  
only when viewer places Eye Opener before the right eye.
 (Keeping both  
eyes open, of course. As with all stereo experiences, center
 seats are  
best. Space will deepen as one views further from the screen.) The
 
found-sound is X-ratable (not for children or Nancy Reagan) but is
 
important to the film¹s perfect balance (GLOBE is symmetrical) of  
divine
 and profane.² (KJ)  (pasted in from
 
http://nightingalecinema.org/ken-jacobs-x-3-old-new/)

I've seen it, and am
 not completely sure what I thought of it. It is  
at the least extremely
 interesting.

Fred
 Camper
Chicago

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Re: [Frameworks] The Chelsea Girls

[Patrick Friel]

The Museum of Modern Art Circulating Film and Video Library is the only
place, as far as I know:

http://www.moma.org/learn/resources/circulatingfilm#aboutcircfilm

Click on ³The Films of Andy Warhol 16mm² on the left ­ US/Canada or Non-US
as the case may be.


Patrick Friel



On 10/1/13 3:43 AM, Ingo Petzke i...@petzke.biz wrote:

 Does anybody happen to know if there is a print of CHELSEA GIRLS available for
 renting anywhere in the world?
 
  
 
 Thanks
 
  
 
 Ingo
 
  
 
 
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[Frameworks] Onion City Film Festival Crowdfunding

[Patrick Friel]

Hello All,


I've kept the flogging of our Indiegogo crowdfunding campaign for the 25th 
Onion City Experimental Film and Video Festival off the list, but now that we 
have only a week left I wanted to draw your attention to it.

If you are inclined to help out, it would be greatly appreciated. Even a small 
amount is welcome.

As incentives, we have a terrific group of perks for higher contributions, 
including Hollis Frampton Blu-rays, books by Scott MacDonald, a great new book 
on Bruce Conner, a special Jodie Mack pack, an original artwork by Stephanie 
Barber, a box-set of Jonas Mekas films, a generous number of original, 
hand-made 35mm slides by Luther Price, and more.

Take a look at the details here: http://igg.me/p/469026/x/3996277

Please consider contributing if you are able.

Thanks to all of you who have already contributed, submitted your work for 
programming consideration, contributed perks to the campaign, provided 
recommendations and contacts, and/or will be attending the festival.

The Onion City festival is September 5-8, 2013 (in Chicago).  I'll be posting 
the line-up and schedule in the next few days. 


Best,

Patrick Friel
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Re: [Frameworks] self-promotion department

[Patrick Friel]

$75 hardback; $39.95 paperback.


On 6/12/13 1:42 PM, j...@kinetta.com j...@kinetta.com wrote:

 
 On Jun 12, 2013, at 10:34 AM, Scott MacDonald wrote:
 
 Unfortunately, the book is over-priced (the Press tells me $39.00 is a normal
 price for a book of this size, but it seems extravagant to me)--I'm sorry
 about this.
 
 If $39.00 seems extravagant, how does the actual price of $75.00 strike you?
 
 Jeff Kreines
 Kinetta
 kinetta.com http://kinetta.com
 j...@kinetta.com
 
 
 
 
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Re: [Frameworks] Film Remakes/Covers

[Patrick Friel]

Selected films by Ichiro Sueoka [avant-garde film remakes]

Selected videos by Clint Enns

Shulie (Elisabeth Subrin) [shot for shot remake]

A Movie by Jen Proctor (Jen Proctor) [after A Movie]

Paris Times Three (Carina Johnson) [after Marilyn Times Five]

He Likes to Chop Down Trees (Leighton Pierce) [after Dog Star Man]


Quickly, off the top of my head.  The third part opens things up to a
potentially unwieldy list of works...



On 5/6/13 7:32 PM, Josh Mabe (use this one) jb.m...@gmail.com wrote:

 Hey Gang,

I'm trying to work up a list of films that are direct remakes
 (like
What Farocki Taught), or riffs/covers (Ceibas: Epilogue - The Well
 of
Representation), or, hell, just films that are mainly sourced
 with
recognizable images (Alone. Life Wastes Andy Hardy  Outer
 Space).

Thoughts?

