Re: [Frameworks] Cameraless film in the university

[Ruth Hayes]

At The Evergreen State College we teach direct animation and cameraless film in 
our foundation program and in some other classes depending on the subject. As 
with others responding, I’ve found it a great way to bring fine arts students 
in to animation and media production. Also, Devon Damonte teaches a summer 
course here, Visual Music on 16mm and 35mm Film that involves all sorts of 
cameraless techniques including making photograms and hand-processing. Students 
appreciate the materiality of working with film and photo processes, especially 
if all they’ve done before is digital. It’s also a way to get them into 
thinking about forms beyond the narrative and single channel presentation.

Ruth 

http://www.randommotion.com-
sites.evergreen.edu/ruthhayes/ 



> On Feb 12, 2020, at 3:58 AM, Albert Alcoz  wrote:
> 
> Hello,
> 
> Does anyone know if cameraless film is a common subject at university?
> 
> I am investigating the role of cameraless film in the studies of Fine Arts 
> and Media Studies.
> 
> Most of cameraless film workshops are organized by art centers, alternative 
> spaces or private film schools but i wonder the role it has within the 
> university. 
> 
> Is it taught as a technique that can be applied in the audiovisual industry 
> (such as video clips, advertisements, fiction animated films, etc.) or as a 
> line to develop artistic projects or personal film developments?
> 
> Would be great to know personal experiences concerning teaching this 
> animation technique related to experimental cinema. 
> 
> Best,
> Albert
> -- 
> http://albertalcoz.com/ 
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Re: [Frameworks] meditative films?

[Ruth Hayes]

Hi Kate,

You might take a look at Kirsten Lepore’s Hi 
Stranger:https://vimeo.com/190063150 . I showed it 
to my students for valentine’s day one year and they loved it.

Best,

Ruth

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Dec 11, 2019, at 3:29 PM, kate lain  wrote:
> 
> Hi, Frameworkers.  I’m teaching a multi-part film/video-making workshop for 
> high schoolers.  We’re exploring rituals of care, different self-care 
> practices, calming techniques, etc., and the students will be making a 
> collaborative collage film/video related to all that.  I’d love to show them 
> some examples of moving image works for inspiration (or send them links to 
> things they can check out on their own).
> 
> Do you have any recommendations for short films, videos, animations, gifs, 
> video art, etc. in the experimental/art vein that are that are viewable 
> online that might fit with this?  (I'm not looking for things like straight 
> documentaries on self-care or anything -- I'm thinking about works that are 
> more poetic, more in the arena of video art or experimental film.)  Note that 
> these students are brand new to experimental film, so I’m not looking for 
> particularly challenging works that could be frustrating to them.  Instead, 
> I’m looking for pieces that are slower, poetic, perhaps repetitive, 
> meditative that someone might be able to relax into.  A couple of films that 
> come to mind are Amy Halpern’s “Invocation” (except there's no digital 
> version, dang it, and I can only show digital at this school) and James 
> Whitney’s “Lapis”.  But I hope to find more works that, like "Invocation," 
> work with representational imagery—and works that, in particular, use 
> documentation/documentary-style moving images since the students will 
> recording visuals and audio at the school site where we’re working (though we 
> may do some basic animation as well).
> 
> I’m particularly interested in works by artists of color and queer artists, 
> but I’m open to other suggestions as well.  Thank you in advance for any 
> recommendations!
> 
> Best,
> Kate Lain
> 
> -- 
> kate lain
> katemakesfilms.com 
> 
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Re: [Frameworks] Liquidol / Eco Pro...any experience???

[Ruth Hayes]

We’re using Eco-Pro (print) developer because it’s what the photo area has to 
offer and we’re working at a really small scale in terms of #s of students and 
staff and faculty resources. Prepping and creating the space for a different 
set of chemicals is out of reach right now. Just arguing that the college 
should not abandon 16mm altogether is a major time-suck these days.

Ruth


http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Jul 29, 2019, at 6:40 AM, Scott Dorsey  wrote:
> 
> I don't know what liquidol really is, and there's no information on the
> web.  
> 
> The MSDS says it's a water solution with sulfite and hydroquinone, looks
> like a little less hydroquinone than dektol.  Does it have metol in it
> like Dektol or does it have phenidone?  I assume that since it's based on
> water and not glycol like HC-110 that there is something in there to 
> prevent oxidation but they aren't saying so.
> 
> With that extra sulfite in there I am assuming it's going to be a little 
> more compensating than dektol, if it's using metol, and it'll be a whole
> lot more compensating if it's using phenidone.  This would probably be more
> noticeable if you're using it for film processing than paper.
> 
> Anyway...  if you are worried about students mixing powder compounds
> poorly, you could just premix the stock solution for them and hand it to
> them.  Or you could make a super-concentrated solution with a little glycol
> and let them mix down from that.  
> 
> I'm curious why you're using a paper developer instead of ordinary D-19,
> though.  D-19 will definitely give you finer grain.
> --scott
> 
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Re: [Frameworks] Liquidol / Eco Pro...any experience???

[Ruth Hayes]

Hi Ben,

At Evergreen, our b/w photo darkroom uses Eco-Pro for developing prints. We use 
this chemistry for processing hi con negative (7363 and 3378). It works well. 
We don’t do reversal (yet) so I can’t speak to that.

Ruth Hayes
Member of the Faculty, Animation
The Evergreen State College


http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Jul 27, 2019, at 10:23 AM, Ben Balcom  wrote:
> 
> Hi all. Hoping someone might have some input/advice here. I teach an Advanced 
> 16mm class in which students do most of their own B+W Reversal Processing for 
> the semester. I'm looking for a Dektol alternative that comes in liquid 
> concentrate to avoid the powder mixing. These are what I'm considering:
> 
> 
> 1) Eco Pro Chemicals: 
> https://www.digitaltruth.com/products/ecopro_overview.php 
> <https://www.digitaltruth.com/products/ecopro_overview.php?fbclid=IwAR2rT4rxzOTenuF_RMWWLS1C40P6LR6EpZavbAllUz-v195_0bu6SUuLG5g>
> Eco pro makes eco-friendly developer, stop, fix  might be good for 
> the students and their nervous sloshings around.
> 
> 2) Liquidol: http://stores.photoformulary.com/liquidol-paper-developer/ 
> <http://stores.photoformulary.com/liquidol-paper-developer/?fbclid=IwAR3n1UBp9sU9_z8EqIW-bBGHrQv3rdln197YwnmiJkAtEKuLITE4aoZBP9g>
> Designed as a high-yield Dektol substitute. 
> 
> I've tried both and get solid results with small test strips. Still haven't 
> run a full 100', but I feel like they're good options.
> 
> Has anyone had any experience with either one??
> 
> Many thanks,
> Ben
> 
> -- 
> Ben Balcom
> he/him/his
> benbalcom.com <http://benbalcom.com/>
> microlightscinema.com <http://microlightscinema.com/>
> benbal...@gmail.com <mailto:benbal...@gmail.com>
> 414-902-0236
> 
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Re: [Frameworks] suggestions for experimental road movies and/or experimental films about automobility

[Ruth Hayes]

Hi Bryan,

Eric Martin’s USA Film, 1976, would be worth seeking out. He shot a frame every 
sixth of a mile from Boston to DC, to Monument Valley, to SF. The soundtrack is 
radio reporting of the Watergate Hearings, as I recall. Eric may still be on 
the faculty at Cal Arts, or reachable through them. Or the film may be in the 
Harvard Film Archives.

