Re: [Frameworks] books on animation theory?

[robert harris]

Hollywood Flatlands, by Esther Leslie




> On Aug 9, 2020, at 1:15 PM, Christopher Ball  wrote:
> 
> Walt disney and Europe. European Influences on Disney by Robin Allan. 
> 
> Sent from my BlackBerry — the most secure mobile device — via the Rogers 
> Network
> From: mgizy...@hotmail.com 
> Sent: August 9, 2020 14:02
> To: frameworks@jonasmekasfilms.com 
> Reply to: frameworks@jonasmekasfilms.com 
> 
> Subject: Re: [Frameworks] books on animation theory?
> 
> The newest one: “Global Animation Theory” - 
> https://www.bloomsbury.com/uk/global-animation-theory-9781501337130/ 
> 
> There is a plethora of books on animation theory.
> Marcin Giżycki
>  
> From:  FrameWorks  > On Behalf Of Cecilia 
> Dougherty
> Sent: Sunday, August 9, 2020 6:06 PM
> To:  Frameworks  >
> Subject: [Frameworks] books on animation theory?
>  
> I'm looking for books on animation theory, not about animation how-to or 
> history of, but articles, anthologies, texts that discuss theories of 
> animation. Any suggestions of titles?
> Thank you!
> Cecilia Dougherty
> 
> --
> Cecilia Dougherty
> https://www.ceciliadougherty.com/ 
> https://drift.ceciliadougherty.com/ 
> https://paleolithic.ceciliadougherty.com/ 
> 
>  
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Bruce Baillie

[Robert Harris]

If you’d like to spend an hour remembering Bruce Baillie, you might appreciate 
this on Vimeo.
Posted by Sami van Ingen. I hope they don’t mind my sharing.

https://vimeo.com/173037454


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Bruce Baillie

[Robert Harris]

I believe Bruce already did brilliant work exploring the Bardo in Quick Billy.
Now he knows

BH

> On Apr 10, 2020, at 4:09 PM, William Wees, Dr.  wrote:
> 
> Reading the sad news, I suddenly found myself thinking of the dancing woman 
> in "Tung" as Bruce's spirit-guide into darkness.
>  
> --Bill Wees
> 
>  
> William C. Wees
> Emeritus Professor
> McGill University
>  
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] book club

[Robert Harris]

Gene,

I only have a first edition of the original publishing. Have segments been 
re-written?

R.Harris

> On Apr 3, 2020, at 1:06 PM, Gene Youngblood  wrote:
> 
> Frameworkers,
> The Gray Area Foundation in San Francisco is hosting a seven-week online 
> "book club" reading of the 50th Anniversary Edition of Expanded cinema. It 
> begins this Sunday, April 5, and continues one hour a week for the followng 
> six weeks. We’ll use the chapters as springboards to topics beyond its pages. 
> Something to do while we’re sequestered. They’re using Zoom. Sign up here:  
> grayarea.org/event/expanded-cinema-book-club-with-gene-youngblood/ 
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Independent research- looking for recommendations

[Robert Harris]

“Undertow” Eiko & Kota filmed by James Byrne. 

> On Jan 24, 2020, at 8:13 PM, Robert Harris  wrote:
> 
> 
> Many photo sequences by  Eadweard Muybridge.
> 
>>> On Jan 24, 2020, at 1:01 PM, Madison Bounds  
>>> wrote:
>>> 
>> 
>> Dear Frameworks,
>> 
>> I am working on an independent research project for a thesis project and 
>> think the great community here might help me out. 
>> 
>> My project involves films that document/ involve the body. Along the lines 
>> of Yoko Ono's work, Stan Brakhage’s “The Act of Seeing With One’s Own Eyes".
>> 
>> Does anyone have recommendations for similar films I can study?
>> 
>> Thank you,
>> 
>> Madison 
>> 
>> 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Independent research- looking for recommendations

[Robert Harris]

Many photo sequences by  Eadweard Muybridge.

> On Jan 24, 2020, at 1:01 PM, Madison Bounds  wrote:
> 
> 
> Dear Frameworks,
> 
> I am working on an independent research project for a thesis project and 
> think the great community here might help me out. 
> 
> My project involves films that document/ involve the body. Along the lines of 
> Yoko Ono's work, Stan Brakhage’s “The Act of Seeing With One’s Own Eyes".
> 
> Does anyone have recommendations for similar films I can study?
> 
> Thank you,
> 
> Madison 
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Camera question

[Robert Harris]

Re: Warhol in manhole with camera and a young Edie (hence not 70’s)

Could it be a Nizo held upside down? Perhaps handle is folded, hence less 
visibly obvious?
The Silver box like shape, and the dark rectangular bar are consistent with 
Nizo bodies.  Wide lens in proportion to body also make some sense.

Bob Harris

> On Dec 11, 2019, at 7:39 PM, Jeff Kreines  wrote:
> 
> The Nalcom FTL 1000 was apparently made between 1973 and 1976.
> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com 
> kinetta.com 
> 
>> On Dec 11, 2019, at 6:34 PM, deluge000 > > wrote:
>> 
>> It may be a modified Nalcom FTL by the shape. The faceplate is different on 
>> Warhol's camera seems larger as well not sure.
>> 
>> 
>> 
>> Sent from my Sprint Samsung Galaxy Note8.
>> 
>>  Original message 
>> From: Ed Inman mailto:edin...@earthlink.net>>
>> Date: 12/11/19 5:01 PM (GMT-07:00)
>> To: Experimental Film Discussion List > >
>> Subject: Re: [Frameworks] Camera question
>> 
>> I would like to know too. I wonder if it was a real working camera or rather 
>> just a prop. The placement of the lens at the very top seems odd. I don't 
>> think there would be room to place a Super 8 cartridge inside with the lens 
>> in that position. --Ed
>> 
>> -Original Message- 
>> From: "Claire Henry, Curatorial" 
>> Sent: Dec 11, 2019 3:03 PM 
>> To: Experimental Film Discussion List 
>> Cc: "Jessica Palinski, Curatorial" 
>> Subject: Re: [Frameworks] Camera question 
>> 
>> Ack, here’s the link.  Apologies!
>>  
>> Claire
>>  
>>  
>> https://pro.magnumphotos.com/Catalogue/Burt-Glinn/1965/USA-NYC-Andy-WARHOL-Edie-SEDGWICK-and-Chuck-WEIN-NN112607.html
>>  
>> 
>>  
>>  
>> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com 
>> ] On Behalf Of Claire Henry, 
>> Curatorial
>> Sent: Wednesday, December 11, 2019 4:00 PM
>> To: Experimental Film Discussion List (frameworks@jonasmekasfilms.com 
>> ) > >
>> Cc: Jessica Palinski, Curatorial > >
>> Subject: [Frameworks] Camera question
>>  
>> Hi Frameworkers!
>>  
>> We need some help identifying a camera in a photo of Warhol for our 
>> catalogue raisonné.  Does anyone know what kind of camera Warhol is holding 
>> in these photos by Burt Glinn from 1965?  I’m thinking Super 8, but am 
>> unsure.  If anyone could provide any help that would be amazing and very 
>> welcomed.
>>  
>>  
>> Thanks!
>>  
>> Claire
>>  
>>  
>> Claire K. Henry
>> Assistant Curator
>> The Andy Warhol Film Project
>> Whitney Museum of American Art
>> 99 Gansevoort Street
>> New York, NY 10014
>> Tel: 212 570 7740
>> Fax: 212 929 2019
>>  
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com 
>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] suggestions for experimental road movies and/or experimental films about automobility

[Robert Harris]

Bryan,

Suite of Summer Evenings
Burning Memories Pt.1: Forbidden Songs
both by Robert Harris, shown in past “Experiments” festivals.