Best,
Josh
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Re: [Frameworks] March 19 Screening: Unlimited Subjectivity: The Written and Sung Work of Duke and Battersby

[Patrick Friel]

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

So to clarify ­ this is in Chicago.

Best to all,

pf


On 3/11/13 4:12 PM, Patrick Friel patrick.fr...@att.net wrote:

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

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

[Patrick Friel]

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




-- Forwarded Message
From: mimibrody m-br...@northwestern.edu
Reply-To: filmprogrammers filmprogramm...@yahoogroups.com
Date: Thu, 24 Jan 2013 18:01:33 -
To: filmprogrammers filmprogramm...@yahoogroups.com
Subject: [filmprogrammers] Seeking suggestions - Polaroids in film or video


Hi everyone,

I'm looking for films and videos that incorporate Polaroid film in some way.
I know there are a few feature films that use Polaroids (for instance, Alice
in the Cities and Memento) and a recent documentary (Time Zero). I'm mostly
interested in experimental works, but am curious to hear about additional
features as well.

Thanks!

Mimi Brody
Block Cinema

 

-- End of Forwarded Message

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[Frameworks] Fred Halsted's Rare and Classic L.A. PLAYS ITSELF screening Jan 26 and 27

[Patrick Friel]

White Light Cinema Presents
 
 
Fred Halsted¹s L.A. PLAYS ITSELF
1970¹s Gay Experimental-Porn Classic in an Ultra-Rare Version
 
New High Definition Transfer of the Complete Uncut Film!
 
 
Two Screenings!
 
Saturday, January 26 ­ 8:00pm
At The Nightingale (1084 N. Milwaukee Ave.)
Co-Presented by The Nightingale
 
Sunday, January 27 ­ 7:00pm
At Chicago Filmmakers (5243 N. Clark St.)
Introduced Via Skype by William E. Jones ­ Author of Halsted Plays Himself
(see bio below)
 
 
 
L.A. PLAYS ITSELF (1972, 51 min, New High Definition Transfer of 16mm) by
Fred Halsted
 
 
³Fred Halsted clearly is the Ken Russell of SM homoerotica.² (Variety)
 
³This film breaks all the stereotypes! I recommend it for all audiences.²
(William S. Burroughs)
 
³New information for meŠ² (Salvador Dali)
 
 
 
 
White Light Cinema is pleased to begin its fifth year with a very rare
presentation of a new high definition transfer of the complete and uncut
version of Fred Halsted¹s famed and infamous 1972 gay porn film L.A. PLAYS
ITSELF. Although a part of the permanent film collection at the Museum of
Modern Art in New York, this rare version has never been released on home
video and has been screened publicly less than half a dozen times in the
past 30 years. 
 
The film was released at a rarified time in the history of x-rated cinema.
Pornographic films had only been legal to screen publicly for a couple of
years and both gay and straight variants had been looking to ³legitimize²
themselves through consciousness artistic flourishes. Wakefield Poole¹s Boys
in the Sand (1971) and Bijou (1972) led the way for gay adult films and
Gerard Damiano¹s Deep Throat (1972) exemplified the short-lived ³porno chic²
era in heterosexual porn that L.A. Plays Itself attempted to capitalize on,
though Halsted¹s film was conceived of and in production well before any of
them. Halsted hired a publicist for the film, held VIP advance screenings,
and had remarkable success for a low-budget, gritty, and very graphic gay
porn film. It was even screened at the Museum of Modern Art in 1974.
 
Part of the success of the film, and part of its controversy, is Halsted¹s
unflinching portrait of the leather and SM scene in Los Angeles in the
second half of the film. But, like the Poole films and the straight porno
chic straight films of the time, the film also had artistic ambitions. The
first half is a lyrical ode to lesser-seen sections of Halsted¹s beloved Los
Angeles and the surrounding ³countryside,² which was rapidly disappearing to
development. The film can be viewed almost as a city-symphony of sorts, a
film of landscape and cityscape, a film heralding some changes and lamenting
others. Throughout, it is also a film that plays with form‹experimenting
with structure, editing, and sound in particular. While Halsted was not a
trained filmmaker and the film has a definite roughness, it is a roughness
that amplifies its themes and content, that functions like a queer art brut
rather than simply as poor craftsmanship. Hasted was too smart for that. He
knew his limitations and worked with them.
 