Ruth
http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Jul 22, 2019, at 3:50 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
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Re: [Frameworks] Suzan Pitt

[Ruth Hayes]

At the recent Society for Animation Studies conference in Lisbon, Sandro Del 
Rosario gave a wonderful remembrance of Suzan, describing how he was assigned 
to her as a mentee at Cal Arts at the beginning of her tenure there, and how 
they shared their experiences as newcomers. People mentioned her works, 
particularly Asparagus, frequently throughout the conference, as touchstones of 
women’s animation, and inspiration to new animators to pursue personal, 
figurative and dream imagery. She certainly was formative for me when I 
encountered her and her works back in the 1970s.

Ruth

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Jun 21, 2019, at 6:03 AM, Dominic Angerame  
> wrote:
> 
> Thanks Cindy the dvd looks exciting. I am surprised at the lack of responses 
> here for some of the major filmmakers who have passed on. There have been 
> numerous posts about Carolee, Jonas and Barbara. However pitifully few for 
> Suzan, Michael Todd, Paul Clipson, Steve Parr and others who were important 
> figures in the ag world.
> 
> Thanks for remembering Suzan and glad to see a release of her work.
> 
> 
> 
> On Thu, Jun 20, 2019 at 8:56 PM C Keefer  > wrote:
> Very sad news about Suzan. She was a brilliant artist who will be missed. I'm 
> honored to have guest lectured for a few of her classes, while she was still 
> teaching at Cal Arts. She wanted her students to be exposed to Fischinger and 
> other films from our archive. Suzan was a great supporter of Center for 
> Visual Music.
> 
> For those in N. and S. America who want to see her films, CVM will have some 
> of her DVDs here by end of the month. Suzan Pitt: Animated Films, the recent 
> Re:Voir release.
> It''s at our online store now, centerforvisualmusic.squarespace.com 
>   but won't ship for another 
> week or so.
> 
> Or contact CVM at cvmaccess (at) gmail.com  to arrange 
> pickup in LA (east side).
> 
> best regards,
> Cindy Keefer
> Center for Visual Music
> www.centerforvisualmusic.org 
> 
>  
>  
> 
> 
> 
> -- Forwarded message --
> From: Dominic Angerame  >
> To: Experimental Film Discussion List  >
> Cc: 
> Bcc: 
> Date: Mon, 17 Jun 2019 06:15:46 -0700
> Subject: Re: [Frameworks] Suzan Pitt
> This news saddens me greatly. I had the great pleasure of speaking with Suzan 
> at length many times while operating Canyon Cinema. With fondness I remember 
> the year that I asked her to  present her work at the Latinoamericano Cine 
> del Nuevo International Festival in Havana. We had the chance to hang out, 
> party and laugh almost continuously telling stories of filmmakers we both 
> knew and the thrill of just being in Havana. 
> 
> Cuban filmmakers and audiences were impressed with her films since they had 
> never seen any of her films. Suzan was extremely happy that she had the 
> opportunity to expose her films to the Cuban people. For both the both of us 
> it was an extremely rewarding experience that I remember with fondness to 
> this day.
> 
> Suzan will be missed by many of us in the AG Community
> 
> 
> Dominic
> 
>> On Jun 17, 2019, at 12:21 AM, Eric Theise > > wrote:
>> 
>> I've only come across what Laura Kraning posted to Suzan's Facebook page, 
>> which was:
>> 
>> "Dearest friends,
>> 
>> We are so sorry to report the very sad news that our dear Suzan Pitt passed 
>> away this morning at her home in New Mexico. She was very private about her 
>> illness but she would want you all to know how much you all meant to her. 
>> Her son, Blue Kraning, and I thank you for your friendship and kindness 
>> during this very difficult time. She will be missed by so many. I will 
>> provide more details soon about the funeral, which will take place in 
>> Nashville, TN. Feel free to share photos and memories."
>> 
>> I'm grateful I had a chance to meet her and see her present Asparagus and 
>> other works at the School of the Art Institute in Chicago sometime in the 
>> late 1980s. Here in the SF Bay Area we are also recovering from the news 
>> that poet Kevin Killian passed away over the weekend.
>> 
>> 
>>  
> 
> 
> 
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[Frameworks] Media/Film Studies 2019-20 Visiting Faculty at Evergreen

[Ruth Hayes]

Hi all, please spread the word, or apply yourselves!

https://evergreen.peopleadmin.com/postings/2276?fbclid=IwAR1c3HNqGBpNVRUtZAKghGTPOofL9qUD2G2iQ0-IrKNLU8cfuCfujdbTCms
 


Media/Film Studies 2019-20 Visiting Faculty
Job Summary 
This is a two-quarter visiting faculty position for fall/winter of the 2019-20 
academic year.

Evergreen is seeking a visiting Media or Film Studies faculty to teach in a 
team with a psychology faculty and a literary studies faculty in an 
interdisciplinary academic program geared for first-year students. In Madness 
and Creativity: The Psychological Link, students will be studying abnormal 
psychology, reading psychology and literary texts, and engaging in creative 
production over two quarters. The visiting faculty will work closely with 
students in the study of film history, film theory, and in media production 
workshops using simple equipment, including cellphones. In collaboration with 
faculty partners, s/he will engage in program planning prior to the start and 
facilitate weekly book seminars with students. 

Teaching experience in a college setting is required. Areas of teaching include 
scriptwriting, acting, shooting, critique, and peer editing of film/video, as 
well as analysis of feature films and documentaries that deal with psychology, 
imagination, and human creative potential.

MFA in Media or Film Studies is required. Experience linking media with other 
disciplines, such as psychology and literature, is highly desirable. Experience 
working across significant differences (race, class, gender, sexual 
orientation, etc.), and working with diverse and underserved students is also 
highly desirable.

Job Expectations
Most faculty will teach in full-time, team-taught, 16-credit programs connected 
by a particular theme or line of inquiry. Faculty are generally responsible for 
evaluating 25 students/quarter, though their programs may include up to 50-75 
students, depending on the size of their teaching team. This arrangement allows 
for in-depth, interdisciplinary and experiential learning, and the building of 
strong learning communities. Faculty are also responsible for advising students 
as they reflect on their learning process, develop a pathway of study, and 
formulate their own areas of concentration. 


Our teaching is student-centered, which means we are interested in helping 
students develop strong skills in critical thinking, problem solving, 
communication and collaborative work. Because over 80% of our students come 
from underserved and marginalized groups, we are particularly invested in 
approaches to teaching that emphasize diversity and equity, that provide 
opportunities for challenge and growth, and that foster a learning environment 
where all are welcome and all can learn from each other. 


A complete list of faculty responsibilities can be found in the Collective 
Bargaining Agreement.

Minimum Qualifications  
•   MFA in Film or Media Studies or related field, with skills in 
Film/Video Production
•   Ability to teach topics related to media, film history, film theory, 
and a range of documentary and creative video/media production techniques 
•   College level teaching experience

Preferred Qualifications
•   Demonstrated ability to help students produce collaborative projects
•   Experience working with and supporting populations traditionally 
underserved and under-represented in the media field

Application Instructions
Required:
•   Cover letter
•   Curriculum Vitae
•   List of 3 references with contact information
•   2 letters of reference (upload with your other materials)
•   1-2 page statement of your teaching philosophy and practice. Please 
focus specifically on your understanding and experience of interdisciplinary 
study and what you believe should distinguish a liberal arts education today
•   1-2 page statement of your experience and/or practice with diversity 
and equity issues (more information is available on our website: 
http://www.evergreen.edu/facultyhiring/equitydiversity)

Optional:
•   Scholarly work
•   Student Evaluations of Faculty 
•   Student Letters of Reference

Review of complete applications begins May 6, 2019. The posting may close to 
new applicaiton materials at any time after this date.

http://www.randommotion.com
blogs.evergreen.edu/hayesr

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[Frameworks] Barbara Hammer, RIP

[Ruth Hayes]

Hi all,

I just want to acknowledge Barbara Hammer’s passing, her influence on so many 
experimental filmmakers, including myself, and her courage, playfulness and 
indomitable spirit. 