And also, yet unmentioned…

Shift, Ernie Gehr
The BLVD, Deborah Stratman
Rules of the Road, Su Friedrich
Hot Leatherette, Robert Nelson





> On Jul 22, 2019, at 6:50 AM, Bryan Konefsky  wrote:
> 
> Hello all, I am in the process of building a program that looks at 
> automobility and road movies from an experimental perspective... wondering if 
> anyone has suggestions about artists' films that study this topic... Titles 
> and links would be preferable and I am open to both historic and current 
> works - if you have made something along these lines I would be happy to have 
> the opportunity to view such films/videos as well.
> 
> thanks everyone
> Bryan Konefsky
> president, Basement Films
> founder/director, Experiments in Cinema
> 
> Great art has always gone to the masses, to their hopes and dreams, for that 
> spark that kindled their souls. The rest, "the many, all too many" as 
> Nietzsche called mediocrity, have been mere commodities that can be bought 
> with money, cheap glory, or social position.
> - Emma Goldman
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] examples of "first encounters"

[Robert Harris]

Hold Me While I’m Naked, is a great suggestion. But I always took it very 
seriously. He’s an everyman lonely filmmaker boy from the Bronx hope to get a 
girl by having her star in his film.
It’s a sweet sad film.


> On May 14, 2019, at 11:35 AM, Jonathan Walley  wrote:
> 
> One of my favorites, albeit a parody of such moments, is from Hold Me While 
> I’m Naked (George Kuchar, 1966). I hate to have to reference a YouTube rip, 
> but it’s worth it:
> https://www.youtube.com/watch?v=FCB6xSHHG50 
> <https://www.youtube.com/watch?v=FCB6xSHHG50>(See 7:29-7:53 for the example, 
> including the perfect timing of match strike and percussion instrument at 
> about 7:45). 
> 
> Of course, it’s not meant to be taken seriously. 
> 
> Or is it…
> 
> JW
> 
> 
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> 
> 
> 
>> On May 14, 2019, at 11:06 AM, Robert Harris > <mailto:lagonab...@gmail.com>> wrote:
>> 
>> Mood for Love, Wong Kai Was
>> 
>> 
>> 
>>> On May 14, 2019, at 10:38 AM, jimmyschaus1 >> <mailto:jimmysch...@gmail.com>> wrote:
>>> 
>>> Trusted Frameworkers,
>>> 
>>> I am seeking examples of great "first encounters" between characters.  Two 
>>> people seemingly pushed together by the universe sort of thing, perhaps 
>>> generated by an accident, a coincidence, a glance, a moment of especially 
>>> outgoing behavior...
>>> 
>>> The golden torch-bearer I have in mind is the beginning of Rivette's Celine 
>>> and Julie Go Boating, where a dropped pair of sunglasses leads to a wild 
>>> chase through the streets and an ensuing magical partnership.  
>>> 
>>> Scenes which depict the seed of mysterious magnetism between two people.  
>>> 
>>> I realize scenes of this nature pop up in maybe every other movie you see, 
>>> so just if anything really sticks out to you as a particularly novel or 
>>> noteworthy example, that does something exciting formally...
>>> 
>>> cheers
>>> Jimmy
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com>
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>>> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
>> 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com>
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] examples of "first encounters"

[Robert Harris]

Rabbit’s Moon, Kenneth Anger

> On May 14, 2019, at 10:38 AM, jimmyschaus1  wrote:
> 
> Trusted Frameworkers,
> 
> I am seeking examples of great "first encounters" between characters.  Two 
> people seemingly pushed together by the universe sort of thing, perhaps 
> generated by an accident, a coincidence, a glance, a moment of especially 
> outgoing behavior...
> 
> The golden torch-bearer I have in mind is the beginning of Rivette's Celine 
> and Julie Go Boating, where a dropped pair of sunglasses leads to a wild 
> chase through the streets and an ensuing magical partnership.  
> 
> Scenes which depict the seed of mysterious magnetism between two people.  
> 
> I realize scenes of this nature pop up in maybe every other movie you see, so 
> just if anything really sticks out to you as a particularly novel or 
> noteworthy example, that does something exciting formally...
> 
> cheers
> Jimmy
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] examples of "first encounters"

[Robert Harris]

Mood for Love, Wong Kai Was



> On May 14, 2019, at 10:38 AM, jimmyschaus1  wrote:
> 
> Trusted Frameworkers,
> 
> I am seeking examples of great "first encounters" between characters.  Two 
> people seemingly pushed together by the universe sort of thing, perhaps 
> generated by an accident, a coincidence, a glance, a moment of especially 
> outgoing behavior...
> 
> The golden torch-bearer I have in mind is the beginning of Rivette's Celine 
> and Julie Go Boating, where a dropped pair of sunglasses leads to a wild 
> chase through the streets and an ensuing magical partnership.  
> 
> Scenes which depict the seed of mysterious magnetism between two people.  
> 
> I realize scenes of this nature pop up in maybe every other movie you see, so 
> just if anything really sticks out to you as a particularly novel or 
> noteworthy example, that does something exciting formally...
> 
> cheers
> Jimmy
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Rob Todd question - Fusion Film Workshop (Boston area)?

[Robert Harris]

Mark,

I forwarded your question to Jeff Silva, as he was very active in the Boston 
film scene at that time (lately he’s living in Marseille).

He wrote this:

I know nothing of this Fusion film workshop. I was around and hanging out with 
Rob at that time but I don't recall that name. It might have had something to 
do with BFVF but I can't recollect that precise name of a workshop. We also had 
a thing at what is now AgX in Waltham called "Lost Monday's" run by Devon 
Damonte which was more of a weekly hang out and camerless filmmaking thing. The 
only person I can think of who might know is Vanessa O'Neil but i haven't been 
in contact with her for a while.

Bob Harris

> On Apr 9, 2019, at 3:01 PM, Mark Toscano  wrote:
> 
> Hi all,
> 
> Does anyone know anything about the Fusion Film Workshop, which was something 
> going on in Boston area 1998-2000 or thereabouts?
> 
> Asking because in Robert Todd's collection, there are a few prints of a 
> trailer presumably made by Rob, culminating in "Fusion Film Workshop 
> presents".  A search online brought up info on an event so named which took 
> place in Beverly, MA in July 2000 at the New Harbor Media Institute, but one 
> of Rob's prints is actually dated Spring 1998, so I'm guessing this wasn't a 
> one-time thing.
> 
> Bottom line, I'm just hoping to figure out what this thing is.  Anyone know?
> 
> thanks very much,
> 
> Mark Toscano
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Drone vision and violence in experimental film/video art

[Robert Harris]

Re: aerial surveillance, etc…
Much of Harun Farocki’s work,   War at a Distance; Images of the World and the 
Inscription of War
https://www.harunfarocki.de/films.html 







> On Feb 23, 2019, at 2:07 PM, Hugo Martin Alexander Ljungbaeck 
>  wrote:
> 
> Dear all,
> 
> I am currently working on a research project that I am hoping will result in 
> a curated program and/or essay. I am looking for experimental film and video 
> art work that engages with, counters, or tries to reimagine relationships 
> between UAVs, military violence and vision, the war on terror, aerial 
> surveillance, hobby-drones, etc.
> 
> If you have any recommendations, please feel free to reply-all or respond 
> off-list.
> 
> Thanks for your suggestions!
> Hugo
> 
> 
> Hugo Ljungbäck
> Undergraduate Research Fellow
> Department of English/Film Studies
> University of Wisconsin-Milwaukee
> 
> Programmer | Milwaukee Underground Film Festival
> Director | UWM Film Studies Archive
> Founding Chair | UWM Moving Image Society
> http://www.hmal.se/ 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Films about the clock

[Robert Harris]

Bleu Shut by Robert Nelson

> On Oct 27, 2018, at 8:07 AM, Albert Alcoz  wrote:
> 
> Hello frameworkers,
> 
>  
> 
> I’m trying to write a short article in spanish about different notions of 
> time concerning contemporary experimental film and video. Since the concept 
> of “time related to cinema” is almost impossible to delimit I have decided to 
> concentrate just about the clock.
> 
>  
> 
> So, i’m searching films and videos where the clock is an important 
> object/issue for the development of the piece. By now I have just found 
> appropiation works as 60 Seconds (2002) by Christoph Girardet and The Clock 
> (2012) by Christian Marclay but i’m sure there are dozens.
> 
>  
> 
> There’s a brilliant film by Chris Gallagher named Time Being (2009) that 
> could also be useful to theorize some ideas but I need some more titles.
> 
>  
> 
> Any suggestions?
> 
>  
> 
> Thank you all,
> 
>  
> 
> Best,
> 
> Albert
> 
> 
> -- 
> http://visionaryfilm.net/
> http://albertalcoz.com/
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Documentaries within/with a group subject and participatory filmmaker(s)