 
 
 
 
³In 1972 Fred Halsted released--perhaps unleashed is more apt--his hardcore
gay SM porn film L.A. Plays Itself, a pioneering work of the genre and one
that surprisingly crossed over to achieve some mainstream attention and
acclaim for its aesthetic vision (it even screened at the Museum of Modern
Art). Š While L.A. is still known and discussed among scholars and
cinephiles, it is virtually impossible to see, apart from bootlegs of an
out-of-print and incomplete VHS release. For most people, it resides in
distant memory or speculative imagination.² (Patrick Friel, Afterimage)
 
 
 
³One of the only gay porn films acquired by the Museum of Modern Art's
permanent collection, Fred Halsted's L.A. PLAYS ITSELF marked a special
moment in early gay liberation, arriving before the commercial porn industry
eliminated traces of the avant-garde from its films. But make no mistake -
the film is hardcore - featuring hot and heavy graphic SM sex scenes.
Halsted stars as a rough loner in a fast car, driving through Los Angeles
stopping along the way to hook up with hot hustlers, rough trade and sexy
studs. At one New York screening, Salvador Dali left the theater muttering
Œnew information for me.¹² (Outfest)
 
 
³Born in Long Beach in 1941 and raised all over the state of California,
Fred Halsted rarely left his adopted city of Los Angeles. Capturing the city
as few other films could, L.A. Plays Itself (1972), Halsted¹s first film,
has come to be regarded as a classic within the genre of gay porn. Its
images of beautiful young men in sylvan Malibu Canyon and boy hustlers on
the mean streets of Hollywood gained for Halsted the kind of celebrity than
simply isn¹t possible today. Fred Halsted never held a regular job; he
didn¹t teach; he had no gallery representation; he had no agent; he didn¹t
shoot commercials or advertising campaigns; he didn¹t even have a social
security

Re: [Frameworks] Fred Halsted's Rare and Classic L.A. PLAYS ITSELF screening Jan 26 and 27

[Patrick Friel]

Whoops ­ this was meant for a similarly named local list, otherwise I would
have specified that this is in Chicago.

Still, Chicago, Milwaukee, Iowa City, other nearby folks ­ hope you can
come!  (Maybe I should say ³attend² in this case?).

pf


On 1/17/13 3:19 PM, Patrick Friel patrick.fr...@att.net wrote:

 
 White Light Cinema Presents
  
  
 Fred Halsted¹s L.A. PLAYS ITSELF
 1970¹s Gay Experimental-Porn Classic in an Ultra-Rare Version
  
 New High Definition Transfer of the Complete Uncut Film!
  
  
 Two Screenings!
  
 Saturday, January 26 ­ 8:00pm
 At The Nightingale (1084 N. Milwaukee Ave.)
 Co-Presented by The Nightingale
  
 Sunday, January 27 ­ 7:00pm
 At Chicago Filmmakers (5243 N. Clark St.)
 Introduced Via Skype by William E. Jones ­ Author of Halsted Plays Himself
 (see bio below)
  
  
  
 L.A. PLAYS ITSELF (1972, 51 min, New High Definition Transfer of 16mm) by Fred
 Halsted
  
  
 ³Fred Halsted clearly is the Ken Russell of SM homoerotica.² (Variety)
  
 ³This film breaks all the stereotypes! I recommend it for all audiences.²
 (William S. Burroughs)
  
 ³New information for meŠ² (Salvador Dali)
  
  
  
  
 White Light Cinema is pleased to begin its fifth year with a very rare
 presentation of a new high definition transfer of the complete and uncut
 version of Fred Halsted¹s famed and infamous 1972 gay porn film L.A. PLAYS
 ITSELF. Although a part of the permanent film collection at the Museum of
 Modern Art in New York, this rare version has never been released on home
 video and has been screened publicly less than half a dozen times in the past
 30 years. 
  