Peace,

Ruth Hayes
http://www.randommotion.com
blogs.evergreen.edu/hayesr

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Re: [Frameworks] collective remembrance/memorials as film?

[Ruth Hayes]

Dear Ruth,

Please see my 1994 film Reign of the Dog; A Re-Visionist History, 
deconstructing the history of the conquest of the Americas: 
https://vimeo.com/26890004 <https://vimeo.com/26890004>

Ruth Hayes


http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Mar 5, 2019, at 12:41 AM, Anderwald + Grond  
> wrote:
> 
> Dear frameworkers,
> We are in search of experimental films and video artworks that can be 
> understood as memorial or engage in remembering collective events or 
> catastrophes.
> From Alain Resnais' Nuit et Brouillard to Colectivo Los Ingrávidos’ works, 
> e.g. Memorial, we are interested in moving image artwork that is invested in 
> collective, public remembering of historic events and would be very glad 
> about suggestions.
> Thank you,
> Ruth
> 
> 
> — — — — 
> Ruth Anderwald + Leonhard Grond
> 
> http://www.anderwald-grond.at <http://www.anderwald-grond.at/>
> 
> Until I clear this place be a part of me – mind, body and soul. 
> If I sway, sway with me. Charles Blondin
> — — — — 
> This email and any attachments may contain confidential information and is 
> intended solely for the addressee. If you are not the intended recipient (or 
> have received this email in error) please notify the sender immediately and 
> destroy this email. Any unauthorized copying, disclosure or distribution of 
> the material in this e-mail is strictly forbidden.
> E-Mail und Beilagen können vertrauliche Informationen enthalten, die nur für 
> den Empfänger bestimmt sind. Wenn Sie nicht der beabsichtigte Empfänger sind 
> (oder die Nachricht irrtümlich erhalten haben), benachrichtigen Sie bitte 
> umgehend den Absender und vernichten Sie diese E-Mail. Jegliche 
> unautorisierte Kopie, Veröffentlichung oder Verbreitung der Inhalte dieser 
> E-Mail ist generell untersagt. 
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Re: [Frameworks] Inks and paints for clear leaders

[Ruth Hayes]

I’ve been experimenting with Vitrail paints for painting on glass. Most of the 
colors are very saturated, and it dries hard. Downsides are that they take a 
long time to dry, and you need to use mineral spirits to clean brushes.  I 
bought them from Dick Blick, by the bottle.

Ruth

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Jan 10, 2019, at 10:46 AM, Ugo Bo  wrote:
> 
> I use Talens Ecoline, about 5 euros per bottle, on the gelatine side.
> They work really well for me.
> best
> Livio
> 
> Il giorno gio 10 gen 2019 alle ore 02:40 Francisco Torres
>  ha scritto:
>> 
>> back in the 80s i used sharpies, but i never printed the film i marked
>> so i dont know if it would had worked beyond the clear leader i worked
>> on. sharpies have dropped in price and are now made in many different
>> colors, back then there were only black, red, green and blue.
>> 
>> 2019-01-09 19:42 GMT-05:00, lindsay mcintyre :
>>> You need alcohol-based transparent inks.  Dr. Martin's has good ones and
>>> there are some other good brands that are easier to find in craft stores,
>>> including Pinata Color Susan Pickering Rothanol signature line (made by
>>> Jacquard), Inkredible ink by jane davenport, and alcohol ink by Ranger.
>>> They are sometimes overpriced but make beautiful vibrant colours that can
>>> also be mixed together, used on both sides of the film, and (rarely)
>>> layered.
>>> 
>>> Best,
>>> 
>>> Lindsay McIntyre
>>> 
>>> 
>>> On Tue, Jan 8, 2019 at 5:34 PM Morgan Hoyle-Combs 
>>> wrote:
>>> 
 Hello all,
 
 Anyone who works in hand painted film must have an idea of inks and
 paints
 that are good for using on clear acetate or polyester leader. I'm looking
 for the kind that can won't easily wash or flake off when dry. And for
 the
 moment, I'd like to stay away from markers and pens. I'm going to stick
 with brushes.
 
 Any help would be appreciated!
 
 Thank you
 
 M
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>>> 
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Re: [Frameworks] Films about the clock

[Ruth Hayes]

Perhaps these aren’t contemporary enough, but Al Jarnow’s Celestial Navigation 
(1984) includes a clock, a “clock” (Stonehenge), and uses the camera to 
repurpose his studio into another marker of time. Also, Len Lye’s trade Tattoo 
(1937) has a lot of imagery of clock faces.

Ruth

http://www.randommotion.com 
blogs.evergreen.edu/hayesr 

> On Oct 27, 2018, at 5:07 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/ 
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Re: [Frameworks] projection material

[Ruth Hayes]

We had wonderful results projecting onto parachute silk once. (But it doesn’t 
hang flat, and does have seams.)

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Jun 26, 2018, at 10:50 AM, Andy Ditzler  wrote:
> 
> Hi all, 
> 
> I'm doing a multi-projector screening (let's say thirty feet wide) and need 
> to hang some kind of projection material in the room that will be wide enough 
> to accommodate the imagery. Can anyone suggest what kind of material I should 
> look for? White vinyl has been suggested, but I'm not sure how that would 
> work as a projection surface. Any advice is much appreciated. 
> 
> Best, 
> 
> Andy Ditzler
> Founder and curator, Film Love: www.filmlove.org 
> Co-founder, John Q collective: www.johnq.org 
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Re: [Frameworks] [Labos] Newly Available: Eastman 7363 Single Perf Super 16

[Ruth Hayes]

Hi Zach, 

At Photoland at the Evergreen State College, I’ve been processing the old 7363 
I have (before Kodak discontinued it) as negative in Eco-Pro developer for 
paper prints. That’s what Photoland uses, and it’s worked really really well 
for me.

Ruth

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Jun 20, 2018, at 7:11 AM, Zach Hart  wrote:
> 
> Hey Roger,
> 
> Thanks so much for the update. I went ahead and bought quite a bit of the 
> stock. I used to shoot 7363 as camera film until it got discontinued a couple 
> years back. 
> 
> I'm wondering if you or anyone have shot the new stuff? I did a small test 
> rating (as I used to) at ASA 12. I shot under a tungsten balanced light and 
> developed in D76 at 80 degrees fro 5 minutes. 
> 
> I know D76 is not generally what one would use for developing this stock, but 
> in my previous experience with this film I got a good exposure with any 
> developer. The film came out fine, but there is a lot of chemical remnant and 
> it is very very dirty and watermarked. 
> This is all strange since my experience with Polyester stock is that it 
> washes and drys very well with or without photo-flo. 
> 
> Anyways, anyone know if the color change from yellow to gray is due to the 
> polyester base? It used to be acetate. And please let me know your own 
> experience with developing/exposing this new batch because it seems to be a 
> bit of a different emulsion than I remember. 
> I contacted Kodak and they told me it is emulsion 292 (I have no idea what 
> this means). Anyone know if that's what it used to be? Kodak also mentioned 
> that it should be rated at ASA 20-24. I'm assuming that's for tungsten light? 
> 
> Here's a sample frame of my recent test. The chemical remnant is definitely 
> more prominent as a negative, but I still want to eliminate it if it's 
> possible
> 
> 
> best,
> Zach
> 
> On Mon, May 28, 2018 at 10:18 AM, Beebe, Roger W.  > wrote:
> All,
> 
> I realized that I only saw this on the film labs mailing list & thought some 
> (many?) of you might be interested.  Get it while it lasts…
> 
> FYI,
> Roger
> 
>> Begin forwarded message:
>> 
>> From: Elena Rossi-Snook > >
>> Subject: [Labos] Newly Available: Eastman 7363 Single Perf Super 16
>> Date: May 23, 2018 at 10:47:06 AM EDT
>> To: "fo...@filmlabs.org " > >
>> Reply-To: forum labo mailto:fo...@filmlabs.org>>
>> 
>> Hello!
>> 
>> This just in from Kodak Technical Director Bev Pasterczyk: KODAK is pleased 
>> to announce the limited release of EASTMAN High-Contrast Positive Film II 
>> 7363 in single perf Super 16 format. Product will be sold until inventory is 
>> depleted. You can use this for black leader if the film is exposed and 
>> processed as Dmax. 
>> 
>> If you don't know your regional Kodak rep, you can always contact Bev 
>> directly [in L.A.] 
>> 
>> Elena Rossi-Snook | Chair
>> AMIA Film Advocacy Task Force
>>  
>> 
>> ___
>> Forum mailing list
>> fo...@filmlabs.org 
>> https://listes.domainepublic.net/listinfo/forum 
>> 
> 
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> 
> 
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Re: [Frameworks] Bolex 16mm camera repair contacts needed!