[robert harris]

This work might meet your criteria.
by Craig Saddlemire
Viewable on Vimeo.

https://vimeo.com/63068445 

Household: Four Stories of Kinship and Curiosit
I asked eight different families to allow me to videotape their daily lives. 
Four graciously accepted my proposal: an extended refugee family from Somalia, 
an interracial same-sex couple, a single mother in a housing cooperative, and a 
mother of six who has fostered nearly 50 children in her lifetime. In addition 
to sharing the routines and challenges of their own families, I asked one 
member of each family to be the narrator for the story of a different family. 
Through this method, each participant was able to be the observer as well as 
the observed in the documentation process. By exposing the history and 
experience of each narrator, their observations of others are placed within a 
relatable social context for the viewer. These observations are therefore not 
presented as hard facts, but as constructed meanings that reveal as much about 
the narrator as they do about the observed subject.




> On Jul 10, 2018, at 1:22 PM, Sonya Mladenova  
> wrote:
> 
> Hello everyone,
> 
> Looking for documentary films shot with/within a group of people engaged in 
> an activity or some kind of project, independently or in an organized 
> environment, in which the filmmaker is a visible and/or an active 
> participatory presence. I'm especially interested in films from the last 
> 25-30 years. I'm investigating the relationship between the filmed person(s) 
> and the person(s) filming, whatever the configuration.
> 
> Somes examples, but not limited in scope:
> Starless Dreams by Mehrdad Oskouei 
> À ciel ouvert by Mariana Otero
> La moindre des choses by Nicolas Philibert
> 
> Many many thanks,
> 
> Sonya
> 
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] analog cinema machines

[Robert Harris]

Bye Bye Brazil._Diegues

Intervista_Fellini

Remedia Reading Comprehension (may not show the projector)  Owen Land





> On Jun 8, 2018, at 3:09 AM, Monise Nicodemos  
> wrote:
> 
> Hi all,
> 
> I'm looking for movies (experimental or not) that feature the analog cinema 
> machines (Man with a Movie Camera de Vertov, Kodak de Dean)...
> 
> I would really welcome some suggestions.
> 
> Many thanks!
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Voice over

[Robert Harris]

Sink or Swim, Su Friedrich



> On Apr 8, 2018, at 5:17 PM, Ignacio Tamarit  wrote:
> 
> REcreation by Bob Breer
> Taller by Narcisa Hirsch
> 
> El dom., 8 abr. 2018 4:31 p. m., Gene Youngblood  
> escribió:
>> Hollis Frampton, Nostalgia
>> 
>> Gene & Jane Youngblood
>> (505) 395-6370 home
>> 
>>> On April 8, 2018 at 12:47:54 PM, Surbhi Goel (surbh...@gmail.com) wrote:
>>> 
>>> Encounters at the End of the World (Werner Herzog, 2007)
>>> 
>>> not exactly voice over in traditional sense but, Tarkovsky's father 
>>> reciting his poetry in Zerkalo makes for a haunting soulful voice-over
>>> 
>>> 
>>> best regards, 
>>> Surbhi
>>> 
 On 8 April 2018 at 22:53, Dennis Doros  wrote:
 Margot Benacerraf's ARAYA.
 
 Luc Besson's ATLANTIS
 
 Leo Hurwitz NATIVE LAND (can't remember if it's 100% voice-over). STRANGE 
 VICTORY is about 90% voice-over.
 
 
 ​
 
 Fondest regards,
 Dennis Doros, Co-owner 
 Milestone Film & Video • PO Box 128 • Harrington Park, NJ 07640
 Phone: +1 (201) 767-3117 • Email: milefi...@gmail.com • www.milestone.film
 
 President, Association of Moving Image Archivists
 amiapresid...@amianet.org • www.amianet.org
 AMIA 2018 • 11/28 – 12/1 Portland, OR
 
 JOIN MILESTONE'S MAILING LIST TODAY!
 Support us on Facebook and Twitter!
 
 
 
 
 
> On Sun, Apr 8, 2018 at 12:47 PM, Aman Wadhan  wrote:
> Patrick Keiller ('London', 'Robinson in Space', 'Robinson in Ruins').
> 
> And not to forget some of the most haunting voice-over performances ever 
> -- the films of Marguerite Duras ('Agatha et les lectures illimitées', 
> 'India Song').
> 
> 
>> On Sunday, April 8, 2018, T. Siddle  wrote:
>> Blue, by Derek Jarman
>> The Black Tower, by John Smith 
>> Black Swans at Night, by Fiona Trigg
>> 
>> 
>>> On Sun, Apr 8, 2018 at 8:15 AM lagonaboba  wrote:
>>> Universal Hotel,  by Peter Thompson
>>> Routine Pleasures, by Jean Pierre Gorin (almost all voiceover)
>>> Jollies, by Sadie Benning
>>> Vanalyne Green’s work (Spy in the House that Ruth Built
>>> Las Hurdes, by Bunuel
>>> 
>>> 
>>> 
 On Apr 8, 2018, at 11:05 AM, Shashwati Talukdar  
 wrote:
 
 Bill Brown
 
 regards,
 
 Shashwati Talukdar
 夏雪莉
 ---
 
 
 http://dontbeatmesir.comhttp://wallstories.fournineandahalf.com/http://fournineandahalf.com
 
> On Sun, Apr 8, 2018 at 10:59 PM, Anthony Yanick 
>  wrote:
> Chris Marker, Wim Wenders, https://vimeo.com/108736758...
> 
>> On Sun, Apr 8, 2018 at 10:55 AM, Mariah Garnett 
>>  wrote:
>> Hi!
>> Does anyone have recommendations of films that are all voice over 
>> that are particularly great?
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
>>> 
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
>>> 
>>> ___ 
>>> FrameWorks mailing list 
>>> FrameWorks@jonasmekasfilms.com 
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
___

Re: [Frameworks] Sad news

[robert harris]

Should anyone wish to learn more about Chuck and his work, they might start the 
new year reading JUMPCUT.
All issues of the journal are archived back to #1 in 1974
https://www.ejumpcut.org/currentissue/index.html 
<https://www.ejumpcut.org/currentissue/index.html>


Robert Harris



> On Dec 27, 2017, at 10:53 AM, mary billyou <mbill...@gmail.com> wrote:
> 
> What a surprise! I have never met the man in person but I would have liked to 
> have met him. His recent call for attention to sexual harassment and assault 
> encouraged me to engage more fully in this forum. I will be sure to learn 
> more about him and his work, now especially more than ever.
> 
> Thank you for letting us know.
> 
> Mary
> 
> On Sun, Dec 17, 2017 at 12:41 AM, Fred Camper <f...@fredcamper.com 
> <mailto:f...@fredcamper.com>> wrote:
> I knew Chuck for about four decades, not as a close friend but through many 
> fine encounters over the years. This list has it right: he was warm, funny, 
> generous, kind, smart, and had real integrity. I too read his review of 
> Visionary Film when it came out, and I do agree that Chuck did open up really 
> important ways of thinking about the subject.
> 
> One example of his generosity: He asked me to be the respondent to a paper he 
> was giving at a seminar that was partly a critique of the Sitney canon, 
> knowing, I suspect, that I might be a bit critical of his paper. He got me 
> lots of material in advance. His paper was quite interesting and I enjoyed 
> engaging with it. I found one way of humorously tweaking it in my response, 
> and I still remember Chuck’s hearty laugh when I launched my little 
> one-liner. Now that is generosity.
> 
> A film important to his paper was The Cry of Jazz ( 
> https://en.wikipedia.org/wiki/Cry_of_Jazz 
> <https://en.wikipedia.org/wiki/Cry_of_Jazz> ) I think Chuck meant this as an 
> example of the kind of film that should be included in a widened canon. If 
> you haven’t seen it, having a look would be one way to honor his memory.
> 
> Fred Camper
> Chicago
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com>
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
> 
> 
> 
> 
> -- 
> 
> 
> 
> 
> 
> www.marybillyou.com 
> <http://www.marybillyou.com/>___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Eulogy Films