 The film was released at a rarified time in the history of x-rated cinema.
 Pornographic films had only been legal to screen publicly for a couple of
 years and both gay and straight variants had been looking to ³legitimize²
 themselves through consciousness artistic flourishes. Wakefield Poole¹s Boys
 in the Sand (1971) and Bijou (1972) led the way for gay adult films and Gerard
 Damiano¹s Deep Throat (1972) exemplified the short-lived ³porno chic² era in
 heterosexual porn that L.A. Plays Itself attempted to capitalize on, though
 Halsted¹s film was conceived of and in production well before any of them.
 Halsted hired a publicist for the film, held VIP advance screenings, and had
 remarkable success for a low-budget, gritty, and very graphic gay porn film.
 It was even screened at the Museum of Modern Art in 1974.
  
 Part of the success of the film, and part of its controversy, is Halsted¹s
 unflinching portrait of the leather and SM scene in Los Angeles in the second
 half of the film. But, like the Poole films and the straight porno chic
 straight films of the time, the film also had artistic ambitions. The first
 half is a lyrical ode to lesser-seen sections of Halsted¹s beloved Los Angeles
 and the surrounding ³countryside,² which was rapidly disappearing to
 development. The film can be viewed almost as a city-symphony of sorts, a film
 of landscape and cityscape, a film heralding some changes and lamenting
 others. Throughout, it is also a film that plays with form‹experimenting with
 structure, editing, and sound in particular. While Halsted was not a trained
 filmmaker and the film has a definite roughness, it is a roughness that
 amplifies its themes and content, that functions like a queer art brut rather
 than simply as poor craftsmanship. Hasted was too smart for that. He knew his
 limitations and worked with them.
  
  
  
  
  
 ³In 1972 Fred Halsted released--perhaps unleashed is more apt--his hardcore
 gay SM porn film L.A. Plays Itself, a pioneering work of the genre and one
 that surprisingly crossed over to achieve some mainstream attention and
 acclaim for its aesthetic vision (it even screened at the Museum of Modern
 Art). Š While L.A. is still known and discussed among scholars and cinephiles,
 it is virtually impossible to see, apart from bootlegs of an out-of-print and
 incomplete VHS release. For most people, it resides in distant memory or
 speculative imagination.² (Patrick Friel, Afterimage)
  
  
  
 ³One of the only gay porn films acquired by the Museum of Modern Art's
 permanent collection, Fred Halsted's L.A. PLAYS ITSELF marked a special moment
 in early gay liberation, arriving before the commercial porn industry
 eliminated traces of the avant-garde from its films. But make no mistake - the
 film is hardcore - featuring hot and heavy graphic SM sex scenes. Halsted
 stars as a rough loner in a fast car, driving through Los Angeles stopping
 along the way to hook up with hot hustlers, rough trade and sexy studs. At one
 New York screening, Salvador Dali left the theater muttering Œnew information
 for me.¹² (Outfest)
  
  
 ³Born in Long Beach in 1941 and raised all over the state of California, Fred
 Halsted rarely left his adopted city of Los Angeles. Capturing the city as few
 other films could, L.A. Plays Itself (1972), Halsted¹s first film, has come to
 be regarded as a classic

Re: [Frameworks] Our Nixon

[Patrick Friel]

Penny and Brian have been able to get some pretty good press - even in the
production phase: http://www.ournixon.com/news.html.  I suspect this will
increase once the film is done.

Sadly, Hurricane Sandy forced the cancellation of a presentation of wip
clips plus raw footage last night at MoMA's preservation festival:
http://www.moma.org/visit/calendar/film_screenings/16477.

pf


On 10/29/12 5:38 AM, Jonathan Walley wall...@denison.edu wrote:

 Just saw Penny Lane and Brian Frye talking about their new film on BBC
World
 News. Don't see experimental filmmakers in such contexts too
often. Great way
 to start an otherwise dreary, rainy, cold, and
flu-ish Monday!
JW

Jonathan
 Walley
Associate Professor of Cinema
Denison
 University
wall...@denison.edu
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Re: [Frameworks] SCAM

[Patrick Friel]

Serra was not robbed and left stranded in the Philippines. She is, in fact, on 
vacation in the south of France, spending some of the money she got in a sweet 
deal arranged by a lawyer representing a Nigerian colonel's widow involving 
some kind of frozen assets. Those kinds of opportunities are rare.
pf








(And since this is a public and archived forum, note that I'm of course joking)

--- On Tue, 7/24/12, Chuck Kleinhans chuck...@northwestern.edu wrote:

From: Chuck Kleinhans chuck...@northwestern.edu
Subject: [Frameworks] SCAM
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Tuesday, July 24, 2012, 4:57 PM



 


I've just received what is an obvious email hacking scam letter from MM Serra 
at the Filmmakers coop  purporting to report she had everything stolen from 
her in the Philippines and she desperately needs money sent to her.  This is a 
classic scam ploy (a
 month ago it was a friend of mine who was supposedly stranded in Spain.)



I can't imagine that Serra would turn to me specifically (though I certainly 
would help her if she did) since we are distant professional acquaintances.  
But others on this list might easily be on her hacked address book, so….a word 
of caution.



And, I hope that Serra is doing well, wherever she is.













Chuck Kleinhans











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[Frameworks] Chicago - May 5 and 6 - The Pioneering Physique Films of Bob Mizer's Athletic Model Guild

[Patrick Friel]

Frameworkers!


Once again I completely forgot to list my stuff on This Week...

So, for those in Chicago:

(And thanks to Stephen Kent Jusick!)


 
White Light Cinema, in Conjunction with The Nightingale Theatre and the Bob
Mizer Foundation, Presents:
 
 
The Pioneering Physique Films of Bob Mizer's Athletic Model Guild
 
A Two-Night Illustrated Lecture/Screening Series with NYC
Curator/Writer/Publisher Billy Miller in Person!
 
Saturday and Sunday, May 5 and 6, 2012
At the Nightingale Theatre (1084 N. Milwaukee Ave.)
 
 
 
White Light Cinema is excited to present two nights of rare work (from the
1940s-90s) by pioneering gay physique and erotica photographer and filmmaker
Bob Mizer, accompanied by short illustrated lectures each night by New York
City-based curator/writer/publisher/artist Billy Miller (editor and
publisher of the Straight to Hell chapbook series).
 
Miller has organized exhibitions of Mizer¹s photography and curated
screenings of Mizer¹s work for MIX: New York Queer Experimental Film
Festival and the Yerba Buena Center for the Arts (San Francisco). For these
special Chicago screenings, Miller has been collaborating with Dennis Bell
of the Bob Mizer Foundation to organize a selection of rarely seen (and in
some instances, never seen) work from the vast Mizer archive.
 
For most of his career, Mizer¹s films were playful, tame (as seen
today‹risqué at the time) works of young men posing, flexing, wrestling, and
goofing off, but in states of near nudity. On the surface, they (and his
photography magazines) were marketed as physique materials‹supposedly
intended for bodybuilding and physical culture adherents. But, of course,
they were really meant for gay male readers and viewers and walked a fine
line as to what was legally permissible. As the decades progressed, Mizer¹s
work became more overt in its sexual intention and in its
explicitness‹moving from posing straps to full nudity to hard-core content
(though he disliked making these later films, only doing so to stay viable
as a business).
 
Billy Miller¹s illustrated lectures and selection of films will provide an
overview of Mizer¹s pioneering efforts‹from his beginnings in the early
1940s to the end of his career and beyond, with some consideration of his
legacy and influence on subsequent artists, filmmakers, and the gay adult
film industry. 
 
Mizer¹s work is only now beginning to receive more sustained attention and
interest. Thanks to Dennis Bell at the Bob Mizer Foundation, the curatorial
work of Billy Miller, and the release of (still a tiny fraction!) a number
of Mizer¹s films on DVD, the vital role of Mizer as a cultural and social
game changer and his status as an artist can start to be fully appreciated.
 
 
 
Saturday, May 5, 2012 ­ 8:00pm
Program 1: Bob Mizer and the Athletic Model Guild ­ The Early Years, Life,
and Legacy
Billy Miller in Person!
Tonight¹s program will include a slideshow and lecture outlining Mizer¹s
early-to-mid career films and an overview of the artist¹s life and legacy.
Films showing range from 1954­1969 and include:
Booking A Hood
GoGo Steve  Eddie
Jealous Cowboy
Trick or Treat
Park Theatre intermission segments
Plus additional titles TBA
Digital Projection
 
 
Sunday, May 6, 2012 ­ 8:00pm
Program 2: From Posing Straps to Porn ­ AMG in Transition and Mizer¹s
Influence
Billy Miller in Person!
For this program Miller will present a selection of mid-to-late career films
and videos from Mizer¹s later, and more ³hard core² period along with an
accompanying presentation of the artist¹s influence and connections to the
history of the adult/porn industry and the unfolding of the sexual
revolution.
Films showing range from 1969­1990 and include:
Max Irish vs. Bill Jason
Jake Scott session #1
Erotic Positions For Consenting Adults
Night In A Dungeon
Blowjob Film Tests
Plus additional titles TBA
Digital Projection
 
 
 
 
³Pioneering photographer and filmmaker Bob Mizer (1922­1992) was known for
pushing societal boundaries in his work. Mizer¹s earliest photographs
appeared in 1942, and in 1947 ³society² pushed back when he was convicted of
the unlawful distribution of obscene material through the US mail. The
material in question was a series of black and white photographs, taken by
Mizer, of young bodybuilders wearing what were known as posing straps‹a
precursor to the G-string. He would serve a nine-month prison sentence at a
work camp in Saugus, California, for what today are extremely tame images.
At the time, however, the mere suggestion of male nudity was not only
frowned upon, but also illegal.
 
In spite of societal expectations and pressure from law enforcement, Mizer
would go on to build a veritable empire on his beefcake photographs and
films. He established the influential studio the Athletic Model Guild (AMG)
in 1945 with one or more still-unidentified partners, but by the time he
published the first issue of his magazine Physique Pictorial he was
operating the studio on his own. With assistance 

Re: [Frameworks] Any good cinema bookstores in NYC?

[Patrick Friel]

Note that The Strand has a rare books room (accessed from the street - ask 
someone there). Not a huge film section, but if you are looking for things that 
are more obscure than the main store has, it's worth a look.

Patrick Friel


--- On Mon, 4/16/12, Damon damonc...@gmail.com wrote:

From: Damon damonc...@gmail.com
Subject: Re: [Frameworks] Any good cinema bookstores in NYC?
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Date: Monday, April 16, 2012, 1:11 PM



Film sections are shrinking in all of the city's bookstores, but so are the 
other sections.  At this point, the largest film section would probably be The 
Strand (12th St.  Broadway).
DS
On Apr 16, 2012, at 1:53 PM, Ryan Marino wrote:
St. Mark's books has a good selection of film books. 

On Mon, Apr 16, 2012 at 1:46 PM, David Tetzlaff djte...@gmail.com wrote:
  Does anyone know of any cine-specialty bookstores in New York City?
 
 I do not know any specialty stores, but, of course, you'll want to check the 
relevant sections at The Strand.
 
 There might be some books at Mondo Kim's, and the clerks there would probably 
be able to (condescendingly) point you towards any other booksellers with 
significant cinema-related inventory.
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-- 
www.ryanmarino.com
www.imminentfrequencies.com
 
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Re: [Frameworks] Video Program at Millennium Film Workshop this weekend

[Patrick Friel]

And, at the risk of embarrassing Jake and overloading the list, I'd like to 
enthusiastically second Fred's recommendation. Jake's work is distinctive and 
really great. It does indeed utilize the properties and limitations of digital 
video in compelling ways, but it also shares some of the sensibilities and 
qualities of work by Brakhage, Baillie, and others in the avant-garde - and 
maybe even beyond that (I'm thinking perhaps Minnelli or Sirk) - with its 
attention to rhythm, texture, and color.


Patrick Friel
Chicago


--- On Wed, 11/30/11, Fred Camper f...@fredcamper.com wrote:

From: Fred Camper f...@fredcamper.com
Subject: Re: [Frameworks] Video Program at Millennium Film Workshop this weekend
To: frameworks@jonasmekasfilms.com
Date: Wednesday, November 30, 2011, 12:38 PM

I'd like to strongly recommend this program.

Unlike most video art I've seen, Barningham's reveal their materials,  
often including extreme pixilation, but also have a powerfully  
self-destroying,
coming apart effect. And more.

Fred Camper
Chicago

Quoting Jake B. planet_j...@yahoo.com:

 I missed the listing, so I'm sorry for this, but...

 My videos are being screened at the Millennium Film Workshop this  
 weekend and I think they're well worth your while. I've pasted the  
 show description below.



 JAKE BARNINGHAM

 Barningham's work is concerned first and foremost with the textures,
 rhythms and colors possible in video. Largely using re-appropriated
 footage from amateur meteorologists across the country, the videos in
 this program re-invision landscapes not as majestic natural sculptures
 but as objects, like video, that are struggling to exist. Colors and
 shapes snap, gesticulate and then dissolve in a membrane of pixels.
 Trees and clouds shift restlessly against ill-defined spaces and  
 tremble at the hand of invisible forces.  Large fields bathe in  
 scattered rays
 of light which arrive as quickly and as painfully as they vanish.

 Program - Again (2011, 4.5 min, DV, sound), And Again (2011, 3min,  
 DV, sound), Charles Ives' Three Quarter-Tone Pieces Chorale (1924,  
 4.5min, CD), Hills (2011, 2min, DV, silent), Easter (2011, 2min, DV,  
 silent), Color Copy (2011, 3min, DV, silent), Playing (2011, 2min,  
 DV, silent), Arrangements 1 (2011, 3min, DV, silent), Arrangements 2  
 (2011, 2min DV, silent), View from a Cemetery (2011, 4min, DV,  
 silent), A Pass (2011, 2min, DV, silent), Silence  (2011, 2min, DV,  
 silent), All (2011, 2min, DV, silent), Parts (2011, 4min, DV,  
 silent), Tropical (2011, 5min, MiniDV, silent), Back Yard (2011,  
 4min, DV, silent), Wood Cart Group 1. Wood Cart (2011, 5min, DV,  
 silent), 2. Sometimes at Night (2011, 6.5min, DV, silent), 3. I Hear  
 Strange Laughter (2011, 6min, DV, silent), 4. Buster Keaton (2011,  
 5min, DV, silent). 


 The screening is taking place this upcoming Saturday at 8:00 PM at  
 Millennium Film Workshop.


 If you're interested in how the work feels/looks, I've pasted a link  
 to my vimeo page below. Silence, Tropical and All, which are  
 viewable on that page, will be screening in this program. I will  
 also be attending the show if you'd like to discuss the work.


 http://vimeo.com/jakebarningham

 Thanks for your interest and time! I hope to see some of you on Saturday.

 -Jake Barningham


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Re: [Frameworks] maya deren quote help

[Patrick Friel]

Jack,

This is the citation in Rabinovitz's book:

Maya Deren, Cinematography: The Creative Use of Reality,  Daedalus 89, no.
1 (Winter 1960), 150; reprinted in The Avant-garde Film: A Reader of Theory
and Criticism, ed. P. Adams Sitney (New York: New York University Press,
1978), 60.


On 10/6/11 3:37 AM, Lainna Fader lainnafa...@gmail.com wrote:

 You can find that quote in Points of Resistance: Women, Power 
Politics in
 the New York Avant-Garde Cinema by Lauren Rabinovitz.

You can view the quote
 in the text of the book
 here:
http://books.google.com/books?id=fymPjM1c6E0Cpg=PA49dq=%22hollywood+ha
 s+been+a+major+obstacle+to+the+definition+and+development+of+motion+pictures+a
 s+a+creative+fine-art+form.%22+maya+derenhl=enei=nWeNToVTiKixAuCFkKsBsa=Xo
 i=book_resultct=resultresnum=1ved=0CC0Q6AEwAA#v=onepageq=%22hollywood%20ha
 s%20been%20a%20major%20obstacle%20to%20the%20definition%20and%20development%20
 of%20motion%20pictures%20as%20a%20creative%20fine-art%20form.%22%20maya%20dere
 nf=false

The quote is footnoted, but it seems the page with notes is
 excluded
in the preview. But you can go find that book and look up the
 original
source of the quote now. Hope that helps!

On Wed, Oct 5, 2011 at
 6:12 PM, Jack Sargeant j...@jacktext.net wrote:
 hi

 a maya deren
 question:

 has anybody got a full source for this quote:

 hollywood has
 been a major obstacle to the definition and development of motion pictures as
 a creative fine-art form. maya deren

 if so please can they send it to
 me,
 many thanks

 jack

 jacksargeant.blogspot.com
 www.jacktext.net

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