[Ruth Hayes]

Thank you all for the numerous contacts! You’ve been very helpful!

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Oct 27, 2017, at 6:35 AM, Anna Kipervaser <anna.kiperva...@gmail.com> 
> wrote:
> 
> Dr. Bolex aka Arthur Sanchez does great work, and is quite affordable. He's 
> also converting to s16 at a great rate! 
> 
> CLA = $250
> s16 conversion + CLA = $450
> 
> drbolex.com <http://drbolex.com/>
> 
> Best,
>  Anna
> 
> On Oct 27, 2017 8:00 AM, <frameworks-requ...@jonasmekasfilms.com 
> <mailto:frameworks-requ...@jonasmekasfilms.com>> wrote:
> Send FrameWorks mailing list submissions to
> frameworks@jonasmekasfilms.com <mailto:frameworks@jonasmekasfilms.com>
> 
> To subscribe or unsubscribe via the World Wide Web, visit
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
> or, via email, send a message with subject or body 'help' to
> frameworks-requ...@jonasmekasfilms.com 
> <mailto:frameworks-requ...@jonasmekasfilms.com>
> 
> You can reach the person managing the list at
> frameworks-ow...@jonasmekasfilms.com 
> <mailto:frameworks-ow...@jonasmekasfilms.com>
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> 
> Today's Topics:
> 
>    1. Cosmic Rays deadline approaching (Sabine Gruffat)
>2. Studio Share in Greenpoint Brklyn. (Thomas Dexter)
>3. Bolex 16mm camera repair contacts needed! (Ruth Hayes)
>4. Re: Bolex 16mm camera repair contacts needed! (Lyndsay Bloom)
>5. Re: Bolex 16mm camera repair contacts needed! (Sofia Canales)
>6. Re: Bolex 16mm camera repair contacts needed! (Isaac Brooks)
>7. Re: Desktop documentary/essay/narrative (Pablo de Ocampo)
>8. Re: Desktop documentary/essay/narrative (John Muse)
>9. Re: Bolex 16mm camera repair contacts needed! (Scott Dorsey)
>   10. Re: Bolex 16mm camera repair contacts needed! (Colin Brant)
> 
> 
> -- Forwarded message --
> From: Sabine Gruffat <sgruf...@hotmail.com <mailto:sgruf...@hotmail.com>>
> To: "frameworks@jonasmekasfilms.com <mailto:frameworks@jonasmekasfilms.com>" 
> <frameworks@jonasmekasfilms.com <mailto:frameworks@jonasmekasfilms.com>>
> Cc: 
> Bcc: 
> Date: Thu, 26 Oct 2017 12:47:38 +
> Subject: [Frameworks] Cosmic Rays deadline approaching
> Dear Frameworkers,
> 
> This inaugural year Cosmic Rays is hosting Rose Kallal and David Dinnell.
> 
> We are nearing the end of our submission period (November 1st.
> If you are interested please submit films through our website:
> www.cosmicraysfilmfest.com <http://www.cosmicraysfilmfest.com/>
> 
> Thank you!
> Sabine Gruffat
> 
> Sent from my mobile
> 
> 
> -- Forwarded message --
> From: Thomas Dexter <thomas.dex...@gmail.com <mailto:thomas.dex...@gmail.com>>
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com 
> <mailto:frameworks@jonasmekasfilms.com>>
> Cc: 
> Bcc: 
> Date: Thu, 26 Oct 2017 13:57:30 -0400
> Subject: [Frameworks] Studio Share in Greenpoint Brklyn.
> Hello ~ 
> 
> I am looking for a third person to share a multi-use studio space in North 
> Greenpoint Brooklyn currently shared by yours truly (working with analog 
> cinema, sound, objects, digital media), a projectionist / performer, a 
> painter, an industrial designer, and another filmmaker with a band  
> (apologies if I have mis-categorized anyone...) We are seldom all there at 
> the same time.
> It's a unique space totaling 1000 square feet - your share would be a 
> configurable third of an open 500 square foot workspace with a great deal of 
> built-in storage. 
> 
> Rent is approximately 330.00 / month
> 
> 551 Stewart Avenue between Meeker and Thomas
> North Greenpoint under the Kosciusko Sky Way
> 
> 15 minute walk from the 'G' train – Norman Avenue stop
> 
> The right person would have to be comfortable with occasional high volume 
> rehearsal and a raw industrial space in an industrial corner of town. 
> Musician, sound artist, filmmaker ideal..
>  
> Thanks - inquires can be directed here:
> 
> thomas.dex...@gmail.com <mailto:thomas.dex...@gmail.com>
> 
> (646) 260-3133 <tel:(646)%20260-3133>
> 
> THOMAS M. DEXTER
> ARTIST / FILMMAKER / NYC
> WWW.THOMASDEXTER.COM <http://www.thomasdexter.com/>
> 
> 
>  <https://www.instagram.com/thomasmdexter/>  
> <https://www.facebook.com/thomas.m.dexter>  <https://vimeo.com/tdexter>
> 
> 
> 
> --

[Frameworks] Bolex 16mm camera repair contacts needed!

[Ruth Hayes]

Greetings all,

If you know of technicians qualified to maintain and repair Bolex 16mm cameras, 
would you please respond with that info?  We have about a dozen of these 
beauties here at Evergreen and we need help keeping them in service. It’s a 
critical part of our media curriculum.

Thank you!

Ruth Hayes

Ruth Hayes
Member of the Faculty, Animation
The Evergreen State College
She/her pronouns

Blogs.evergreen.edu/hayesr <http://blogs.evergreen.edu/hayesr>
http://www.randommotion.com

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Re: [Frameworks] Experimental Animation Film Scripts (Bernard Roddy)

[Ruth Hayes]

Kit Laybourne’s The Animation Book and Maureen Furniss’  The Animation Bible 
both show thumbnail storyboards or diagrams for several experimental animated 
films, including George Griffin’s “Head” (this one is essentially a flow 
chart). The question of what constitutes “experimental” is critical, as Bernie 
notes. Some animations are experimental in their approach, dispensing with 
storyboarding, others experiment with genre, technique, etc.. So the script 
might simply be directions for proceeding without reference to image content or 
dialog or voice over.

Wells’ and Quinn’s Drawing for Animation, Clare Kitson’s monograph on 
Norstein’s Tale of Tales, Corrie Francis Parks’ Fluid Frames, and Amid Amidi’s 
Cartoon Modern might also provide good examples of experimental animation 
process documents.