[robert harris]

You can also consider:

Patricio Guzmans’s  "Nostalgia for the Light”

and  

Peter Thompson’s  “Universal Hotel”




On Mar 18, 2017, at 11:43 AM, Margaret Rorison  
wrote:

> Dear Film Friends, 
> 
> I am curious about film eulogies and would love to know more films that have 
> been made to honor someone. For example, Nathaniel Dorsky's August and After
> 
> ​I am looking for short films in particular. 
> 
> Poetic gestures of goodbye, final notes, odes...
> 
> thank you, 
> Margaret Rorison 
> ​
> 
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Eulogy Films

[robert harris]

Margaret,

You might consider Alexander Sokurov’s  “Elegy” series,  for example:
Maria (Peasant Elegy)
Elegy

Shigeko Kubota’s   “My Father”

my own (Robert Harris)
“Elegy”
ELEGY2009   Colorsilent   2:45

Elegy for four friends, Shridhar Bapat, Charlotte Moorman, Nam June Paik, 
& Al Robbins.  Super 8mm film recorded in 1975
distributed by Filmmaker’s Coop



On Mar 18, 2017, at 11:43 AM, Margaret Rorison <margaret.b.rori...@gmail.com> 
wrote:

> Dear Film Friends, 
> 
> I am curious about film eulogies and would love to know more films that have 
> been made to honor someone. For example, Nathaniel Dorsky's August and After
> 
> ​I am looking for short films in particular. 
> 
> Poetic gestures of goodbye, final notes, odes...
> 
> thank you, 
> Margaret Rorison 
> ​
> 
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Exemplary Sound Design in AG Film

[robert harris]

Albert,

Thanks for all the references.  I’ll definitely look for Melissa Ragona’s book.
I saw the Sharits film many many times, and would always have delirious 
acoustic hallucinations 2/3 of the way through.
Probably why I kept going back, no?



On May 16, 2016, at 4:10 PM, Albert Alcoz  wrote:

> Hello again,
> 
> Some weeks ago Adrian Martin shared a link on Facebook with some audiovisual 
> essays related to sound. They are not specifically Avant-Garde Film though:
> http://www.thecine-files.com/turning-up-the-volume/
> 
> Hacked Circuit by Deborah Stratman is a good work about sound effects:
> http://www.pythagorasfilm.com/hacked-circuit.html
> 
> Maybe Arthur Lipsett works are could be considered "deep sound design" films.
> They are collage sound works, as those created by Abigail Child years later.
> 
> ¿​Robert, have you ever heard S:STREAM:S:S:SECTION:S:S:ECTION:S:S:ECTIONED 
> (1971)​ ​by Paul Sharits? He wrote about his film as a "word sound orgy".
> 
> I thought the same ​as you ​about Invocation of My Demon Brother. There are 
> dozens of avant-garde films where the soundtrack is just music. Some other 
> examples: Crossroads by Bruce Conner and Corridor by Standish Lawder, both of 
> them with compositions by Terry Riley.
> 
> Melissa Ragona is working on a book named: From Radio-Ear to Granular Voice: 
> The Sound of Experimental Film​. Maybe that ​study will solve some of this 
> issues.
> 
> Albert Alcoz
> -- 
> http://visionaryfilm.net/
> http://albertalcoz.com/
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Exemplary Sound Design in AG Film

[robert harris]

Yes! The Accursed Mazurka. Thanks!


On May 16, 2016, at 4:24 PM, peter snowdon  wrote:

> What I know of Nina Fonoroff's work has always struck me as a kind of model 
> for a complexity in the sound track in which formal experimentation and 
> meaningful polyphonies of language and discourse are intertwined so as to 
> become inseparable.
>  
> Peter
> --
>  'participatory democracy': we only need the adjective because there's 
> something wrong with the noun.> Nicolas Rey
> ___
> gourna films
> www.redrice.net
>  
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Exemplary Sound Design in AG Film

[robert harris]

Yes I would agree the sonic can be deeply intellectual but sometimes the 
intellectual (Frampton, Peter Rose’s linguistic pieces, and everyone’s text and 
voice) I don’t think of as being creatively sonic, unless one finds quotidian 
human voice to be so.


On May 16, 2016, at 4:12 PM, Francisco Torres <fjtorre...@gmail.com> wrote:

> By excellent I mean, complex, layered, inventive, of rich and nuanced 
> timbre….excellent for it’s sonic qualities (as opposed to strictly 
> intellectual qualities).
> 
> In experimental cinema It seems impossible to separate those things.
> Just consider-
> One of the best uses of sound in cinema is Kubelka's Arnulf Rainer and yet it 
> seems the opposite of what the OP is looking for.   
> 
> 2016-05-16 15:45 GMT-04:00 <c...@termite.org>:
> How about a lot of the work by the folks over at the Sensory Ethnography Lab, 
> especially those involving Ernst Karel? (Leviathan, Sweetgrass….)
> 
> https://sel.fas.harvard.edu/index.html
> 
>  
> 
> Carl
> 
>  
> 
>  
> 
>  
> 
> From: robert harris [mailto:lagonab...@gmail.com] 
> Sent: Monday, May 16, 2016 1:43 PM
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
> Subject: Re: [Frameworks] Exemplary Sound Design in AG Film
> 
>  
> 
> Thanks for the response Fred. Somewhere in in the recesses of my mind I 
> thought of you when posting the question, a. because for decades I’ve 
> respected your insights, and b., because one of your most memorable posts 
> contained your statement (at least this is how I remember it…) that 
> Beethoven’s Grosse Fuge is a definitive avant garde work.  A smile inducing 
> and welcome statement in the context of Frameworks.
> 
>  
> 
> As to anonymity, community and the internet, I prefer my community to involve 
> warm bodies sharing tangible space. Not to say the I don’t appreciate 
> Frameworks, I do. And it’s fascinating and heartening to know that there are 
> disembodied consciousnesses out there that profess to care about something I 
> believe I care about. But this is no fun to type about abstractly. 
> 
>  
> 
> So, I’m Robert Harris. I live in greater Boston. I teach filmmaking (actual 
> 16mm bolex/arri filmmaking in addition to digital video that everyone seems 
> to think should be called film) at Fitchburg State University in central 
> Massachusetts. I used to be involved with Anthology Film Archives Video 
> Program in 70’s and 80’s.
> 
> The program for which I’m planning a sound design component is the New York 
> State Summer School of the Arts.  Its a program I’ve run for 25 years, having 
> inherited it from Gerald O’Grady.
> 
> A few lurking frame workers have taught with me and/or been visiting artists. 
> Maybe even some former students out there. Tony Conrad taught in the program 
> under O’Grady. Sharits probably had a bit to do with the program moving to my 
> care. The program is for high school students.  We teach 16mm film, digital 
> video, digital photo, computer animation, and electronic sound.  Watching 
> healthy amounts of experimental film, from 16mm prints, has always been an 
> essential part of the program.
> 
>  
> 
> So that’s that.
> 
> I appreciate the suggestions that have been offered, though I’ve not yet 
> found what I’m hoping for in the preliminary samplings I’ve been able to view 
> and hear.
> 
> So many works have music tracks, orchestral music, jazz, electronic music, 
> pop…sometimes with narration.  Sometimes the music is great, sometimes it’s 
> lacking, but my search is for sound design that reaches farther or deeper 
> than sound track music. I enjoyed re-watching The End  but it’s “just” text 
> and music.  Invocation of My Demon Brother  is “just” Mick Jagger’s 
> electronic noodlings on a MOOG.  Robert Withers just posted that Abigail 
> Child’s work is worthy, and I agree.  A title I didn’t mention earlier is 
> Robert Gardner’s Forests of Bliss.  Deborah Stratman frequently does great 
> sound work.  
> 
> I’m just hopeful that I learn that there is more really rich stuff out there. 
>  Sound is pretty wonderful.  
> 
>  
> 
> Robert Harris
> 
>  
> 
>  
> 
>  
> 
>  
> 
> On May 15, 2016, at 9:10 PM, Fred Camper <f...@fredcamper.com> wrote:
> 
> 
> 
> 
> Why not tell us your name, location, and the name of the school?
> 
> FraneWorks doesn't feel like much of a community anymore. Or maybe I'll just 
> never get used to Internet anonymity, fine on some sex advice board but to me 
> not right for a place like this.
> 
> To be contrary, I'd suggest Christopher Maclaine's The End and The Man Who 
> Invented Gold. They are very great films, in my view but no

Re: [Frameworks] Exemplary Sound Design in AG Film

[robert harris]

Thanks for the response Fred. Somewhere in in the recesses of my mind I thought 
of you when posting the question, a. because for decades I’ve respected your 
insights, and b., because one of your most memorable posts contained your 
statement (at least this is how I remember it…) that Beethoven’s Grosse Fuge is 
a definitive avant garde work.  A smile inducing and welcome statement in the 
context of Frameworks.

As to anonymity, community and the internet, I prefer my community to involve 
warm bodies sharing tangible space. Not to say the I don’t appreciate 
Frameworks, I do. And it’s fascinating and heartening to know that there are 
disembodied consciousnesses out there that profess to care about something I 
believe I care about. But this is no fun to type about abstractly. 

So, I’m Robert Harris. I live in greater Boston. I teach filmmaking (actual 
16mm bolex/arri filmmaking in addition to digital video that everyone seems to 
think should be called film) at Fitchburg State University in central 
Massachusetts. I used to be involved with Anthology Film Archives Video Program 
in 70’s and 80’s.
The program for which I’m planning a sound design component is the New York 
State Summer School of the Arts.  Its a program I’ve run for 25 years, having 
inherited it from Gerald O’Grady.
A few lurking frame workers have taught with me and/or been visiting artists. 
Maybe even some former students out there. Tony Conrad taught in the program 
under O’Grady. Sharits probably had a bit to do with the program moving to my 
care. The program is for high school students.  We teach 16mm film, digital 
video, digital photo, computer animation, and electronic sound.  Watching 
healthy amounts of experimental film, from 16mm prints, has always been an 
essential part of the program.

So that’s that.
I appreciate the suggestions that have been offered, though I’ve not yet found 
what I’m hoping for in the preliminary samplings I’ve been able to view and 
hear.
So many works have music tracks, orchestral music, jazz, electronic music, 
pop…sometimes with narration.  Sometimes the music is great, sometimes it’s 
lacking, but my search is for sound design that reaches farther or deeper than 
sound track music. I enjoyed re-watching The End  but it’s “just” text and 
music.  Invocation of My Demon Brother  is “just” Mick Jagger’s electronic 
noodlings on a MOOG.  Robert Withers just posted that Abigail Child’s work is 
worthy, and I agree.  A title I didn’t mention earlier is Robert Gardner’s 
Forests of Bliss.  Deborah Stratman frequently does great sound work.  
I’m just hopeful that I learn that there is more really rich stuff out there.  
Sound is pretty wonderful.  

Robert Harris



 
On May 15, 2016, at 9:10 PM, Fred Camper <f...@fredcamper.com> wrote:

> Why not tell us your name, location, and the name of the school?
> 
> FraneWorks doesn't feel like much of a community anymore. Or maybe I'll just 
> never get used to Internet anonymity, fine on some sex advice board but to me 
> not right for a place like this.
> To be contrary, I'd suggest Christopher Maclaine's The End and The Man Who 
> Invented Gold. They are very great films, in my view but not in everyone's, 
> with great soundtracks that do not meet your criteria, but they are not 
> "strictly intellectual" either -- far from it. Made with minimal means, they 
> might seem amateurish to someone who hated them.
> 
> Then there's my favorite Bruce Baillie sound track, the one for Tung. But 
> check into what i mean before renting the film.
> 
> Fred Camper, Chicago
> On 5/15/2016 2:36 PM, lagonaboba wrote:
>> For a class I’m preparing, I’m interested in suggestions as to Experimental 
>> Films with exemplary, excellent sound design and sound editing.
>> By excellent I mean, complex, layered, inventive, of rich and nuanced 
>> timbre….excellent for it’s sonic qualities (as opposed to strictly 
>> intellectual qualities).
>> As I plan to rent prints, it would be helpful if the works were available 
>> from FMC, Canyon, MOMA or some USA domestic distributor.
>> I would include:
>> 
>> Baillie’s Castro Street  & Quick Billy, 
>> Kubelka’s Unsere Afrikareise, 
>> Hindle’s Watersmith
>> Jack Chambers’ Hart of London
>> 
>> Thanks.
>> 
>> 
>> 
>> 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Experimental Films on Farming/ Agriculture

[robert harris]

Earth, Dovzhenko


On Jan 14, 2016, at 12:50 PM, Heath Iverson  wrote:

> Any suggestions on avant-garde/experimental films that deal with any aspects 
> of farming/gardening/plant or animal agriculture?
> 
> A few examples might be Marjorie Keller's Answering Furrow or Lucien 
> Castaing-Taylor's Sweetgrass. Other ideas? 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[robert harris]

The “early cinema/early video” query is a good one, one that I’ve not seen 
explored with much rigor. 

Kleinhans’ question of “broadcast TV or portapak” is significant.

Early TV might have more in common with radio than with early film.

Early video (portapak) provoked, for some practitioners, sensibilities in 
keeping with those of the Lumieres. 

The Lumiere camera was more like video than any other camera (including the 
Edison version) as it was, like video, a capture and playback device (and lab).

The promptness with which the Lumieres could playback their recordings (if my 
film mythology serves me) is almost video-like (time was a little slower in 
those days, so they say).

 Both early film and early video were made without post-production edits, hence 
were finished in camera.

 Video’s instant feedback loop is an unequivocal distinction from film.

To give proper attention to all origin strains of video, you have to consider 
camera-less, raster based work (Nam June Paik, Wolf Vostell and others).

The “early cinema” equivalent might be the first people to mark on clear 
leader, some Italian Futurists, Hans Richter, Man Ray etc.

 As to cultural “outrage”, it wasn’t uncommon for the people throwing things at 
the artists and making big scenes to be the Surrealists themselves.

 

Some worthy writing of early video (essays you should be able to easily find): 

Hollis Frampton, The Withering Away of the State of the Art

David Antin, Video: The Distinctive Features of the Medium




On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans  wrote:

> An answer depends on how “early” you’re talking about film (1890s? later?), 
> and about video (Broadcast TV or Portapak?).  Probably the most significant 
> common feature is the fixed camera position.
> 
> The most significant difference (beyond the obvious one of resolution) is 
> shot duration.  Video (portpak on) allowed for remarkably long shots compared 
> to almost all film.
> 
> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or How 
> We Got Into Pictures” is a great explanation of the evolution of early films' 
> means and style, concentrating on how the audience was shaped by the evolving 
> formal elements of cinema.
> 
> Chuck Kleinhans
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Titles of scratch films

[robert harris]

Much of Aldo Tambellini’s early film work:

Black Is
Blackout

and others


On Aug 25, 2015, at 3:14 PM, Scott MacDonald smacd...@hamilton.edu wrote:

 Su Friedrich's GENTLY DOWN THE STREAM and THE TIES THAT BIND.
 
 Robert Huot's SCRATCH
 
 Diana Barrie's MAGIC EXPLAINED
 
 Taka Iimura's 1 TO 60 SECONDS
 
 I'll keep thinkin'
 
 Scott
 
 On Tue, Aug 25, 2015 at 12:08 PM, Tess Takahashi tess.takaha...@gmail.com 
 wrote:
 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...
 