Ruth 

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Apr 3, 2017, at 5:40 AM, sandra.eber sandra.eber 
>  wrote:
> 
> In his book "Basic Animation 01: Scriptwriting" Paul Wells uses the term 
> scriptwriting to include storyboarding, written treatments,  or any other 
> method of communicating/planning an animation idea. He includes many case 
> study examples. For experimental work there is Johnny Hardstaff's "The Future 
> of Gaming".  There is also the dopesheet from McLaren's "Lines Vertical". For 
> that matter, somewhere on the NFB website you can find the full document for 
> this and the planning for other McLaren experimental work (Mosaic, Cannon 
> come to mind). But Well's book is the only one I've found that addresses 
> scripwriting for experimental work. 
> 
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[Frameworks] Documentary and Community Media (Visiting Position at The Evergreen State College)

[Ruth Hayes]

Documentary and Community Media (Visiting Position)

This is a two-year visiting faculty position starting in the 2017/18 academic 
year.
The Evergreen State College seeks a media artist with a commitment to linking 
the theory and practice of nonfiction media to co-teach our foundation media 
program in collaboration with other interdisciplinary media faculty. The 
successful candidate will be able to demonstrate deep engagement with 
documentary and community-based media production and with the critical 
frameworks informing documentary practice. S/he will have demonstrated 
experience utilizing media as a tool for engaging students and communities in 
collaborative modes of inquiry, education and problem-solving, and will have 
the knowledge and flexibility to teach and deploy a range of documentary and 
experimental strategies, techniques and formats, as appropriate, to different 
constituencies and issues. The ability to engage in on- and off-campus 
collaborations, as demonstrated through personal work and teaching, is 
required. The ability to help students produce collaborative projects with the 
potential to be shared and utilized both on campus and in community settings, 
through media campaigns, community media centers and/or public television, is 
highly desirable.  Experience in teaching, as well as a commitment to working 
with diverse and underserved student populations is also required. 

The successful candidate should be able to demonstrate experience working with 
students in the areas of nonfiction media production, media theory, visual 
analysis, and critical reading and writing. Experience linking media with other 
disciplines through personal practice, teaching and/or research is highly 
desirable. Experience working across significant differences (race, class, 
gender, sexual orientation, etc.) is required. Other desirable qualifications 
include expertise and/or teaching experience in one or more of the following: 
16mm film production, Global Cinema, theory and practice of experimental 
performance, video installation and/or digital storytelling. We are 
particularly interested in candidates who are committed to exploring how media 
can be used to further community collaboration, democratize media practices, 
and reconstitute the public sphere.
 
This position is designed for a working artist and teacher. MA and active 
exhibition record required. MFA or other terminal degree preferred.

 
Minimum Qualifications

MA in Documentary or Media Studies or related field (Journalism, Community 
Studies, Film/Video Production)
Active exhibition record of non-fiction and/or community-based media production
Ability to teach topics related to nonfiction media, and a range of documentary 
and experimental strategies, techniques and formats
Experience using media as a tool to engage in community-based modes of inquiry, 
education, and problem-solving, with on and off-campus collaborations
Teaching experience in one or more of the following settings - community based 
organizations, high school and/or youth media programs, college or university 
media arts/documentary programs
Experience working with and supporting populations traditionally underserved 
and under-represented in the media field
Preferred Qualifications

MFA in Documentary or Media Studies
The ability to help students produce collaborative projects
Experience teaching one or more of the following - 16mm film production, Global 
Cinema, theory and practice of experimental performance, video installation, 
and/or digital storytelling
Commitment to exploring media practices as a tool for community collaboration, 
democratization, and reconstituting the public sphere
 
We will begin accepting applications in March 2017, and anticipate review of 
completed applications beginning in April 2017. 

 
THE LINK TO THE ONLINE APPLICATION SITE WILL BE AVAILABLE AND POSTED HERE IN 
MARCH.

 
The following materials will be required at the time reviews begin for the 
application to be complete:

Curriculum vitae
Letter of application that expresses your vision of innovative approaches to 
teaching in an interdisciplinary, collaborative, and inquiry-based setting
One to two page statement of your teaching philosophy and practice. Focus 
specifically on your understanding and experience of interdisciplinary study 
and what you believe should distinguish a liberal arts education today.
One to two page statement of your experience and/or practice with diversity and 
equity issues. (more information is available on our website: 
http://www.evergreen.edu/facultyhiring/equitydiversity 

Examples of artistic and community-based work
A list 

Re: [Frameworks] portrayals of "the future" in animation and experimental film?

[Ruth Hayes]

Rene LaLoux, Planete Sauvage (Fantastic Planet). I don’t know if it’s the 
future, but it’s futuristic, with a strong social justice message.  It’s a 
feature, however, so may be too long for your class.


http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Jan 12, 2017, at 1:42 PM, Stephanie Hutin  
> wrote:
> 
> Hello,
> 
> I am teaching an experimental animation class with a social justice focus 
> this semester. We will be creating a touring program for children around the 
> theme of "The Future". I plan to start our first day (Thursday 1/19) with 
> some free-writing about their thoughts on the future, followed by some 
> examples of what artists in experimental cinema and animation have made in 
> their vision. Any films that you think may fit my lesson, would be much 
> appreciated as well. Thank you!
> 
> Best,
> Stephanie
> 
> 
> 
> Stephanie Hutin
> Director of Production
> Intercollegiate Media Studies
> Mosbacher Gartrell Center for Media Experimentation and Activism
> Pitzer College
> 1050 North Mills Ave., West Hall
> Claremont, CA 91711
> 909.607.3889
> 
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Re: [Frameworks] Films on Farming

[Ruth Hayes]

Hi Linda,

Perhaps Kevin T Allen’s Immokalee, My Home? It’s on vimeo: 
https://vimeo.com/14975296 

Hope you’re well!

Ruth

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Nov 12, 2016, at 12:32 PM, Linda Fenstermaker 
>  wrote:
> 
> Hello,
> 
> I am interested in experimental films that focus on farming both historic and 
> current. Any leads, titles, essays about this intersection of art and 
> agriculture would be greatly appreciated. Thanks!
> 
> Linda Fenstermaker
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Re: [Frameworks] Flipbooks by filmmakers

[Ruth Hayes]

Hi Albert,

I invite you to look at my flipbooks on this website.  
http://www.randommotion.com/html/flip.html
 I’m happy to answer questions about them off list.

Best,

Ruth Hayes

http://www.randommotion.com
blogs.evergreen.edu/hayesr

> On Oct 22, 2016, at 4:31 AM, Albert Alcoz <albertal...@gmail.com> wrote:
> 
> Hello,
> 
> Can anyone recommend some great flipbooks created by filmmakers or artists?
> 
> With some friends we are producing limited editions of Flipbooks related to 
> the CRANC screenings in Barcelona (Spain), and we would like to watch some 
> other different procedures.
> 
> Here are the four flipbooks we have done:
> http://cranc-projeccions.blogspot.com/2016/09/flipbooks.html 
> <http://cranc-projeccions.blogspot.com/2016/09/flipbooks.html>
> 
> The flipbooks by Scott Blake seems a great starting point, especially those 
> made with dots:
> http://www.barcodeart.com/store/collectible/index.html 
> <http://www.barcodeart.com/store/collectible/index.html>
> 
> Best,
> Albert Alcoz
> -- 
> http://visionaryfilm.net/ <http://www.visionaryfilm.net/>
> http://albertalcoz.com/ <http://www.albertalcoz.com/>
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Re: [Frameworks] Exemplary Sound Design in AG Film

[Ruth Hayes]

Real West by Kevin T. Allen. He uses contact mics, among other strategies. He 
has an excerpt on vimeo: https://vimeo.com/130916538

Ruth Hayes

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On May 15, 2016, at 12:36 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.
> 
> 
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Re: [Frameworks] Looking for films with furniture

[Ruth Hayes]

Thom Andersen's "Los Angeles Plays Itself" would be a good source for films 
like that. It includes a wonderful discussion of mid-century modernist 
architecture as settings for villains.