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Howard Guttenplan (April 6th, 1934 - February 23rd, 2015)

[robert harris]

I spent one year (1970-71) of undergraduate studies at Sara Lawrence College.  
Howard was then the “film tech/equipment guy” supporting the film production 
program.  The teacher was theatre director Wilford Leach (who directed the 1983 
film version of Pirate of Penzance), a basically good man who had little 
interest in avant garde film. Jon Avnet was Leach’s favorite student.  Howard 
was confidant and an oasis in an otherwise onerous scene.  Howard brought good 
people around, Paul Sharits, Gregg Sharits, Jud Yalkut, David Rimmer, Werner 
Nekes and Dore O.

 Around this same time, with the opening of Anthology in Kubelka’s “Invisible 
Cinema theatre”, screening primarily the “essential cinema” repertory, the 
Millennium, under Howard Guttenplan, was, in NY, THE venue for the “artist 
present screening new work” model for exhibiting radical film. Among the most 
memorable screenings, upstairs on Great Jones St, I recall Hollis Frampton’s 
premiers of the Hapax Legomena films and numerous Magellan works; Brakhage’s 
premier of “Act of Seeing with One’s Own Eyes (and many other films); and Jack 
Smith performing with projector and turntable.

Years later, when I directed the Video program at Anthology, Jonas elected to 
suspended film screenings while leaving 80 Wooster St. and moving to the 
courthouse. Thanks to Howard’s generous willingness to allow us to use the 
Millennium theater space, we kept the Video program active, moving our decks 
and monitors to 4th Street and featuring artists in person screenings on a 
weekly basis.

bob h.



On Mar 5, 2015, at 10:26 AM, conrad con...@buffalo.edu wrote:

 I am shocked and saddened to read this; Howard seemed ready to be there 
 forever, unchanging, like a post holding up one of the great tents of 
 filmmaking. He had the perspicacity and daring to let me show my Yellow 
 Movies in 1973, when they were all but illegible (other than by Jonas). And 
 of course he brokered show after show of works and makers who could never at 
 the time otherwise have had any resonant springboard of visibility. His 
 understanding of the cultural moment and inertia this represented is engraved 
 in his founding of MFJ, of his unbending embrace with Millennium, and even in 
 the certain remove one found in him: and it worked, Howard.
 
 ---t0ny
 
 
 On 03/04/2015 3:58 pm, Jay Hudson wrote:
 Just this afternoon, I received the shocking and sad news that Howard
 Guttenplan, the long term director of the Millennium Film Workshop
 passed away February 23, 2015.  He was laid to rest at Calverton
 National Cemetery in Long Island.
 Howard was a complicated person.  Keeping an organization like
 Millennium going for so long was a solitary and difficult task.  The
 funeral home director told me that he felt that Howard wanted to go
 out alone, only accompanied by a close childhood friend.  That is so
 much the way that Howard was.
 When I was running the Millennium and working on the gargantuan task
 of sorting old materials, the complete history of Howard's tenure came
 before my eyes.  Virtually every experimental filmmaker of note came
 through the doors.  It is no accident that Stan Brakhage's New York
 premieres were at Millennium, or that Jack Smith spent countless hours
 watching film and editing with scotch tape.  Countless filmmakers were
 loyal to Howard.
 Despite the struggles that I had with him reforming the Millennium, he
 gave me a full set of the Journal as a token of appreciation.  He gave
 me my first solo show.  Even when he at his most pissed off at me, he
 always complimented my work.
 There was something very unique and special because of what Howard did
 and who he was.  Millennium is still thriving.  And from me
 personally, Howard's New York Diary changed me as a filmmaker.  I hope
 that his film and photographic work will be preserved and archived.
 Requiescat in pace.
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Crystal sync 16mm camera rental in Boston/New England

[robert harris]

Like Jeff says:  Rule/Boston Camera

www.rule.com


On Oct 17, 2014, at 7:04 PM, Jeff Kreines wrote:

 Rule/Boston Camera.
 
 
 On Oct 17, 2014, at 5:05 PM, Adam R. Levine ada...@gmail.com wrote:
 
 
 
 Jeff Kreines
 Kinetta
 j...@kinetta.com
 kinetta.com
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Pac Lab and Cinelab in Mass

[robert harris]

After using PacLab for 10 or 12 years for all of my students reversal 
processing, I switched to Cinelab, and have used Cinelab for 14 years.
Cinelab has been better than PacLab.  Sent 'em 600 feet today.  

Robert Harris



On Sep 23, 2014, at 4:43 PM, Robert Houllahan wrote:

 PacLab has contacted us at Cinelab and they want us to take over BW Reversal 
 processing for them and their school clients. 
 
 UPS Ground is overnight to Cinelab in Massachusetts and we run BW Reversal 
 every day.
 
 I know it's not as convenient as bringing it directly to a lab in NY but we 
 are trying to keep BW Reversal going and at a high consistent quality.
 
 I am part owner of the lab so if there are any questions I can address them 
 at:
 
 r...@cinelab.com
 
 Robert Houllahan 
 www.lunarfilms.com
 www.cinelab.com
 SnApple meTelephone mangled.
 
 
 On Sep 23, 2014, at 4:17 PM, Beebe, Roger W. beebe...@osu.edu wrote:
 
 I wonder if this might’ve been A1.  I used them for several years until they 
 shut down.  My TB TX DANCE contact prints were done there and done well.
 
 …
 R.
 
 On Sep 23, 2014, at 4:07 PM, Jay Hudson jkh30...@gmail.com wrote:
 
 No, it was done there according to the student.  The processing was very 
 good too, better than what Pac Lab usually did.
 
 On Tue, Sep 23, 2014 at 4:03 PM, David Tetzlaff djte...@gmail.com wrote:
 One of the students got Super 8 processed at some random photo place in 
 the middle of Brooklyn.  
 
 They almost certainly just shipped it out, probably to Pac Lab.
 
 On Tue, Sep 23, 2014 at 12:28 PM, Jay Hudson jkh30...@gmail.com wrote:
 Funny thing is, when I was working at Millennium, one of the students of 
 the basic filmmaking class got Super 8 processed somewhere in the middle of 
 Brooklyn. I never got the name and have never heard anything about it from 
 other film makers.  I would love to try and find this place.  It was some 
 random photo place.  Sound familiar to anybody?
 
 
 On Tue, Sep 23, 2014 at 1:35 PM, Matt Whitman i...@mawhitman.com wrote:
 Very disappointing to hear this. Perhaps as they sell their equipment a 
 film/analog ally such as Mono No Aware, Millennium, or a colleague will 
 pick up the equipment as a way to continue offering reversal film 
 processing service in the NYC area - but this would be a lot to take on I 
 am sure.
 
 
 On Sep 23, 2014, at 1:13 PM, Adam Levine alev...@amherst.edu wrote:
 
 They are closed for good- we use them for student work and they confirmed 
 this yesterday.
 
 On Sep 22, 2014, at 4:55 PM, Matt Whitman i...@mawhitman.com wrote:
 
 if you call their phone number, there is a message that they are 
 currently closed for maintenance. they keep pushing back the re-open date 
 in the message though...
 
 // www.mawhitman.com
 // 610.416.4948
 
 On Sep 22, 2014, at 4:52 PM, Edward Choi wrote:
 
 I was under the impression that they had just closed temporarily to 
 renovate their space?
 
 edo
 
 On Monday, September 22, 2014, Jay Hudson jkh30...@gmail.com wrote:
 Someone on Facebook said Pac Lab went under.  Any confirmation?
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Glitch video artists

[robert harris]

Evan Meaney is deeply involved with the digital glitch.  Smart guy, good 
artist, fine human being.  Has not worked, as far as I know, with hollywood 
western footage.
Some of Meaney's work uses his own home (VHS) movies, making it 
self-referential and medium-referential.
He teaches in South Carolina, if you want to find him.


On Sep 22, 2014, at 3:52 PM, lana wrote:

 Hi all, 
 I have been trying to remember the name of a collaborative duo that made some 
 videos I saw a few years ago.  One of the long works was a video made from a 
 Hollywood western.  They used a technique that recorded digital glitches and 
 artifacting that left streaks and blocks of color.  Ring any bells?
 
 Any other suggestions of folks working with Digital Cinema/Video Art in a 
 self-referential way, (the self being Digital Cinema), would be appreciated 
 as well.
 
 Thanks, 
 Lana 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Super 8 transfer

[robert harris]

Apologies.
Fail to note that I was writing to Jeff on Frameworks.

bh


On Nov 1, 2013, at 2:15 PM, robert harris wrote:

 Yr. welcome, Jeff.
 Words are genuine.  Your work is good.
 I've actually only done SD transfers with Cinelab, which were reasonably 
 priced and fine for what they are.
 I like the people there, and they do a lot of work for my students, so I 
 thought I'd say something nice.
 The person asking said they had very high standards thought immediately of 
 you.
 
 Still working on the Ika project material.  Think I'll get some $ together, 
 hopefully do the work in January.
 Who does the actual transfer work at 22nd. st.  I have to assume you endorse 
 their skills, if they are not you.
 
 Bob
 
 
 
 On Nov 1, 2013, at 12:08 AM, Jeff Kreines wrote:
 
 Thanks for the kind words, Robert.
 
 Kinetta Archival in NYC (7 West 22nd Street, 6th floor) does 3.3K Kinetta 
 scans from any format film (which is about 5 times the resolution of HD 
 telecine of 4:3 material pillar boxed).  Note that some places offering HD 
 telecine actually are doing SD telecine and uprezzing it to HD — not an 
 ideal way to go.
 
 We scanned all the Super-8 footage for the recent theatrical documentary OUE 
 NIXON, which looked great on huge theater screens.
 
 Email me if you have any questions.
 
 Jeff Kreines
 Kinetta
 j...@kinetta.com
 kinetta.com
 
 
 
 On Oct 31, 2013, at 5:48 PM, Robert Harris lagonab...@rcn.com wrote:
 
 Get a KINETTA transfer.  Contact Jeff Kreines on this list.
 Best transfer I've gotten anywhere.
 There are perhaps some other competing options, but they're require 
 significantly bigger budgets.
 For a lab style, SD or HD transfer, I've also gotten very good results from 
 CineLab in MA.
 
 
 
 
 On Oct 31, 2013, at 4:00 PM, Lyra Hill lyra@gmail.com wrote:
 
 Seeking recommendations for a good Super 8 transfer service. Color 
 positive with some cement splices. I have very high standards. Tell me 
 about your experiences.
 
 Thanks!
 -Lyra
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 Jeff Kreines
 Kinetta
 j...@kinetta.com
 kinetta.com
 kinettaarchival.com
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Super 8 transfer

[Robert Harris]

Get a KINETTA transfer.  Contact Jeff Kreines on this list.
Best transfer I've gotten anywhere.
There are perhaps some other competing options, but they're require 
significantly bigger budgets.
For a lab style, SD or HD transfer, I've also gotten very good results from 
CineLab in MA.




On Oct 31, 2013, at 4:00 PM, Lyra Hill lyra@gmail.com wrote:

 Seeking recommendations for a good Super 8 transfer service. Color positive 
 with some cement splices. I have very high standards. Tell me about your 
 experiences.
 
 Thanks!
 -Lyra
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Aldo Tambellini

[Robert Harris]

 To all within the New York City area, I would like to enthusiastically 
 recommend a visit to the James Cohan Gallery to view Aldo Tambellini's 
 instillation, We are the Primitives of a New Era.

James Cohan Gallery is pleased to present Italian-American artist Aldo 
Tambellini, We Are the Primitives of a New Era, Paintings and Projections 
1961-1989, curated by Joseph Ketner and running from September 12th through 
October 19th. This is the artist's first New York gallery exhibition in nearly 
four decades.
Iconoclastic and experimental artist Aldo Tambellini was among the first 
artists in the early 1960s to explore new technologies as an art medium. 
Tambellini combined slide projections, film, performance, and music into 
sensorial experiences that he aptly called “Electromedia.” Such work informed 
Andy Warhol’s Exploding Plastic Inevitable and Woody and Steina Vasulka’s The 
Kitchen. With the rediscovery of this material, Tambellini’s work has become 
the subject of great interest for early new media.
Tambellini’s artistic practice is based on black and its polar opposite, white. 
The artist believes that the circle is a metaphysical manifestation of energy, 
stating “Black is the beginning. It is birth, the oneness of all, the expansion 
of consciousness in all directions” and “light is energy…the same energy we 
have discovered in the atom.”
For this exhibition, Tambellini will create a multimedia piece incorporating 
his seminal cameraless films, “Lumagrams” (projected hand-painted glass slide), 
selections from the Black Film Series and sound in an immersive environment 
that is meant to “dislocate the senses of the viewer.” Additionally on view 
will be Tambellini’s paintings and unique photographs, or “Videograms,” most of 
which have not been seen since the 1960s and have only recently been 
rediscovered.
The Black Film Series, a sequence of seven films made between 1965-69, is a 
primitive, sensory exploration of the medium, which ranges from total 
abstraction to the assassination of Bobby Kennedy, the Vietnam War, and black 
teenagers in Coney Island. Before picking up a camera, Tambellini physically 
worked on the film strip, treating the emulsion with chemicals, paint, ink and 
stencils, slicing and scraping the celluloid, and dynamically intercutting 
material from industrial films, newsreels and broadcast television. Abrasive, 
provocative and turbulent, the series is a rapid-fire response to the beginning 
of the information age and a world in flux. In 2012, Tambellini was awarded the 
Avant-Garde Masters Grant from The National Film Preservation Foundation and 
The Film Foundation, the latter created by Martin Scorsese. The grant allowed 
for the Harvard Film Archive to restore and preserve the entire Black Films 
Series.
Upcoming in 2013, Tambellini will introduce his Black Film Series at The Museum 
of Modern Art on October 18 as part of To Save and Project: The 11th MoMA 
International Festival of Film Preservation. Additionally, Tambellini will be 
the featured artist at the 2013 Montreal International Film Festival with 
performances and screenings at the Musée des beaux-arts de Montréal. 
Tambellini’s work has recently been exhibited at the Tate Modern, London 
(2012); and the Centre Pompidou, Paris (2012); and is included in the 
collections of the Harvard Film Archives, Cambridge, MA; the Rose Art Museum, 
Waltham, MA and the New Britain Museum of American Art, New Britain, CT, in 
addition to several major private collections. The artist has been a 
significant contributor to important group exhibitions such as Black Zero, 
Brooklyn Academy of Music, Brooklyn, NY (1968); Cineprobe, Museum of Modern 
Art, New York (1971); Documenta 6, Kassel Germany (1977) and Sao Paolo Biennale 
(1983). Over the past several decades, Tambellini has been the recipient of 
several awards, including the Grand Prix at Oberhausen Film Festival, 1969 and 
First Place in the “Short Experimental Film by an Independent Filmmaker” 
category at the New England Film  Video Festival in 2005 and at the Syracuse 
Film Festival in 2006. His career also integrated a fellowship at the Center 
for Advanced Visual Studies at MIT 1974-1986. Aldo Tambellini was born in 
Syracuse, New York, in 1939, spent his childhood in Lucca, Italy, and currently 
lives and works in Boston, Massachusetts.

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Question for frameworks community

[robert harris]

Dwight Cody at Boston Connection, aka. cutfilmhttp://www.cutfilm.com/
sells them.

On Aug 8, 2013, at 9:38 AM, Sasha Waters Freyer wrote:

 
 
 Dear Fellow Frameworkers,
 
 I am looking to purchase 16mm guillotine splicers on behalf of Virginia 
 Commonwealth University Dept. of Photography  Film.  PLEASE contact me if 
 you have any for sale or have any leads.  
 
 
  
 Thanks!
 
 
 Sasha
 
 
 swfre...@vcu.edu 
 ‡‡‡
 
 Sasha Waters Freyer
 Chair, Department of Photography  Film
 VCU School of the Arts
 325 N. Harrison St. / PO Box 843088
 Richmond, VA 23284
 
 tel. 804.828.2162
 email: swfre...@vcu.edu
 http://www.arts.vcu.edu/photofilm/
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Video works unviewable due to lost apparatus?