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Apr 7, 2016, at 10:36 AM, Dana Duff wrote:

> Hello Frameworkers, I'm looking for films from 1940s, 50s, and 60s that use 
> contemporaneous furniture and architecture in their sets: for example a film 
> from 1940s with a Nelson bench, or one from 1950s that has the (currently 
> ubiquitous) Eames chairs, or a Jacobsen Swan chair set in the 1960s, etc. 
> Thanks for any tips.
> Thanks! Dana Berman Duff
> d.nad...@gmail.com 
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Re: [Frameworks] experimental films involving minerals

[Ruth Hayes]

Thanks, Ben, but my current series Copper Perforation Loops only uses a 
perforated disk of copper to scratch black leader against. There aren't any 
direct images of copper in the frames.

Best,

Ruth

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Feb 26, 2016, at 9:13 AM, Benjamin Popp wrote:

> I know Ruth Hayes is working on something using copper I believe. 
> Eric Stewart's "FE" uses iron 
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Re: [Frameworks] films for the anthropocene

[Ruth Hayes]

Thanks so much for posting this list. It's useful to my current teaching at 
Evergreen which is focused on integrating animation with marine microbiology 
and the anthropocene. In fact I just screened a few of Painlevés films day 
before yesterday.

Ruth Hayes

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Jan 28, 2016, at 12:43 PM, Marco Poloni wrote:

> i was trying to articulate a flat ontology in which human and nonhuman
> entities somehow have an equivalent agency. la jetée didn't do it to
> me: it's a narrative about humans against a passive backdrop
> 
> On 28 January 2016 at 21:33, Francisco Torres <fjtorre...@gmail.com> wrote:
>> la jette ?
>> 
>> 2016-01-28 16:09 GMT-04:00 Bernard Roddy <tactilecor...@gmail.com>:
>>> 
>>> Hi Marco:
>>> 
>>> I wasn't watchng when you posted the request, but I have to wonder how
>>> these works were shown, given that everything has been forced into lower
>>> case titles.
>>> 
>>> On Thu, Jan 28, 2016 at 1:56 PM, Marco Poloni <mar.pol...@gmail.com>
>>> wrote:
>>>> 
>>>> Hello all,
>>>> I just finished screening a number of films at the University of the
>>>> Arts of Helsinki, in the context of a workshop for graduate students
>>>> about filmmaking at the anthropocene.
>>>> Some of you helped me identify suitable movies, and I am very thankful
>>>> to you. I had promised, in return, to share my final selection. Here
>>>> it is.
>>>> Very best,
>>>> Marco
>>>> 
>>>> susan schuppli, can the sun lie?, 2011 (?)
>>>> michael snow, la region centrale, 1971
>>>> carlos reygadas, silent light, 2007
>>>> bruce conner, crossroads, 1975
>>>> steven osazaki, white light, black rain, 2007
>>>> robert smithson, spiral jetty, 1970
>>>> james benning, casting a glance, 2007
>>>> marco poloni, the analogue dam, 2010
>>>> thomas campbell, the present, 2009
>>>> jean  painlevé, the love life of the octopus, 1967
>>>> walon green, the secret life of plants, 1978
>>>> ramin bahrani, the plastic bag, 2009
>>>> chris welsby, wind vane, 1972 (not projected, could not find a copy in
>>>> time)
>>>> and, along the lines of an animistic turn:
>>>> jean rouch, les maîtres-fous, 1955
>>>> alfred clah, intrepid shadows, 1966
>>>> lucien castaing-taylor & véréna paravel, leviathan, 2012
>>>> 
>>>> --
>>>> 
>>>> 
>>>> 
>>>> Marco Poloni
>>>> http://www.theanalogueislandbureau.net
>>>> Usedomer Strasse 8
>>>> D – 13355 Berlin
>>>> gsm de +49.163.6294080
>>>> gsm ch +41.78.6322028
>>>> skype marcopoloni
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>>> 
>>> 
>>> 
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>>> 
>> 
>> 
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>> 
> 
> 
> 
> -- 
> 
> 
> 
> Marco Poloni
> http://www.theanalogueislandbureau.net
> Usedomer Strasse 8
> D – 13355 Berlin
> gsm de +49.163.6294080
> gsm ch +41.78.6322028
> skype marcopoloni
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Re: [Frameworks] Experimental film/video from COLUMBIA S.A.?

[Ruth Hayes]

You have a look at works by Juan Camilo Gonzalez: 
http://juancgonzalez.com/films/

Ruth Hayes

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Dec 27, 2015, at 12:01 PM, David Sherman wrote:

> Greetings,
> We have a young video artist from Columbia S.A.  visiting Exploded View in a 
> couple of weeks and I was looking for any recommendations of any works (are 
> there any classics?) of Columbian experimental film/video that we might show 
> to round out the bill. I am unfamiliar with works from here and searching for 
> "Columbia and experimental film" ends up w/ a million links Columbia College 
> & Columbia University and the other N.A Columbias...
> 
> 
> I did find this organization http://cineautopsia.com/ , but wanted any 
> Frameworks recommendations if they exist.
> 
> Best New Years wishes from Exploded View, 
> David
> 
> -- 
> David Sherman
> 
> Exploded View Microcinema
> Tucson, AZ
>  520-366-1573
> www.explodedviewgallery.org
> www.davidshermanfilms.com
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Re: [Frameworks] Titles of scratch films

[Ruth Hayes]

And look for early films by Pierre Hebert! I saw a live scratch animation 
performance at the Ottawa Animation Festival back in the 1990s. 

Ruth

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Aug 26, 2015, at 3:59 PM, Tess Takahashi wrote:

 Thanks, all, for putting these films on my radar - and to those of you who 
 sent links!
 
 I'm looking forward to tracking them down - along with various suggested 
 reading materials by crackpot crafters + others!
 
 I sure there are more out there...
 
 Tess
 
 On Wed, Aug 26, 2015 at 5:27 PM, nicky.ham...@talktalk.net wrote:
 Vicky Smith's films are rotoscoped scratch films on clear celluloid, later 
 with addition of body fluids. They are beautiful.
 
 Nicky.
 
 
 
 -Original Message-
 From: Tess Takahashi tess.takaha...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Sent: Tue, 25 Aug 2015 20:09
 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] Titles of scratch films

[Ruth Hayes]

Hi Tess,

I and other members of Olympia, WA. Crackpot Crafters (Devon Damonte, Jason 
Gutz, Eric Sarai, Meg Myhre, and several others) have been doing a lot of 
scratching on 16mm and 35, among other techniques, but not necessarily 
completing them as finished films. More likely projecting loops of them in 
live performance venues as expanded cinema. We have a Facebook page with some 
clips and images, and I've posted some of my loops to my vimeo page.  
(www.vimeo.com/ruthhayes)

You might also check out the chapter on Direct Animation in Maureen Furniss' 
Animation Bible for which Devon wrote a significant chunk, as I understand it!

Best,

Ruth


http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Aug 25, 2015, at 12:08 PM, Tess Takahashi 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...
 
 
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Re: [Frameworks] sound examples in film + video

[Ruth Hayes]

I recommend Kevin T. Allen's documentary films, the most recent being Real 
West. He produces really beautiful soundscapes for these works using contact 
mics and mostly diegetic sound, including interviews.  You can find his work 
through Small Gauge films.

Ruth Hayes

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Jun 15, 2015, at 7:21 AM, Matt Shaw wrote:

 Hi Folks,
 
 I’m looking for recommendations of films + videos that can be used to 
 exemplify the use of sound (diegetic and non-).
 
 This is for an introductory video studio course with the section focusing on 
 sound ending with a portrait/doc project.
 
 All types and styles of filmmaking appreciated. 
 
 
 Matt Shaw
 
 
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Re: [Frameworks] Experimental shorts with science-fiction themes?

[Ruth Hayes]

Rene LaLoux's Fantastic Planet and Derek Lamb's Psychic Parrot are two that 
come to mind right off the bat.

Ruth 
http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Jan 11, 2015, at 6:31 PM, gina marie napolitan wrote:

 Hello all,
 
 I'm looking for recommendations for experimental film and animated works that 
 have science-fiction/visionary themes, both overt (like La Jetee or 
 Tribulation 99) and subtle (maybe more along the lines of Christopher 
 MacLaine's The End or These Hammers Don't Hurt Us by Michael Robinson).
 
 Thank you!
 Gina
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Re: [Frameworks] Experimental shorts with science-fiction themes?

[Ruth Hayes]

Rene LaLoux's Fantastic Planet and Derek Lamb's Psychic Parrot are two that 
come to mind right off the bat.

Ruth 
http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Jan 11, 2015, at 6:31 PM, gina marie napolitan wrote:

 Hello all,
 
 I'm looking for recommendations for experimental film and animated works that 
 have science-fiction/visionary themes, both overt (like La Jetee or 
 Tribulation 99) and subtle (maybe more along the lines of Christopher 
 MacLaine's The End or These Hammers Don't Hurt Us by Michael Robinson).
 
 Thank you!
 Gina
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Re: [Frameworks] If you want Kodak hicon, order it now

[Ruth Hayes]

I received my order and when I called yesterday to see if I could place an 
order for film for my students was told that they stopped taking orders for 
7363 on August 29th. So I guess it's gone!

I'm interested in finding a  16mm stock for photograms that is similarly easy 
to expose and hand-process (meaning with a safe light and not-so-toxic 
chemistry).  If anyone has any leads, please let me know!

Ruth Hayes
http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Sep 29, 2014, at 11:40 AM, 40 Frames wrote:

 
 I received my back ordered 7363 last week. Are others receiving their back 
 orders? 
 
 Are others still placing B/Os of 7363? 
 
 Alain
 
 
 On Wed, Aug 27, 2014 at 2:29 PM, Mark Toscano filmobj...@gmail.com wrote:
 Just heard from Kodak, and indeed, the 35mm hicon (5363) is NOT currently 
 being discontinued, so no worries (for now!)
 
 Mark
 
 
 On Wed, Aug 27, 2014 at 12:42 PM, lindsay mcintyre email.li...@gmail.com 
 wrote:
 Hi Mark
 
 Are you sure about the 5363? You were right about everything else but
 I hadn't heard about 5363.  I've got my order in for 7363 but just
 wondering if I need to worry about this one too.
 Thanks
 
 Lindsay McIntyre
 
 
 
 
 
 On Tue, Aug 26, 2014 at 11:54 AM, Mark Toscano fiddy...@gmail.com wrote:
  Hi all,
 
  I spoke to the L.A. Kodak rep yesterday, and 7363 16mm hicon is on back
  order, but the current plan is for Kodak to most likely fill any order as
  long as it comes in basically NOW.
 
  So if you want any of this stuff, call 1-800-621-FILM and place an order
  while you can.  You will likely be told it's on back order, but you should
  be able to place an order anyway.  It's not a 100% guarantee at this point
  that you'll get the stock, but it's very likely.
 
  The same should be the case for 5363 35mm hicon, which I believe is also
  being discontinued.
 
  All the best,
 
  Mark Toscano
 
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 Portland, Oregon USA
 
 +1 503 231 6548
 www.40frames.org
 www.16mmdirectory.org
 
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Re: [Frameworks] If you want Kodak hicon, order it now

[Ruth Hayes]

thanks all for the ideas. I'll look into those stocks.

Ruth

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Sep 30, 2014, at 9:06 AM, nicky.ham...@talktalk.net wrote:

 Try Agfa ST8. It's an orthochromatic sound recording stock. You can get it 
 direct from Agfa in 2 x 2000' cans. They usually want you to buy some 
 astronomical quantity, ie 105 cans, but they can be talked down,
 
 NIcky.
 
 
 
 -Original Message-
 From: Ruth Hayes randomr...@comcast.net
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Sent: Tue, 30 Sep 2014 16:03
 Subject: Re: [Frameworks] If you want Kodak hicon, order it now
 
 I received my order and when I called yesterday to see if I could place an 
 order for film for my students was told that they stopped taking orders for 
 7363 on August 29th. So I guess it's gone!
 
 I'm interested in finding a  16mm stock for photograms that is similarly easy 
 to expose and hand-process (meaning with a safe light and not-so-toxic 
 chemistry).  If anyone has any leads, please let me know!
 
 Ruth Hayes
 http://www.randommotion.com
 blogs.evergreen.edu/hayesr
 
 On Sep 29, 2014, at 11:40 AM, 40 Frames wrote:
 
 
 I received my back ordered 7363 last week. Are others receiving their back 
 orders? 
 
 Are others still placing B/Os of 7363? 
 
 Alain
 
 
 On Wed, Aug 27, 2014 at 2:29 PM, Mark Toscano filmobj...@gmail.com wrote:
 Just heard from Kodak, and indeed, the 35mm hicon (5363) is NOT currently 
 being discontinued, so no worries (for now!)
 
 Mark
 
 
 On Wed, Aug 27, 2014 at 12:42 PM, lindsay mcintyre email.li...@gmail.com 
 wrote:
 Hi Mark
 
 Are you sure about the 5363? You were right about everything else but
 I hadn't heard about 5363.  I've got my order in for 7363 but just
 wondering if I need to worry about this one too.
 Thanks
 
 Lindsay McIntyre
 
 
 
 
 
 On Tue, Aug 26, 2014 at 11:54 AM, Mark Toscano fiddy...@gmail.com wrote:
  Hi all,
 
  I spoke to the L.A. Kodak rep yesterday, and 7363 16mm hicon is on back
  order, but the current plan is for Kodak to most likely fill any order as
  long as it comes in basically NOW.
 
  So if you want any of this stuff, call 1-800-621-FILM and place an order
  while you can.  You will likely be told it's on back order, but you should
  be able to place an order anyway.  It's not a 100% guarantee at this point
  that you'll get the stock, but it's very likely.
 
  The same should be the case for 5363 35mm hicon, which I believe is also
  being discontinued.
 
  All the best,
 
  Mark Toscano
 
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 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
 
 -- 
 40 FRAMES
 Portland, Oregon USA
 
 +1 503 231 6548
 www.40frames.org
 www.16mmdirectory.org
 
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Re: [Frameworks] cat films

[Ruth Hayes]

It's not on film, but I invite you to view my own cat video, Wanda: 
https://vimeo.com/26779562

Ruth Hayes

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Aug 13, 2014, at 4:41 PM, Chuck Kleinhans wrote:

 The Walker is having their third Internet Cat Video Festival
 
 http://www.walkerart.org/calendar/2014/internet-cat-video-festival-2014?mc_cid=70d62a9316mc_eid=770c6fb304
 
 Which reminds me of experimental cat films, like the Hammid and Deren Life of 
 a Cat (remarkably politically correct: daddy cat is shown doing kitten care). 
  What else could we shown in a Cat Film Fest?
 
 
 
 
 Chuck Kleinhans
 chuck...@northwestern.edu
 
 
 
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Re: [Frameworks] times for dektol and 7363

[Ruth Hayes]

At Evergreen we've been processing 7363 in Eco-pro paper developer with good 
results (the darkroom in Photoland has both red and amber safelights). I use 
trays for short strips and buckets for longer lengths.  Processing time is 
about 2 minutes for good blacks, sometimes a little less. I haven't been 
shooting it, but making photograms using a variety of lights, including 
florescent, LED, enlarger lighting and moon light.

Ruth Hayes

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Aug 4, 2014, at 11:13 AM, Beebe, Roger W. wrote:

 I’ve used Dektol with hi-con plenty, but my experience is that exposure times 
 are VERY short, definitely less than 1 min with the chemistry at room 
 temperature, even when I dilute the developer.  (It slows considerably as the 
 chemistry gets exhausted, of course.)  I rate hi-con at ASA 12 when I shoot 
 it, so that could make a difference in time to proper exposure.  Like 
 Christopher suggests, I do use a safelight with 7363 and just eyeball proper 
 exposure, but I find it VERY easy to miss the mark  end up with black film.  
 (I also process as negative, since I don’t love the idea of dealing with 
 scary bleach.)  
 
 I’m certainly not a lab expert, but I do demos of this regularly enough with 
 my students to feel pretty confident that my results are repeatable and that 
 these very fast development times aren’t just a one-time quirk.
 
 Can anyone else confirm this?
 Roger
 
 
 On Aug 4, 2014, at 2:08 PM, Chris G spy...@gmail.com wrote:
 
 Hi Erin,
 
 7363 is orthochromatic and is process until completion, so you can't 
 *really* overprocess it. It is extremely forgiving in terms of time and 
 temperature. I'd recommend processing under a safelight so you can watch the 
 process. Using a paper developer such as Dektol will afford you a wider 
 range of tones/greys over film developers and is a great way to play with 
 the stock. D-19 is a high-contrast developer and will typically give you 
 black or white with little in between. Usually I process short strands 
 (40'/12m or less) of 7363 in trays or buckets with paper developer and a 
 safelight until it looks done. Guessing around 5-6 minutes at 68F/20C. 
 I've honestly never checked the time but have had a lot of success with this 
 method.
 
 Cheers,
 Christopher Gorski
 
 On Aug 3, 2014, at 22:09, Erin Weisgerber eri...@gmail.com wrote:
 
 Hello all,
 
 I usually use D-19 to process 7363 to negative, but I'm thinking of trying 
 out Dektol for this purpose.
 
 Would anyone be willing to share some guidelines processing times for 7363 
 processed to neg in Dektol?
 
 How would you describe the difference in look between '63 developed in D-19 
 compared to Dektol?
 
 Thanks so much for your help.
 
 Erin
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Re: [Frameworks] Infrared Film in Experimental Cinema

[Ruth Hayes]

I seem to remember that Betzy Bromberg used infrared film stock in one of the 
films she showed us when I was in grad school…

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On May 1, 2014, at 8:06 AM, Heath Iverson wrote:

 Hi Frameworkers,
 
 I've been trying to think of films made using infrared sensitive film stock, 
 especially color stocks like Kodak's Aerochrome III. At the moment, the only 
 examples I can think of are Richard Mosse's The Enclave (2013) and a section 
 from Oliver Stone's Alexander. Surely there must be more?
 
 Best,
 Heath
 
 -- 
 Heath Iverson
 PhD Student, Film Studies
 University of St Andrews
 99 North Street
 St. Andrews, KY16 9AD
 Scotland, UK
 
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Re: [Frameworks] Feb 14 appropriate movies?

[Ruth Hayes]

A day late, but you might like my own Wanda, https://vimeo.com/26779562, from 
1990.

Ruth Hayes
http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Feb 14, 2014, at 12:05 PM, Michael Betancourt wrote:

 Here's mine: https://vimeo.com/13108795
 
 Any other movies appropriate for February 14?
 
 Michael Betancourt
 Savannah, GA USA
 
 
 michaelbetancourt.com
 twitter.com/cinegraphic | vimeo.com/cinegraphic
 www.cinegraphic.net | the avant-garde film  video blog
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Re: [Frameworks] Oxberry Master Series Animation stand (model 5442) assembly

[Ruth Hayes]

Yes, that is Evergreen's Oxberry manual, adapted for our particular machine. 
It's currently under a dust cover, protected from a remodel that worked around 
it, and waiting for a retrofit so we can mount a DSLR on it.  The current 
set-up has a 16mm Mitchell camera and Spectrum Motion Control system running on 
a very old PC with MS DOS.  We will remove the old computer system and 
hopefully put in stepper motors with a more manual control similar to what it 
had originally.  I had the opportunity to look at the Oxberrys at USC last June 
that have DSLRs on them, but can also be converted back to film if that's what 
a student wants to shoot.  We support 16mm production in the media curriculum, 
so that's likely.

I'd appreciate hearing from others who are messing around with retrofitting 
animation stands, particularly Oxberrys.  Please contact me at my Evergreen 
email: hay...@evergreen.edu

Ruth Hayes
Member of the Faculty, The Evergreen State College 
http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Feb 7, 2014, at 4:33 PM, George, Sherman wrote:

 There is an operations manual at:
 http://www.evergreen.edu/electronicmedia/docs/oxberry_manual.pdf
 And oxberry tech support is at:
 Technical support for Oxberryproducts is available Monday through Friday from 
 9 AM to 5 PM Eastern Time.
 
 Phone: (201)-935-3000
 
 Fax: (201)-935-0104
 
 e-mail: techsupp...@oxberry.com
 
  
 I hope that helps.
 Sherman
 
 
 On Feb 7, 2014, at 2:32 PM, Warren Cockerham wrote:
 
 Hi all..
 
 I was wondering if anyone on the list has any literature on (or images of) 
 an Oxberry Master Series Animation stand model 5442. I'm currently 
 assembling one that was purchased from the Atlantic Filmmakers Cooperative 
 over the summer. I don't have the money to hire a tech from Oxberry. We've 
 got it about halfway assembled using some photographs as reference. But, I'm 
 afraid we'll need an official manual to proceed. Does anyone have one? Does 
 anyone have detailed photographs of the machine assembled?  
 
 thanks in advance...
 Warren 
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 sgeo...@ucsd.edu
 858-229-4368
 
 
 
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Re: [Frameworks] Animated Conversations

[Ruth Hayes]

Hi Jon,

There are a lot!  Here are a few:
Interview by Caroline Leaf and Veronica Soul
A Conversation with Haris and Faith and Patience among others, by Sheila 
Sofian
Confessions of a Star Dreamer by John Canemaker
Cockaboody and Moonbird by John and Faith Hubley

You might look at Annabelle Honess Roe's book Animated Documentary (Palgrave 
MacMillan, 2013). She has a chapter on animated interviews.

Ruth Hayes

http://www.randommotion.com
blogs.evergreen.edu/hayesr

On Oct 26, 2013, at 2:13 PM, Jon Dieringer wrote:

 Hi Frameworks Members
 
 As research for an article I am writing, I'm curious to learn more of films 
 that might take the form of animated conversations -- audio interviews 
 rendered visually by animation -- or perhaps more broadly animated or collage 
 works based on extant audio of speech (whether found or deliberately 
 recorded).
 
 Thank you for giving it your consideration!
 
 Warm regards,
 Jon
 
 -- 
 SCREEN SLATE / Publisher-Editor / Independent, Repertory  Gallery Screening 
 Listings
 SPECTACLE / Programmer / A community screening space in Williamsburg, Brooklyn
 330.265.3875 / jon.dierin...@gmail.com / follow screen slate on facebook  
 twitter
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