[robert harris]

Bjorn,

I suppose it depends somewhat on how you determine art and who is famous.   
Video technology has been constantly evolving since it's invention, and the 
oldest tools can be very very difficult to find, though if an old machine can 
be found, and the engineering skill, will, and funds are available, a tool 
could be refurbished and an unplayable work reanimated.  The tapes themselves, 
with entropy and decay, are perhaps even more transient than the machines, 
though I suppose it is more poignant to have a tape without a player than a 
dead tape. 
An interesting place to look is ETVC's History site.  
http://www.experimentaltvcenter.org/view_biblio_tools?page=1
A good starting point for investigating video work that has survived through 
format transfer might be ℅ Video Data Bank. 
http://www.vdb.org/titles/surveying-first-decade-video-art-and-alternative-media-us-1968-1980.



On May 15, 2013, at 4:24 AM, Lundgren wrote:

 I know that once on this list somebody mentioned that there was a Andy Warhol 
 work that was done on a video system which had no surviving video players. 
 I've tried to search the list unable to find any information. Does anyone 
 know of this and have a decent (preferable academically scrutinize-able) 
 source for it?
 
 Or those anyone have examples of other famous artist with video works (or 
 similair) lost due to the fact that we don't have any machines to watch it 
 anymore?
 
 Björn Lundgren
 Sweden
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Film Scanning in NYC

[robert harris]

Those who are able and so inclined should most definitely consider scanning 
films with Jeff Kreines.
The work is phenomenal, undeniably exceptional.  Jeff is brilliant and truly 
devoted to film.
I'm most appreciative of the work quality and the rates charged.
I'm saving my pennies to seek him out for more work in the future.

Bob Harris


On Mar 2, 2013, at 5:44 PM, Jeff Kreines wrote:

 Just about finished in Boston, and will be in NYC mid-week and beyond, 
 scanning films for Owen Plotkin, Michel Negroponte and Ross McElwee, and -- 
 perhaps you, too.
 
 Just scanned films in Boston for Jan Egleson (3 features from AB rolls), 
 Robert Harris (including some early Nam June Paik performance footage), and 
 Kate Dollenmayer (hand-cranked 35mm BW negative) among others.
 
 The 22 hours of Nixon White House Super-8 home movies shot mostly by HR 
 Haldeman make up the bulk of OUR NIXON by Penny Lane and Brian Frye, which 
 premieres at SXSW and is the closing film of the NYFF New Films/New Directors 
 festival at the end of March.
 
 Thank you Owen for your kind offer of a place to scan.
 
 So of you have film of any format and want the highest quality digital files, 
 email me at j...@kinetta.com.  
 
 And if you are in Paris or San Francisco, there are Kinettas there, too.
 
 
 Jeff Kreines
 Kinetta
 kinetta.com
 j...@kinetta.com
 
 On Feb 27, 2013, at 9:37 PM, Jeff Kreines jeffkrei...@mindspring.com wrote:
 
 I will be in NYC next week (and possibly beyond) doing high resolution film 
 scans with a Kinetta Archival Scanner.  (For more information go to 
 kinetta.com)
 
 I can scan any format from 8mm to 35mm, including 9.5mm, 17.5mm, and 28mm, 
 at a resolution of 3296 x 2472 (about 5x the resolution of HD).  Kinetta's 
 Hypergamma technology makes it possible to scan the most contrasty prints or 
 reversal original without sacrificing highlights or shadow detail.  
 
 Special rates for Frameworks subscribers.  Email me offlist at 
 j...@kinetta.com if you have any questions.
 
 Best,
 
 Jeff
 
 
 
 
 Jeff Kreines
 Kinetta
 kinetta.com
 j...@kinetta.com
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] films featuring projectionists

[Robert Harris]

Please don't overlook the father and son projectionists in PEEPING TOM.

and then there's Marcello Mastroianni magical screening at Anita Ekberg's villa 
in INTERVISTA



On Jan 8, 2013, at 5:09 PM, Dennis Doros wrote:

 
 
 On Tue, Jan 8, 2013 at 4:59 PM, Jennifer Miko - MFT m...@movettefilm.com 
 wrote:
 Hello,
 
 Perhaps not mentioned yet: Desperately Seeking Susan (Susan Seidelman)
 Aidan Quinn's character is a projectonist in a chinatown(?) theatre
 
 
 It was the old and beloved Bleecker Street Cinema, but definitely there are 
 scenes in the projection booth with Aidan as the projectionist.
 
 
 -- 
 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
 
 Support Milestone Film on Facebook and Twitter!
 
 See the website: Association of Moving Image Archivists and like them on 
 Facebook
 AMIA 2013 Conference, Richmond, Virginia, November 5-9!
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] super 8 400' reels

[Robert Harris]

URBANSKIhttp://www.urbanskifilm.com

  or  BOSTON CONNECTION  http://www.cutfilm.com






On Dec 19, 2012, at 9:05 PM, ev petrol wrote:

 any leads folks? looking to pick up a few 
 cheers moira
  
 moiratierney.net
 vimeo.com/moiratierney
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] ZERO (Heinz Mack and Otto Piene)

[robert harris]

MIT's List Visual Arts Center recently held an exhibition of Otto Piene's work.
In conjunction there were numerous panels and screenings (though no Group Zero 
public access episodes to my knowledge)
You might check the Nov. 17 listing on this calendar
http://listart.mit.edu/past_programs
J. Ketner might be able to help you.





On Jan 2, 2012, at 11:20 PM, lj frezza wrote:

 hello everyone
 this is a real foggy recollection of mine, but i seem to recall the
 german art group ZERO producing a number of public access television
 episodes - can anyone confirm this or point me in the direction of
 recordings of these broadcasts?
 -lj
 -- 
 ljfre...@gmail.com / 904.762.8300
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] square corners

[robert harris]

Had the Chinese invented cinema, might not the aspect ratio been something 
along the lines of 3x11?
What if the Inuit had invented cinema, how would their sensibility have placed 
edges?

bh


On Oct 21, 2011, at 12:24 PM, Tom Whiteside wrote:

 Rob’s brilliant question raises another point that has long interested me  – 
 why don’t we make/look at circular images? Lenses have always created 
 circular images, but early photography put square corners on images (cut into 
 the circles) in order to, one thinks, mimic the conventions of canvas 
 stretched over frames. Yes there are a few round paintings and other shapes 
 (walls of caves for starters), but the long history of image making has been 
 all about arranging images inside the corners.
  
 -  Tom
  
 What frame ratio do people think is best for a painting and should it be 
 cropped later to fit the ready-made picture-frame?
 
 Rob
 
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Dance films

[robert harris]

Re: Dance films, still unmentioned...
these are works on video

Davidson Gigliotti did a great deal of tasteful documentation of dance and 
performance in the downtown NYC scene of the late 70's/early 80's.  Chant a 
Capella is one such piece.  He was married at that time to Elaine Summers, 
herself a significant contributor to the cine-dance field.  

James Byrne had a great sense for shooting movement.  His Undertow, with Eiko 
and Koma is excellent.  Analog video handling light and contrast like most 
people wouldn't believe it could, not to mention compelling bodies  motion.

John Sanborn and Mary Perillo made a wonderful, moving piece with a young Bill 
T. Jones not long after the death of Arnie Zane.  In it Jones dances with the 
video ghost of Zane. It's a really sweet and powerful work.

Mary Lucier madeIn the blink of an eye...(amphibian dreams)...If I could 
fly I would fly with Elizabeth Streb.
It has great sound work by Earl Howard.

all the above (and other dance works by these artists which I have not seen, so 
I won't endorse), are at Electronic Arts Intermix in NYC.





On Sep 25, 2011, at 12:34 PM, John Woods wrote:

 Daniel Conrad specializes in dance films: http://www.rhodopsin.ca/
 
 I've had the pleasure of seeing some of his work on the big screen and the 
 tiny clips on his website don't really do his work justice. His films are 
 shot in unusual places around the world and the location influences the 
 choreography.
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks