Re: [Frameworks] optical soundtrack generator?

[Scott Stark]

Hi Scott, I¹m not familiar with the Maurer but I want to create the visual
track that I can print to a strip of 35mm film (using a 35mm device I
have). I thought if there was some app or tool that could transfer a piece
of audio to its optical representation that might get me started.

Thanks, Scott

On 9/7/20, 5:03 PM, "FrameWorks on behalf of Scott Dorsey"

wrote:

>I'm not sure what you're asking.  You want a Maurer sound camera or you
>want
>something equivalent?
>--scott
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[Frameworks] optical soundtrack generator?

[Scott Stark]

Hi all, does anyone know of a tool that can generate an optical soundtrack
image? I looked on Google but all I could find was this
  which I didn¹t quite understand.

Thanks, Scott



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[Frameworks] This week [January 4 - 12, 2020] in avant garde cinema

[Scott Stark]

 there is also a rich history of art in which chance,
uncertainty, automation, the deliberately arbitrary, as well as other
related impulses and forces are activated by artists to complicate
authorship. This illustrated talk will examine different ways in which film
and video artists have experimented with various modes of authorship‹
including non-authorship itself ‹ to result in work that engages in a
dialogue with anonymity. Originally presented in 2017 at the Elias Querejeta
Zine Eskola in San Sebastian, the illustrated talk will run approximately 45
minutes, and will be followed by a screening of approximately 60 minutes,
featuring work by Rebecca Baron & Doug Goodwin, James N. Kienitz Wilkins,
Jen Proctor, Scott Stark, and more. Thanks to the artists for generously
letting me screen their work, and to Carlos Muguiro at EQZE for the original
invitation to present this talk. - Mark Toscano More info: veggiecloud.net

FRIDAY, JANUARY 10, 2020

1/10
39004 Santander, Cantabria: Centro Cultural Doctor Madrazo
6pm, Casimiro Sainz, S/N
CINEINFINITO #120: HOWARD GUTTENPLAN
New York City Diary ¹74 (1974), 16mm, color, silente, 15 min. European Diary
¹78 (1978), 16mm, color, silente, 13 min. San Francisco Diary ¹79 (1979),
16mm, color, silente, 9 min. Formato de proyección: HD

SUNDAY, JANUARY 12, 2020

1/12
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.,
THE 57TH ANN ARBOR FILM FESTIVAL TOURING PROGRAM #1
Come see some of the best experimental films of 2018 and 2019, in this
touring program with highlights from the Ann Arbor Film Festival. Digital
program 1 includes nine contemporary experimental, animated, documentary,
and narrative videos, including The Divine Way by Illaria Di Carlo, La Mesa
by Adrian Garcia Gomez, Mom¹s Clothes by Jordan Wong, Screen by Christoph
Girardet and Matthias Müller, As Above, So Below by Cooper Holoweski,
Leafcutters by Catherine Chalmers, We Were Hardly More Than Children by
Cecelia Condit, Phantom Ride Phantom by Siegfried A. Fruhauf, and 2Missed
Calls by LNZ Arturo. Tickets: $12 general; $8 students (with ID)/seniors; $8
for American Cinematheque members; free for Filmforum Members. Paid tickets
available in advance through the American Cinematheque from Fandango or at
the door. Filmforum member tickets available through Brown Paper Tickets at
https://57thaafftour.bpt.me or at the door.


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[Frameworks] This week [June 9 - 17, 2018] in avant garde cinema

[Scott Stark]

   

   


   
This week [June 9 - 17, 2018] in avant garde cinema
Enter your event announcements by going to the Flicker Weekly Listing Form
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  Cc35 - Light Terrors: New Expanded Cinema From Winnipeg <#anchor17>  [June
17, Minneapolis, Minnesota]  NEW CALLS FOR ENTRIES:
 Black Maria Film Festival (Jersey City, NJ, USA; Deadline: October 15,
2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1982.ann


DEADLINES APPROACHING:
 Edinburgh Short Film Festival 2018 (Musselburgh; Deadline: June 25, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1962.ann

 Coney Island Film Festival (Brooklyn, NY, USA; Deadline: June 22, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1970.ann

 OFF THE WALL 2018 (Madison, WI, USA; Deadline: June 15, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1975.ann

 Rencontres Internationales Sciences & Cinémas (RISC) (Marseille, France;
Deadline: June 30, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1978.ann

Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
*  Steve Reinke's the Hundred videos <#anchor1>  [June 9, Brooklyn, New
York] 
*  Crossroads Program 4: Lines Are Drawn <#anchor2>  [June 9, San Francisco,
California] 
*  Crossroads Program 3: Fluid Frontiers (Ain’T Gonna Rain No More)
<#anchor3>  [June 9, San Francisco, California]
*  Crossroads Program 5: Inside the Machine (Demolition of A Wall)
<#anchor4>  [June 9, San Francisco, California]
*  Crossroads Program 6: Endless Nameless (Chaos Is the Future) <#anchor5>
[June 9, San Francisco, California]
*  Crossroads Program 7: Edgeless Things Communicate <#anchor6>  [June 10,
San Francisco, California]
*  Crossroads Program 8: No Other (The Universe Has Its Ways) <#anchor7>
[June 10, San Francisco, California]
*  Crossroads Program 9: Staring At the Sun (We Bite the Shadow) <#anchor8>
[June 10, San Francisco, California]
*  Crossroads Program 10: Use Your Illusion <#anchor9>  [June 10, San
Francisco, California]
*  In the Intense Now, By JoãO Moreira Salles  <#anchor10>  [June 12, Los
Angeles, California]
*  Spectres of Shortwave / Ombres Des Ondes Courtes <#anchor11>  [June 13,
Montreal, Quebec] 
*  Holy Fluids and Absent Wounds <#anchor12>  [June 14, Brooklyn, New York]
*  Other Tongue: An Evening With Nang <#anchor13>  [June 14, Brooklyn, New
York] 
*  ... Shifting Earth   <#anchor14>  [June 14, Montreal, Quebec]
*  Nathaniel Dorsky's Arboretum Cycle  <#anchor15>  [June 14, San Francisco,
California] 
*  Next Level Fucked Up <#anchor16>  [June 15, Brooklyn, New York]
*  Cc35 - Light Terrors: New Expanded Cinema From Winnipeg <#anchor17>
[June 17, Minneapolis, Minnesota]
SATURDAY, JUNE 9, 2018

6/9
Brooklyn, New York: Light Industry
http://www.lightindustry.org/

7:30pm, 155 Freeman St.
 STEVE REINKE'S THE HUNDRED VIDEOS
 The Hundred Videos, Steve Reinke, 1989-1996, digital projection, 4 hours,
49 minutes In 1990, Steve Reinke decided to make a set of one hundred
videos, planning to produce ten videos a year for ten years, using his 1989
piece Excuse of the Real as the first in the series. At the time, Reinke was
in his mid-20s and living in Toronto; he thought the project would
ultimately serve to constitute his complete work as a young artist. As the
decade proceeded, however, his rate of production increased, and the suite
was realized well ahead of schedule, in 1996, clocking in at just under five
hours total; the average length of each individual video is a little under
three minutes. 
 

6/9
San Francisco, California: San Francisco Museum of Modern Art
http://www.sfmoma.org

1:45 PM, 151 3rd St, San Francisco, CA 94103
 CROSSROADS PROGRAM 4: LINES ARE DRAWN
 Films of wander, drift and encounter with the world giv

[Frameworks] This week [May 26 - June 3, 2018] in avant garde cinema

[Scott Stark]

.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=01cf7adb61&e=f36020cad0>
3:45 PM, 32 Second Avenue
 INVESTIGATION OF A FLAME + LAST SUMMER WON'T HAPPEN - LYNNE SACHS IN
PERSON!
 Lynne Sachs  INVESTIGATION OF A FLAME  (2001, 45 min, 16mm)  On May 17,
1968, nine Vietnam War protesters, including a nurse, an artist, and three
priests, walked into a Catonsville, Maryland draft board office, grabbed
hundreds of Selective  Service records and incinerated them with homemade
napalm. INVESTIGATION OF A FLAME is an intimate look at this unlikely,
disparate band of resisters - the Catonsville Nine as they came  to be known
- who broke the law in a poetic act of civil disobedience. Sachs has
combined long unseen archival footage with a series of informal interviews
with Daniel Berrigan, Philip  Berrigan, Howard Zinn, John Hogan, Tom Lewis,
and Marjorie and Tom Melville to encourage viewers to ponder the relevance
of such events today.Lynne Sachs will be here in person for both screenings!
Peter Gessner & Tom Hurwitz  LAST SUMMER WON'T HAPPEN  (1968, 58 min, 16mm)
Shot in 1968, one year after the Summer of Love, LAST SUMMER WON'T HAPPEN is
a critical yet sympathetic examination of the anti-war movement in NYC. The
film traces the development  of a group of activists on the Lower East Side.
We see their growth from isolated, alienated individuals to a politically
empowered community. Filmed between the protests at the  Pentagon and the
demonstrations at the Democratic Convention in Chicago, it includes
portraits of Abbie Hoffman, editor Paul Krassner, folksinger Phil Ochs, and
anarchist Tom  "Osha" Neumann.

TUESDAY, MAY 29, 2018

5/29
A CoruÒa: (S8) Mostra de Cinema PerifÈrico
http://www.s8cinema.com/portal/en/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=a5250e186a&e=f36020cad0>
8 pm, Sala PALEXCO, CGAI
 (S8) MOSTRA DE CINEMA PERIFÈRICO
 Today May 25th we are launching the 9th edition of (S8) Mostra de Cinema
PerifÈrico, that will take place in A CoruÒa, Northern Spain, untill June
3rd, with a special presentation of Dreyer's The Passion of Joan of Arc with
live soundtrack. The rest of the program will start on May 29th. Under the
title Lux Algebra, this edition refers to the concept of algebra ñ the
branch of mathematics that studies the combination of elements of abstract
structures according to certain rules ñ and that of lux ñ the unit of
measurement of light-, with the intention of insisting on the cinema as a
result of a combination of elements, and through the selection of works in
which time and structure are fundamental. With key figures such as Ernie
Gehr and Kurt Kren, and filmmakers such as Scott Stark and Chris Kennedy (as
well as two programs of historical and contemporary films, one of them on
Structural Sound curated by Albert Alcoz), we will break down the theme of
this new edition. Another of the essential figures that will visit the
Mostra is the Canadian Philip Hoffman, one of the masters of the art of the
personal cinema and diary film, and promoter of the educational project Film
Farm. The filmmaker Friedl vom Gr–ller will be in A CoruÒa with her 16mm
portraits, continuing her portentous work in the field of photography, and
the Argentinian filmmaker Pablo Mazzolo will present a program on his work.
The seminal independent film distributor Canyon Cinema, which has been 50
years active will celebrate its anniversary here with a program curated by
Antonella Bonfanti, under the title California Dreaming, In the classic
section DESBORDAMIENTOS, we will have the film performances by the
Colombian-German duo based in Berlin Ojoboca, who will premiere a new work
in (S8), in addition to the works by Scott Stark, Pablo Mazzolo and Tono
Mejuto, who will premiere Reliefs, the result of the first BAICC residence,
organized by the (S8) in collaboration with AcciÛn Cultural EspaÒola and
Toronto LIFT. SINAIS continues to bring Galician cinema to front, this time
with a complete retrospective of the combative work of MarÌa Ruido. In
addition, SINAIS EN CURTO collects the best of the Galician filmmakers, with
works by Alberte Pag·n, Lara and Noa Castro, ¡ngel Santos, Helena GirÛn and
Samuel Delgado, finishing with Marcos PÈrez and Martin Pawley. Regarding
exhibitions, we will have an exhibition on film diagrams and scores, Cinema
on Paper (with works by Paul Sharits, Rose Lowder, Kurt Kren, R. Bruce
Elder, Bill Brand, Peter Kubelka, Lis Rhodes and Dora Maurer), that will
have a special presentation during the days of the festival of Lis Rhodes'
Light Music (courtesy of LUX). We also have an installation by Ernie Gehr,
As If, as well as a exhibition of video works by Galician filmmaker MarÌa
Ruido. You can find more information in our website, here is our trailer:
https://www.youtube.com/watch?v=OEnpPCvj0Os You are all invited to come as
usual, and in case you can not come th

[Frameworks] This week [May 19 - 28, 2018] in avant garde cinema

[Scott Stark]

This week [May 19 - 28, 2018] in avant garde cinema
 


   
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This week [May 19 - 28, 2018] in avant garde cinema
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  Pool Party ii: Group Screening of 22 Artists  <#anchor5>  [May 21,
Brooklyn, New York]
 

 
  Scott Stark. the Body: Inside.Out <#anchor8>  [May 25, London]

NEW CALLS FOR ENTRIES:
 Light Field (San Francisco, CA; Deadline: September 15, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1981.ann
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=d7e9d8796a&e=f36020cad0>

DEADLINES APPROACHING:
 Haverhill Film Festival (Haverhill, MA, USA; Deadline: June 01, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1951.ann
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=8ec529f7ee&e=f36020cad0>
 Coney Island Film Festival (Brooklyn, NY, USA; Deadline: June 22, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1970.ann
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=13e62652ab&e=f36020cad0>
 25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1971.ann
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=28bf56253b&e=f36020cad0>
 OFF THE WALL 2018 (Madison, WI, USA; Deadline: June 15, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1975.ann
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=5740639894&e=f36020cad0>
 WNDX Festival of Moving Image (Winnipeg, Manitoba, Canada; Deadline: June
01, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1977.ann
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=7b8b3d4ceb&e=f36020cad0>
 Festival des Cinémas Différents et Expérimentaux de Paris (Paris, France;
Deadline: May 20, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1980.ann
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=85a457f3a7&e=f36020cad0>

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
*  Visual Chorus <#anchor1>  [May 19, London, England]
*  Karl Marx On Film: Shorts Program <#anchor2>  [May 19, New York, NY]
*  Optronica3:Polyvision With E.Vargas + T.S.Porras + K.Cato + <#anchor3>
[May 19, San Francisco, California]
*  Beauty Becomes the Beast <#anchor4>  [May 20, New York, NY]
*  Pool Party ii: Group Screening of 22 Artists  <#anchor5>  [May 21,
Brooklyn, New York]
*  Fracto Experimental Film Encounter 2018 <#anchor6>  [May 24, Berlin,
Germany] 
*  Visions | 24.05.18 | Phillip Warnell <#anchor7>  [May 24, Montréal]
*  Scott Stark. the Body: Inside.Out <#anchor8>  [May 25, London]
*  1968 On Screen: Shorts Program 1 <#anchor9>  [May 25, New York, NY]
*  New Experimental Works <#anchor10>  [May 26, San Francisco, California]
*  Investigation of A Flame + Last Summer Won'T Happen - Lynne Sachs In
Person! <#anchor11>  [May 27, New York, NY]
SATURDAY, MAY 19, 2018

5/19
London, England: Emerald Reels
http://www.emeraldreels.com/satellites.htm
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=22f9519c5c&e=f36020cad0>
19:30, The Horse Hospital, Colonnade, Bloomsbury, WC1N 1JD
 VISUAL CHORUS
 A collection of contemporary experimental, animated and
creatively-narrative short films screened in combination with musicians
creating live soundtracks. On Saturday 19 May in London, we're going to amp
up the fun by having a live jazz trio, led by Rachael Cohen, improvise
soundtracks to a program of contemporary short films at the Horse Hospital
arts venue. FILMS by Martha Colburn, Caryn Cline, Kamila Kuc, Mike Morris,
Sally Cloninger, Jeremy Moss, Shannon Stewart, Adam Sekuler, Bryan Konefsky,
Jon Behrens, Salise Hughes, Linda Fenstermaker and Reed O'Beirne. Live
soundtracks performed by: Rachael Cohen (sax) with Shane Forbes (drums) and
Larry Bartley (bass). VISUAL CHORUS - The Horse Hospital - Colonnade,
Bloomsbury, London WC1N 1JD - Sat 19 May - 7:30p - £6
http://www.visualchorus.com
 

5/19
New York, NY: Anthology Film Archives
http://ww

[Frameworks] This week [April 15 - 22, 2018] in avant garde cinema

[Scott Stark]

nk houses, and unending virtual  worlds. Rukus is a 20-year-old 
furry artist living with his boyfriend Sable in the suburbs of Orlando, 
Florida. Through his sprawling graphic novels, Rukus constructs an imaginary  
universe where painful childhood memories are restaged as epic fantasies. 
Brett is a 16-year-old filmmaker with OCD trying to figure out his position 
in kinky subcultures. The two  develop an unexpected online friendship which 
propels an exploration and reimagining of who they are and who they want to 
be. 
 

4/20
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ 
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=8f141281d7&e=f36020cad0> 
9:30 PM, 32 Second Avenue
 TRANS FILM: WHEN THIS WORLD ENDS: DANDY DUST
 Kelley Meister's short hand-drawn animation NOW I AM BECOME DEATH explores 
the queer realities of living in the nuclear age, while Ashley Hans 
Scheirl's DANDY DUST creates  another dimension of crude sets and clay 
planets in the year 3075. In a cyberpunk, crustcore, stop-motion, and 
live-action coming-of-age extravaganza, the character Dandy Dust must go  to 
different planets to boost his/her sex drive and defeat a depraved villain. 
Disparate characters and explicit scenarios pepper the narrative as a spider 
vagina humanoid named  "SpiderCuntBoy" arrives, strange twins appear and 
disappear, and a scene featuring a giant strap-on drill pushes erotics and 
violence to the max.  Ashley Hans Scheirl  DANDY DUST  (1998, 92 min, 
digital)  Preceded by:  Kelley Meister NOW I AM BECOME DEATH (2017, 8 min, 
digital) 
 

4/20
New York, New York: Qubit
https://qubitmusic.com/visions 
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=95e4d430a6&e=f36020cad0> 
7:00 PM, Project Q, 1850 Amsterdam Ave
 PERIPHERAL VISIONS PROGRAM 1: RHYTHM
 Emotive fragments, wayward gestures, and ephemeral music collide in the 
works of Abigail Child, Laure Prouvost, and Henry Hills. Expressive 
combinations of image, sound, and language fuse together and jolt in 
opposition, creating novel sensations and fractured narratives that expand 
the vocabulary of cinema. Screening will include SSS (1988, 5m) and Money 
(1985, 15m) by Henry Hills, Prefaces (1981, 10m), Mutiny (1983, 10m), and 
Mercy (1989, 10m) by Abigail Child, and Burrow Me (2009, 13m), It Heat Hit 
(2010, 7m) and How to Make Money Religiously (2014, 9m) by Laure Prouvost. 
Tickets: $7, available online at http://bit.ly/rhythmvisions. 
 

4/20
New York, New York: Qubit
https://qubitmusic.com/visions 
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=5ca2a04cdc&e=f36020cad0> 
9:00 PM, Project Q, 1850 Amsterdam Ave
 PERIPHERAL VISIONS PROGRAM 2: SEQUENCE
 Visceral cadences, stochastic data, oedipal loops, and vivid sequences 
abound in these works that interrogate the process of image making and the 
patterns that surround us. Featuring films by Peter Burr, Ryoichi Kurokawa, 
Thorsten Fleisch, Scott Stark, Martin Arnold, Peter Tscherkassky, Michael 
Fleming, iloobia, Julie Murray, Tomonari Nishikawa, and Jodie Mack. For a 
full listing of films and ticket information visit: 
http://bit.ly/sequencevisions (Tickets $7) The second screening of the 
Peripheral Visions Film Festival presented by Qubit. 

SATURDAY, APRIL 21, 2018 

4/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ 
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=4e06c08e4c&e=f36020cad0> 
8:00 pm, Echo Park Film Center, 1200 N. Alvarado St.
 THROUGH THE MARGIN OF MIRRORS: A LECTURE/PERFORMANCE BY MALENA SZLAM
 Los Angeles Filmforum presents Through the Margin of Mirrors: a 
Lecture/Performance by Malena Szlam (with additional films to be announced) 
Saturday, April 21, 2018, 8pm At Echo Park Film Center, 1200 N. Alvarado 
St., Los Angeles CA 90026 With filmmaker Malena Szlam in person from 
Montréal! In this lecture/performance, Szlam will draw from her writing and 
personal visual film archive to compose an ephemeral re-enactment of her 
2010 installation piece Through The Margin Of Mirrors. Fueled by experiences 
of displacement and migration between the Northern
 and Southern 
Hemispheres, Szlam will disclose aleatory links forged through dreams, 
language(s) and desire. An evening of reading and projection will form a 
vivid collage in dialogue with texts and recordings from friends, artists, 
and filmmakers. The performance will be followed by a special screening of 
short experimental works by international filmmakers, curated by Szlam.  
Details to be announced at the show. INFO: www.lafilmforum.org , 
323-377-7238 Tickets: $5 general/students/seniors; free for Filmforum 
members.  Available in advance at https://szlamperformance.bpt.me or at the 
door. 
 

4/21
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ 
<h

[Frameworks] This week [February 17 - 26, 2018] in avant garde cinema

[Scott Stark]

 


  


   

 

 

 

 


This week [February 17 - 26, 2018] in avant garde cinema


Enter your event announcements by going to the Flicker Weekly Listing Form 

 .

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The Smoker: A Brief History of the Stag Film <>  [February 20, Brooklyn, New 
York 11222] 

  

 
After Hours: Films By Karen Yasinsky, Program One [February 23, San Francisco, 
California 94132] 

  

 
Nick Zedd: Tear Down the Wall [February 24, Brooklyn, New York] 

NEW CALLS FOR ENTRIES:
Coney Island Film Festival (Brooklyn, NY, USA; Deadline: June 22, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1970.ann
25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1971.ann
NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: March 11, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1972.ann

DEADLINES APPROACHING:
Oscillation Transia Film Festival (USA; Deadline: February 21, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1964.ann
The 2018 West Virginia Mountaineer Short Film Festival (Morgantown, West 
Virginia, USA; Deadline: March 19, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1967.ann
Milwaukee Underground Film Festival (Milwaukee, WI; Deadline: February 19, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1968.ann
NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: March 11, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1972.ann

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary): 

*   Jeanne Liotta: Celestial Bodies, Screening  <> & Artist Talk [February 
17, Brooklyn, New York] 
*   Black Maria Film Festival 37th Annual Festival Tour <>  [February 17, 
Madison] 
*   Show and Tell: Stephanie Barber <>  [February 17, New York, NY] 
*   Bill Morrison's Dawson City: Frozen Time <>  [February 17, San 
Francisco, California] 
*   Lynne Sachs: Tip of My Tongue <>  [February 18, Los Angeles, 
California] 
*   Cc31 - Josh Weissbach: Domestic Emulsion <>  [February 18, Minneapolis, 
Minnesota 55408] 
*   Show and Tell: Stephanie Barber <>  [February 18, New York, NY] 
*   Rat Film - theo Anthony In Person <>  [February 19, Cambridge, 
Massachusetts] 
*   The Smoker: A Brief History of the Stag Film <>  [February 20, 
Brooklyn, New York 11222] 
*   New York Eye and Ear Control  <> &Amp; Blood of Jesus [February 21, 
Boston, Massachusetts 02115] 
*   Directors Lounge Screening - Txema Novelo - Double Feature <>  
[February 22, Berlin, Germany] 
*   Walking Films: A Salon With Baba Hillman <>  [February 22, San 
Francisco, California] 
*   After Hours: Films By Karen Yasinsky, Program One <>  [February 23, San 
Francisco, California 94132] 
*   Nick Zedd: Tear Down the Wall <>  [February 24, Brooklyn, New York] 
*   Black Maria Film Festival 37th Annual Festival Tour <>  [February 24, 
Newton] 
*   After Hours: Films By Karen Yasinsky, Program Two <>  [February 24, San 
Francisco, California 94103] 
*   Mehrdad Oskouei: Short Film Program <>  [February 25, New York, NY] 
*   Hardcore Home Movies At the Stud Presented By Dirty Looks + Canyon 
Cinema <>  [February 25, San Francisco, California] 
*   Afs: Experimental Shorts of Bette Gordon, W/ Gordon In Pers

[Frameworks] This week [January 20 - 28, 2018] in avant garde cinema

[Scott Stark]

 


  


   

 

 

 

 


This week [January 20 - 28, 2018] in avant garde cinema


Enter your event announcements by going to the Flicker Weekly Listing Form 

 .

To receive the weekly listing via email: Subscribe 

 . To unsubscribe see the link at the bottom of this email. 

  

 
The Women's Film Preservation Fund: Four Experimental Films [January 22, New 
York, New York] 

  

 
I Am My Own Laboratory and Shot On Blood: Kozmikonic Electronica [January 28, 
Vancouver, British Columbia] 

NEW CALLS FOR ENTRIES:
Edinburgh Short Film Festival 2018 (Musselburgh; Deadline: June 25, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1962.ann
That One Film Festival (Muncie, Indiana; Deadline: February 05, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1963.ann
Oscillation Transia Film Festival (USA; Deadline: February 21, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1964.ann
FAR OUT FILM FEST (Nashville, TN; Deadline: April 02, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1965.ann

DEADLINES APPROACHING:
Bodies (Naples, Italy; Deadline: January 31, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1947.ann
All About Photo Awards 2018 | $10.000 prizes (italy ; Deadline: January 31, 
2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1958.ann
That One Film Festival (Muncie, Indiana; Deadline: February 05, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1963.ann
Oscillation Transia Film Festival (USA; Deadline: February 21, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1964.ann

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary): 

*   Ism, Ism, Ism: Meta: Cinema Within Cinema <>  [January 20, Los Angeles, 
California] 
*   Ism, Ism, Ism: Luis Ospina: A Rational Act of Faith <>  [January 20, 
Los Angeles, California] 
*   Reinscriptions For Line Describing A Cone <>  [January 20, San 
Francisco, California 94111] 
*   Tr*Mp Th*S! A One Year Anniversary of Resistance Jan. 21, 8pm <>  
[January 21, Austin, TX] 
*   Ism, Ism, Ism: Misreadings / Malas Lecturas and Book Launch <>  
[January 21, Los Angeles, California] 
*   Ism, Ism, Ism: Testamento CinemáTico: the Films of Narcisa Hirsch <>  
[January 21, Los Angeles, California] 
*   The Women's Film Preservation Fund: Four Experimental Films  <> 
[January 22, New York, New York] 
*   Two Diptychs By Peter Thompson <>  [January 23, Brooklyn, New York 
11222] 
*   The8fest Small-Gauge Film Festival <>  [January 26, Toronto, Ontario, 
Canada] 
*   New Year New Works 2018 <>  [January 27, New York, New York] 
*   Ec: Ron Rice / Jack Smith <>  [January 28, New York, NY] 
*   Ec: Carriage Trade <>  [January 28, New York, NY] 
*   I Am My Own Laboratory and Shot On Blood: Kozmikonic Electronica <>  
[January 28, Vancouver, British Columbia] 


SATURDAY, JANUARY 20, 2018

1/20
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ 

 
3:00 pm, UCLA Film & Television Archive, Billy Wilder Theatre, UCLA Hammer 
Museum, 10899 Wilshire Blvd.
ISM, ISM, ISM: META: CINEMA WITHIN CINEMA
In person: Luis Ospina In a reflexive mode, the filmmakers in this program 
contemplate their chosen medium

[Frameworks] This week [January 13 - 21, 2018] in avant garde cinema

[Scott Stark]

 


  


   

 

 

 

 


This week [January 13 - 21, 2018] in avant garde cinema


Enter your event announcements by going to the Flicker Weekly Listing Form 

 .

To receive the weekly listing via email: Subscribe 

 . To unsubscribe see the link at the bottom of this email. 

  

 
TR*MP TH*S! A One Year Anniversary of Resistance Jan. 21, 8pm <>  [January 21, 
Austin, TX] 

NEW CALLS FOR ENTRIES:
Edinburgh Short Film Festival 2018 (Musselburgh; Deadline: June 25, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1962.ann
That One Film Festival (Muncie, Indiana; Deadline: February 05, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1963.ann
Oscillation Transia Film Festival (USA; Deadline: February 21, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1964.ann
FAR OUT FILM FEST (Nashville, TN; Deadline: April 02, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1965.ann

DEADLINES APPROACHING:
Bodies (Naples, Italy; Deadline: January 31, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1947.ann
All About Photo Awards 2018 | $10.000 prizes (italy ; Deadline: January 31, 
2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1958.ann
Flatpack Film Festival (Birmingham, UK; Deadline: January 14, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1960.ann
That One Film Festival (Muncie, Indiana; Deadline: February 05, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls 

 &readfile=1963.ann 

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary): 

*   Lacda Gallery Presents: How Analog Impedes/How Digital Infects Group 
Show <>  [January 13, Los Angeles, California 90013] 
*   Soft Fiction @ Untitled Art Fair <>  [January 13, San Francisco, 
California] 
*   An Affinity For Color <>  [January 13, Washington, DC] 
*   An Affinity For Minimalism <>  [January 13, Washington, DC] 
*   Shapeshifters Cinema Presents Pad Mclaughlin  <> &Amp; Greta Snider 
[January 14, Oakland, California 94609] 
*   James Benning: 52 Films <>  [January 14, San Francisco, California 
94123] 
*   An Affinity For the Readymade <>  [January 14, Washington, DC] 
*   An Affinity For Collage <>  [January 14, Washington, DC] 
*   The Aritst In the Archive and the Library  <> & Luke Fowler Curates the 
Bfi National Archive. [January 15, London, England] 
*   Rare Screening of SanjinéS's the Secret Nation <>  [January 16, 
Brooklyn, New York 11222] 
*   Ism, Ism, Ism: Org, By Fernando Birri <>  [January 16, Los Angeles, 
California] 
*   Ism, Ism, Ism: Poetics of Space: 8mm Films From Argentina  <> [January 
19, Los Angeles, California] 
*   Analogica Selection 7 Screening <>  [January 19, San Francisco, 
California] 
*   Ism, Ism, Ism: Meta: Cinema Within Cinema <>  [January 20, Los Angeles, 
California] 
*   Ism, Ism, Ism: Luis Ospina: A Rational Act of Faith <>  [January 20, 
Los Angeles, California] 
*   Reinscriptions For Line Describing A Cone <>  [January 20, San 
Francisco, California 94111] 
*   Tr*Mp Th*S! A One Year Anniversary of Resistance Jan. 21, 8pm <>  
[January 21, Austin, TX] 
*   Ism, Ism, Ism: Misreadings / Malas Lecturas and Book Launch <>  
[January 21, Los Angeles, California] 
*   Ism, Ism, Ism: Testamento CinemáTico: the Films of Narcisa Hirsch <>  
[January 21, Los Angeles, California] 


SATURDAY, JANUARY 13, 2018

1/13
Los Angeles, California 90013: LACDA Los Angeles Center for Digital A

[Frameworks] Oxberry camera repair?

[Scott Stark]

Hi all, I have a couple of old 35mm Oxberry cameras, used for film
recorders, that are in need of some tuning/repair. Any recommendations for
somewhere that handles dinosaur cameras such as these? Thanks. Scott

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

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[Frameworks] Call for entries: TR*MP TH*S! 2018

[Scott Stark]

Hi friends, I am posting this here as a call for entries, but also looking
for suggestions - works should be relevant but not necessarily new. 

 

Also posted here: http://www.ercatx.org/trmp-ths-call-for-entries/

 

Thanks, Scott

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 


TR*MP TH*S! 
Call for Entries


NO SUBMISSION FEE!
DEADLINE: Dec. 20, 2017

Experimental Response Cinema seeks experimental film and video works for a
program entitled TR*MP TH*S!, in commemoration of the one year anniversary
of the presidency of Donald J. Trump. We are looking for works that respond
to the first year of Trump presidency, or that touch on issues of racism,
sexism, homophobia, religious intolerance, environmental degradation,
corporate greed, Wall Street malfeasance, gun violence, corruption, voter
suppression, foreign intervention in elections, defunding health care, human
rights, income inequality, BLM.  well it's an endless list, not to mention
buffoonery, narcissism, pathology, lies, obsessive twittery.

Works need not be new.

TR*MP TH*S, a follow up to our successful
<http://www.ercatx.org/fck-trmp-thursday-january-19th-2017/> F*CK TR*MP
program the night before the 2017 inauguration, will be screened in Austin,
Texas on the administration's one-year anniversary.

Cathartic as well as a call to action, this screening of short films will
address the current political landscape in ways both playful and incisive,
affirming creativity as a vital and necessary response in the face of lies,
corporate greed, bigotry and willful ignorance.

To submit, send an email to ad...@ercatx.org <mailto:ad...@ercatx.org>  with
a link to a preview of your work, with a password if necessary. There is no
submission fee.

The screening will be admission by donation, and a small honorarium will be
paid for all included entries.

RESIST! TR*MP TH*S!

 

 

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[Frameworks] ERC presents films of Adam Scovell Weds. Oct. 18

[Scott Stark]

Hi folks, there will be the first US screening in Austin this week of the
films of UK filmmaker Adam Scovell, which missed the weekly listing, for
which I'm doubly embarrassed as owner of the weekly email blast and
co-curator of ERC.

 

Cheers,

Scott

Halloween Show 2017 
Adam Scovell: 
Haunted Lands 
Wednesday October 18 7:30PM 
Museum of Human Achievement

ERC cordially invites you on a journey to the remote psychic corners of
wyrd, spellbound England, ancient and modern, real and imagined. Please join
us for a very special seasonal event featuring the Super 8 film works of
Adam Scovell, presented here for the first time in the US in digital
projections. Adam is a London-based filmmaker, scholar, critic, blogger and
author whose work explores the distinctly British realms of folk horror,
hauntology and psychogeography. The screening will be followed by a
discussion with Adam via Skype.

Preview: https://vimeo.com/237330157

More information and a list of films to be screened (digitally) are at:

http://www.ercatx.org/adam-scovell-haunted-lands-wednesday-october-18-730pm-
museum-of-human-achievement/

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

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Re: [Frameworks] Los_Angeles_Filmforum_presents_Resist

['Scott Stark']

 Hi Adam, yeah too late for the mailing but it'll be on the site
tomorrow. I did enter the Redcat shows. Thanks. Scott Stark
www.scottstark.com [1] Experimental Response Cinema [2] Flicker [3]
 Original Message -- FORGOT TO POST TO FLICKER:
SUNDAY, SEPTEMBER 17, 2017, 7:30PM LOS ANGELES FILMFORUM PRESENTS
RESISTANCE ISN’T FUTILE AT THE SPIELBERG THEATRE AT THE EGYPTIAN,
6712 HOLLYWOOD BLVD, LOS ANGELES, CA 90028 Resistance takes many
forms, riotous and quiet, political and economic, through education
and through engagement. In our program this week, we look at some
forms of resistance – by people and groups and filmmakers, by seeing
some of the ways that films have found dynamic ways and unheralded
people to face dark times and make better futures. We’ll also take a
look at a few of the issues of the day, to remember the troubles of
the past that people have resisted, and how some of them have never
left us. Featuring films by Straub-Huillet, Kelly Gallagher, Danny
Lyon, Kevin Jerome Everson,Penelope Spheeris, Marco Braunschweiler,
Robert Fenz, and more. Curated by Adam Hyman. Rescheduled from January
22. Tickets: Suggested donation: $10 general; $6 for students/seniors;
free forFilmforum members. Available in advance from Brown Paper
Tickets at http://bpt.me/3081414 [4] or at the door. For more
information: [5]www.lafilmforum.org [6] or 323-377-7238 Screening: EN
RACHâCHANT by Danièle Huillet and Jean-Marie Straub 1982, France,
b&w, 8 min. Text by Marguerite Duras: “Ah! Ernesto!” (1971) Image
by Henri Alekan and Louis Cochet BLACK PANTHER 1969, 14 min. This is
the film the Black Panthers used to promote their cause. Shot in 1969,
in Oakland, San Francisco and Sacramento, this exemplar of 1960s
activist filmmaking traces the development of the Black Panther
organization. In an interview from jail, Minister of Defense Huey P.
Newton describes the origins of the Panther Party, Eldridge Cleaver
explains the Panthers' appeal to theBlack community, and Chairman
Bobby Seale enumerates the Panther 10-Point Program as Panthers march
and demonstrate. KEY TO THE CITIES by Kevin Jerome Everson 2008, 16mm,
1:45, black and white features two mayors honoring the “Candy Man”
in two different ways. PEARL PISTOLS, by Kelly Gallagher 2014, video,
3 min. Pearl Pistols is an animated glitter bomb and resurrection of a
speech by the radical and revolutionary civil rights leader Queen
Mother Moore. NATIONAL REHABILITATION CENTER, by Penelope Spheeris
1969, 16mm screened from digital, 14 min Preserved by the Academy Film
Archive. Two years before Peter Watkins’ Punishment Park (1971),
director Penelope Spheeris takes the McCarran Act to its inevitable
next step and shows us—via an early use of mockumentary—what the
U.S. might be like if potential subversives were simply locked up en
masse before they had a chance to subvert anything. "The Internal
Security Act, sometimes called the McCarran Act, popularly named for
Nevada's Senator PatMcCarran… argued for the fingerprinting and
registration of all "subversives" at large in the United States…
President Truman, who had himself imposed the Loyalty Order for
federal government employees in 1947, immediately vetoed it, on the
grounds that it "would make a mockery of our Bill of Rights [and]
would actually weaken our internal security measures."But his veto was
overridden by a humbling 89 percent majority vote, and McCarran's
newly formed Senate Internal Security Subcommittee working closely
with Hoover's FBI set up shop and conducted hearings for the next 27
years. One of the more bucolic provisions of the McCarran Act was its
authorization ofconcentration camps "for emergency situations." --
from: _Better Red Than Dead: A Nostalgic Look at the Golden Years of
RussiaPhobia, Red-baiting, and Other Commie Madness_, by Michael
Barson (New York: Hyperion, 1992). EL MOJADO, [THE WETBACK] by Danny
Lyon 1974, New Mexico, color, 14 minutes English and Spanish with
subtitles, Produced by J.J. Meeker. A portrait of a hard-working
undocumented laborer from Mexico. "It's like being a hunter, but
you're stalking human beings, and that's a lot more fun." -- Border
Patrol Officer "El Mojado is about my best friend in New Mexico, an
undocumented worker from rural Chihuahua . . . His name is Eddie and I
sooncame to regard him as a genius. Eddie could do anything, make
anything, fix any car or truck, and usually do it with scraps. We
built an adobe house together and every spring I would meet him near
the border and smuggle him past the border patrol into the United
States. He introduced me to the whole unbelievable world of 'illegal
aliens'." - Danny Lyon,
http://bleakbeauty.com/film%20pages/elmojado.html [7] CROSSINGS, by
Robert Fenz 2006-07, 16mm, 10 min. In _Crossings_ (2006–07), made
for the 2008 Whitney Biennial, Fenz switches to color film to convey
more sensate inform

Re: [Frameworks] This week in avant garde cinema: Please Confirm Subscription

[Scott Stark]

Hi all, apologies for these “confirm subscription” messages posted to 
Frameworks – as mentioned earlier someone on the list has been clicking the 
“unsubscribe” button on the weekly This Week in Avant Garde Cinema listing – 
probably thinking they’re unsubscribing themselves – and when that happens I 
get a few emails from folks complaining that TWIAGC is no longer appearing on 
FW. Can’t seem to prevent that from happening, so you’ll see these messages 
periodically as I re-subscribe. Sorry for the inconvenience.

 

Scott Stark

 <http://www.scottstark.com/> scottstark.com

 <http://www.ercatx.org/> Experimental Response Cinema

 <http://www.hi-beam.net/> Flicker

 

From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Jason Halprin
Sent: Sunday, March 12, 2017 6:34 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] This week in avant garde cinema: Please Confirm 
Subscription

 

No worries, I just took care of it!

-JH




Jason Halprin
jihalp...@gmail.com <mailto:jihalp...@gmail.com> 

jasonhalprin.com <http://jasonhalprin.com> 

 

On Sat, Mar 11, 2017 at 11:54 AM, Flicker weekly listing mailto:thisw...@hi-beam.net> > wrote:





This week in avant garde cinema




Please Confirm Subscription 


 
<https://hi-beam.us9.list-manage.com/subscribe/confirm?u=e4e99825c1d97f8de6eaffad3&id=1aa4289c98&e=4e65756555>
 Yes, subscribe me to this list. 

If you received this email by mistake, simply delete it. You won't be 
subscribed if you don't click the confirmation link above.

For questions about this list, please contact: 
 <mailto:sst...@hi-beam.net> sst...@hi-beam.net



 
<http://www.mailchimp.com/monkey-rewards/?utm_source=freemium_newsletter&utm_medium=email&utm_campaign=monkey_rewards&aid=e4e99825c1d97f8de6eaffad3&afl=1>
 


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Re: [Frameworks] Pageant AV 12 E6 sound problem

[Scott Stark]

Thanks George, and Colin, for your advice – nice to know I can probably replace 
a fuse though getting to it seems a little daunting. Thank you.

 

Scott Stark

 <http://www.scottstark.com/> scottstark.com

 <http://www.ercatx.org/> Experimental Response Cinema

 <http://www.hi-beam.net/> Flicker

 

From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
George, Sherman
Sent: Friday, February 24, 2017 9:52 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Pageant AV 12 E6 sound problem

 

I could not locate a diagram for the Pageant amp but most of the projector amps 
of that period powered the exciter lamp with a high frequency oscillator. It 
was difficult to generate a pure DC voltage for the lamp. 

The high frequency ac was above what the ear could detect. If you can find a 
tube tester test the tubes or look for one that has no glow when viewed in the 
dark. If it has a transistor amp ignore this advice.

If you can locate a diagram forward it to me and I will see if I can be more 
specific.

Sherman

 

 

On Feb 24, 2017, at 4:55 PM, Scott Stark mailto:sst...@hi-beam.net> > wrote:

 

Hi Frameworkers, I have a Pageant AV 12 E6 where the optical sound bulb is not 
coming on. I’ve replaced it with a new one and it’s still not working (the old 
one didn’t look burned out either). I know the amplifier is working as I hear a 
healthy hum when I turn it on, and the flash from my camera even caused a loud 
pop when I snapped this photo, so I know the reader sensor itself is working. 
Any idea what could be causing the bulb not to come on? There’s a “circuit 
breaker” button on the panel but it doesn’t seem to do anything when I press 
it. Is there a fuse somewhere inside that might need replacement?

 

 <http://www.hi-beam.net/temp/IMG_1633.JPG> 
http://www.hi-beam.net/temp/IMG_1633.JPG

 

Thanks for any advice.

 

Scott Stark

 <http://www.scottstark.com/> scottstark.com

 <http://www.ercatx.org/> Experimental Response Cinema

 <http://www.hi-beam.net/> Flicker

 

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 <https://mailman-mail5.webfaction.com/listinfo/frameworks> 
https://mailman-mail5.webfaction.com/listinfo/frameworks

 

Sherman George

sgeo...@ucsd.edu <mailto:sgeo...@ucsd.edu> 

858-229-4368





 

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[Frameworks] Pageant AV 12 E6 sound problem

[Scott Stark]

Hi Frameworkers, I have a Pageant AV 12 E6 where the optical sound bulb is
not coming on. I've replaced it with a new one and it's still not working
(the old one didn't look burned out either). I know the amplifier is working
as I hear a healthy hum when I turn it on, and the flash from my camera even
caused a loud pop when I snapped this photo, so I know the reader sensor
itself is working. Any idea what could be causing the bulb not to come on?
There's a "circuit breaker" button on the panel but it doesn't seem to do
anything when I press it. Is there a fuse somewhere inside that might need
replacement?

 

http://www.hi-beam.net/temp/IMG_1633.JPG

 

Thanks for any advice.

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

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[Frameworks] new book: Polish Avant Garde Cinema by Kamila Kuc

[Scott Stark]

Those interested in avant garde film history might be interested in the
recent publication of Polish filmmaker (and friend) Kamila Kuc's Visions of
Avant-Garde Film: Polish Cinematic Experiments from Expressionism to
Constructivism, available on Amazon.uk:

 

https://www.amazon.co.uk/Visions-Avant-Garde-Film-Expressionism-Constructivi
sm/dp/0253024021/ref=sr_1_4?ie=UTF8
<https://www.amazon.co.uk/Visions-Avant-Garde-Film-Expressionism-Constructiv
ism/dp/0253024021/ref=sr_1_4?ie=UTF8&qid=1481294017&sr=8-4&keywords=kamila+k
uc> &qid=1481294017&sr=8-4&keywords=kamila+kuc

 

regards,

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

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Re: [Frameworks] oxberry 35mm repair?

[Scott Stark]

Thanks for the interesting background Scott! Very useful (and a bit confusing).

Scott Stark
scottstark.com
Experimental Response Cinema
Flicker


-Original Message-
From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Scott Dorsey
Sent: Saturday, August 27, 2016 3:07 PM
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] oxberry 35mm repair?

Okay still 35mm films have "Kodak Standard" perfs, which are sort of 
squarish.  They are also used for print films, because they are stronger and 
don't tear as easily in the projector.

Motion picture _camera_ films have "Bell and Howell" perfs, which are rounded 
in such a way that an easily-manufactured registration pin fits into them.  
This allows cameras to be built with very tight registration that would be more 
difficult to do with KS perfs.

This is in ADDITION to the distance between the perfs being different between 
the print and camera films, to allow easy contact printing between the two.

But wait... it gets even wackier because there is a third perforation 
"Dubray-Howell" that is sometimes used for intermediate films.  And, Soviet 
motion picture cameras often used KS perf film (and their registration pins 
have to be modified to use them with Western film today).  But for the most 
part all you need to worry about is ordering KS for normal prints and BH for 
normal camera stocks.

It's not like 16mm where all you have to worry about is the pitch and the wind, 
due to a lot of historical baggage.

I was assuming that by "sprocket failure" you meant that the sprockets 
themselves were failing, not that the film was tearing at the sprockets.
If you have problems with the film movement, one thing to do is to get some 
junk leader and run it through the camera with the cover open and see what is 
going on.  However... if the camera has not been lubed in the last five years 
I'd worry about running it at all and I'd worry about tearing the pulldown 
mechanism up if it happens to be dry.  So I'd send it to Photosonics or really 
any good camera tech to take a look at it.
--scott

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Re: [Frameworks] oxberry 35mm repair?

[Scott Stark]

Thanks Scott. Dumb q, what are "BH perfs" and "KS perfs"? and not sure what you 
mean by "tear at perfs" vs. sprocket failure?

Though it's a dinosaur, it's impressive how good the image quality is on film 
output - actually 4K dpi long before that was a digital trend.

Scott Stark
scottstark.com


-Original Message-
From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Scott Dorsey
Sent: Saturday, August 27, 2016 12:49 PM
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] oxberry 35mm repair?

5207 is a weak acetate-based film with the weaker BH perfs.  It should tear at 
the perfs long before a sprocket fails.  So I'm really curious how you are 
getting sprocket damage.

I'd send it off to Photo-Sonics for a clean and lube if you don't have the 
manual or the ability to do it in-house.  I think that Whitehouse AV has also 
worked on some of those.  Marty Forscher was probably the guru but he has been 
deceased for a couple decades now.

5207 is awfully fast for those things too, but I don't think 5272 is available 
with KS perfs anymore anyway.  There's always still film.
--scott


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Re: [Frameworks] oxberry 35mm repair?

[Scott Stark]

I've been using Kodak 5207 lately; other stocks in the past, whatever I can 
drum up cheap or free.

Cleaning and lube, hm that sounds like a great idea! No idea how to do that 
though. Any advice?

I never realized 35mm film stocks had different "pitches." I can see how that 
might cause a problem.

BTW I've made two movies with this device, which was never intended to make 
cine-films, it was made for slides. But I like the fact that the projector can 
only show half the image at a time, and that it overlaps onto the optical track 
area. Here's one: https://vimeo.com/37076281

Thanks,

Scott Stark
scottstark.com


-Original Message-
From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Scott Dorsey
Sent: Friday, August 26, 2016 6:24 PM
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] oxberry 35mm repair?

Those are intended for a KS perf short pitch film, I believe.

What stock are you running and when did it last get a cleaning and lube?
--scott
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Re: [Frameworks] oxberry 35mm repair?

[Scott Stark]

Lately, Kodak 5207, and 8-perf shuttle. 

 

Scott Stark

 <http://www.scottstark.com/> scottstark.com

 <http://www.ercatx.org/> Experimental Response Cinema

 <http://www.hi-beam.net/> Flicker

 

From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Jeff Kreines
Sent: Friday, August 26, 2016 5:49 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] oxberry 35mm repair?

 

Scott:

 

What kind of film have you been running?

 

4 perf or 8 perf shuttle?

Jeff Kreines

Kinetta

j...@kinetta.com <mailto:j...@kinetta.com> 

kinetta.com <http://kinetta.com> 


On Aug 26, 2016, at 5:26 PM, Scott Stark mailto:sst...@hi-beam.net> > wrote:

Hi Jeff, yes it’s one of those “weird” Oxberrys made for still film recorders, 
a Matrix PCS. So yes it does have those 100’ magazines. Do you think the 
“pitch” of the sprockets is different than what it expects? I’ve been using it 
for years and only recently has this become a problem.

 

I have tried to figure out where it’s breaking, but it happens infrequently and 
is hard to catch – maybe once every 5 or 10 feet.

 

Thanks.

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Jeff Kreines
Sent: Friday, August 26, 2016 4:48 PM
To: Experimental Film Discussion List mailto:frameworks@jonasmekasfilms.com> >
Subject: Re: [Frameworks] oxberry 35mm repair?

 

My guess is the damage is coming from the shuttle. Try to run film until there 
is damage and before I threading it mark all points of the film path on the 
film with a Sharpie.  The Oxberry and Acme shuttles are very precise. Make sure 
your film is the right pitch (.1866 with BH perfs, probably). 

 

Unless you have one of those weird Oxberrys made for still film recorders.  
These had small square mags and are designed for still camera film. 

 

What kind of film recorder is it?

Jeff Kreines

Kinetta

j...@kinetta.com <mailto:j...@kinetta.com> 

kinetta.com <http://kinetta.com> 


On Aug 26, 2016, at 3:32 PM, Scott Stark mailto:sst...@hi-beam.net> > wrote:

Hi, I have an old Oxberry 35mm camera – not really a movie camera, it’s part of 
a film recorder setup – that’s been breaking sprockets lately. I’ve been unable 
to see what’s causing it. Can anyone recommend a repair person who might be 
able to troubleshoot it? Thanks!

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

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Re: [Frameworks] oxberry 35mm repair?

[Scott Stark]

Hi Jeff, yes it’s one of those “weird” Oxberrys made for still film recorders, 
a Matrix PCS. So yes it does have those 100’ magazines. Do you think the 
“pitch” of the sprockets is different than what it expects? I’ve been using it 
for years and only recently has this become a problem.

 

I have tried to figure out where it’s breaking, but it happens infrequently and 
is hard to catch – maybe once every 5 or 10 feet.

 

Thanks.

 

Scott Stark

 <http://www.scottstark.com/> scottstark.com

 <http://www.ercatx.org/> Experimental Response Cinema

 <http://www.hi-beam.net/> Flicker

 

From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Jeff Kreines
Sent: Friday, August 26, 2016 4:48 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] oxberry 35mm repair?

 

My guess is the damage is coming from the shuttle. Try to run film until there 
is damage and before I threading it mark all points of the film path on the 
film with a Sharpie.  The Oxberry and Acme shuttles are very precise. Make sure 
your film is the right pitch (.1866 with BH perfs, probably). 

 

Unless you have one of those weird Oxberrys made for still film recorders.  
These had small square mags and are designed for still camera film. 

 

What kind of film recorder is it?

Jeff Kreines

Kinetta

j...@kinetta.com <mailto:j...@kinetta.com> 

kinetta.com <http://kinetta.com> 


On Aug 26, 2016, at 3:32 PM, Scott Stark mailto:sst...@hi-beam.net> > wrote:

Hi, I have an old Oxberry 35mm camera – not really a movie camera, it’s part of 
a film recorder setup – that’s been breaking sprockets lately. I’ve been unable 
to see what’s causing it. Can anyone recommend a repair person who might be 
able to troubleshoot it? Thanks!

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

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[Frameworks] oxberry 35mm repair?

[Scott Stark]

Hi, I have an old Oxberry 35mm camera - not really a movie camera, it's part
of a film recorder setup - that's been breaking sprockets lately. I've been
unable to see what's causing it. Can anyone recommend a repair person who
might be able to troubleshoot it? Thanks!

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

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Re: [Frameworks] how to power a projector mounted on a rotating device

[Scott Stark]

Thanks everyone for the excellent suggestions. I knew FW was the right place to 
ask!

Scott Stark
www.scottstark.com

-Original Message-
From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
John Muse
Sent: Monday, July 25, 2016 8:17 AM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] how to power a projector mounted on a rotating device

Scott, Jeanne and I have used many of these for video installations: 
https://www.sldlighting.com/ac-motor-turntable-with-rotating-outlet-50-lb-capacity-12-top
  Reliable.  We've ordered them with 1rpm motors.

Good luck!

j

On Jul 25, 2016, at 9:06 AM, Mani Mazinani  wrote:

> Marco's machine looks wonderful.  Toronto artist John Shipman has constructed 
> what Scott is looking for an installation using slide projectors.  It uses 
> the slip ring things mentioned previously. His website will have more 
> information and his email address as well. 
> 
> Best,
> Mani
> 
> 
> On Jul 25, 2016 07:15, "Marco Poloni"  wrote:
> Hello,
> Years ago I built some camera pan/tilt heads using 10- to 12- contacts 
> electrical slip rings to power the head, transmit positional data data 
> to the device, and collect the video signal. See pic. They work 
> fantastic. I can't recall which brand of rings I used. I later learned 
> they were a sub-contractor of Lockheed-Martin... Better to choose a 
> some supplier that is not affiliated to the military industry. Moflon 
> maybe?
> 
> My two cents.
> 
> Best,
> Marco
> 
> On 25 July 2016 at 06:12, Bryan Konefsky  wrote:
> > Hey Scott and all - regarding rotating turntables that include 
> > rotating AC - see this link:
> >
> > http://www.vuemore.com/?gclid=Cj0KEQjwztG8BRCJgseTvZLctr8BEiQAA_kBD9
> > Fw3HF-6RCdrntuK6afHo7TQApVQy3Bx_eRTy707z0aApsm8P8HAQ
> >
> > I've purchased several over the years and they are fantastic... I 
> > suspect if you add a rheostat you could also change the rpms of the unit.
> >
> > best,
> > bryan konefsky
> >
> > On Sun, Jul 24, 2016 at 8:26 PM, Karl Reinsalu  wrote:
> >>
> >> I recall a 35mm installation that used an ac cable with a pre-built 
> >> slip ring design. They built the turntable and film looper 
> >> themselves, but sourced the cable from a film industry rental 
> >> house. Might be worth an inquiry with a production house like 
> >> William F Whites or similar. Otherwise possibly an industrial electrical 
> >> parts supplier? Best of luck!
> >>
> >> __
> >> Karl Reinsalu - Cinematography
> >> "Sent from my pocket through space and time."
> >>
> >>
> >> On Jul 24, 2016 11:02 PM, "Ryder White"  wrote:
> >>>
> >>> Hi Scott,
> >>>
> >>> I've been trying to figure this out too for some time, and as far 
> >>> as I can tell you need something like this:
> >>>
> >>> https://www.sparkfun.com/products/13063
> >>>
> >>> Or any other sort of "slip ring" that is rated for sufficient current.
> >>> The issue with a turntable is you would probably have to rig your 
> >>> power supply from the top since the slip ring has to be on the 
> >>> radial axis of the platform, and underneath the turntable you'd 
> >>> have a bunch of moving parts and gak. But this is all conjecture since 
> >>> I've never followed through on it.
> >>> If anyone out there has executed something like this I would be 
> >>> really interested to see some pictures.
> >>>
> >>> Best,
> >>>
> >>> Ryder
> >>>
> >>> On Sunday, 24 July 2016, Scott Stark  wrote:
> >>>>
> >>>> Hi all, does anyone have an idea of how to supply power to a 
> >>>> projector that’s set on a rotating device such as a turntable? Is 
> >>>> there such a thing as a rotating power supply?
> >>>>
> >>>>
> >>>>
> >>>> I saw this – the main cylinder wouldn’t do it but the part that 
> >>>> attaches to the wall does rotate 360, but I can’t quite figure how to 
> >>>> make it work.
> >>>>
> >>>>
> >>>>
> >>>> https://www.youtube.com/watch?v=u64Kn5ENkE0
> >>>>
> >>>>
> >>>>
> >>>> Just wondering if anyone’s found a device designed for such.
> >>>>
> >>>>
> >>>>
> >>>> thanks –
> >>>>

[Frameworks] how to power a projector mounted on a rotating device

[Scott Stark]

Hi all, does anyone have an idea of how to supply power to a projector
that's set on a rotating device such as a turntable? Is there such a thing
as a rotating power supply?

 

I saw this - the main cylinder wouldn't do it but the part that attaches to
the wall does rotate 360, but I can't quite figure how to make it work.

 

https://www.youtube.com/watch?v=u64Kn5ENkE0

 

Just wondering if anyone's found a device designed for such.

 

thanks -

 

Scott Stark

scottstark.com <http://www.scottstark.com/> 

Experimental Response Cinema <http://www.ercatx.org/> 

Flicker <http://www.hi-beam.net/> 

 

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[Frameworks] This week in avant garde cinema subscription notice

[Scott Stark]

Hi all, you may have noticed a message to Frameworks regarding
subscribing to This Week in Avant Garde Cinema. For as long as
Frameworks has been around, I (and a handful of other volunteers) have
been posting TWIAGC to Frameworks. A year or so ago I started using
MailChimp, which allows for nicer formatting (including photos) and
makes managing the list of subscribers a lot easier. Many of you have
responded positively to the change.

The problem is that the TWIAGC message contains an "unsubscribe" link
at the bottom. For individual users this is great, but the version
sent to the Frameworks list means that *anyone* can click that link,
thinking they are unsubscribing for themselves but inadvertently
unsubscribing the Frameworks email address itself
(frameworks@jonasmekasfilms.com). That means nobody wanting to see the
message on Frameworks will see TWIAGC. (And MailChimp does not have
any way to prevent that from happening for an individual email
account.)

I have no problem with folks subscribing and unsubscribing to the list
on their own - that's the nice thing about MailChimp. All I can do is
ask that if you want to unsubscribe from TWIAGC, make sure the email
is *NOT* the one from Frameworks (it'll have [Frameworks] in its
subject). This means, of course, that you continue to see TWIAGC if
you're still subscribed to Frameworks. The two lists are not
connected.

On the other hand, if a majority of Frameworks folks would prefer not
to see TWIAGC posted to Frameworks, I'm happy to remove it and
encourage everyone who wants to see it to subscribe separately. To
subscribe, go to http://eepurl.com/ba_wZf [1].

Both TWIAGC and Frameworks have been around since 1995 (21 years!),
and the former now has nearly 700 individual subscribers. In fact, one
of the very first posts (maybe the 3rd?) to Frameworks was TWIAGC,
listing events for the week of November 3, 1995.

Anyway, thanks for reading this, and I welcome your thoughts.

Scott Stark
www.scottstark.com [2]
Experimental Response Cinema [3]
Flicker [4]



Links:
--
[1] http://eepurl.com/ba_wZf
[2] http://www.scottstark.com
[3] http://www.ercatx.org
[4] http://www.hi-beam.net

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[Frameworks] 16mm black leader for a/b editing?

[Scott Stark]

Anyone know of a good source for solid black leader suitable for a/b 
neg cutting?


thanks,
Scott

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[Frameworks] Mess with Texas at Aurora Picture Show 11/5

[Scott Stark]

Aurora Picture Show
URL: http://www.aurorapictureshow.org
DATE: November 05, 2015
TIME: 7pm
ADDRESS: 2442 Bartlett Street
CITY: Austin, TX
TITLE: Mess With Texas
Guest curator Peter Lucas has asked a number of Texas artists to 
create new video works using source footage from the movies, 
newsreels, homemade films, and television shows collected by the 
Texas Archive of the Moving Image. These re-workings are creative 
intersections of past and present, bringing new life and new 
perspectives to regional media memory. Join us for the premieres of 
new found-footage pieces by The Art Guys, Robert Pruitt, Prince 
Varughese Thomas, Jennifer Lane, Scott Stark, Krista Steinke, Dave 
Merson Hess, and Nick Bontrager. Many of the participating artists 
will be in attendance for a Q&A immediately following the screening. 


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Re: [Frameworks] 16fps 16mm projectors?

[Scott Stark]

Thanks to all for the excellent suggestions and information. It is in
fact Sleep that we'll be showing in Austin, TX in October; I'm not
hopeful that I'll be able to find two functioning 16fps projectors
locally, but as someone told me this morning privately, most 16fps
projectors just had rheostat controls that were not particularly
accurate, and in fact many 18fps projectors probably don't run at that
exact speed anyway. (MOMA also noted that we could show it at
18fps.)
Anecdotally, we recently had a successful two-projector screening of The
Chelsea Girls in Austin. Prior to the screening, I got an email from
someone encouraging me to instead use four projectors, as it would cut
the screening time in half. Always good to get these things over with
quickly, I say!
best,
Scott
At 09:31 PM 8/3/2015, Steve Polta wrote:
In 2001 San Francisco
Cinematheque projected Andy Warhol's Sleep, which is six hours
(360 minutes) at 16fps. We started the show at midnight, expected it to
end at 6am. We ran it at 18fps and the show got out at 5:30am (and in
fact I just did the math and I think the difference over that time is
closer to 45 minutes somehow). So that's a good cumulative difference but
probably "minimal" (to quote David Sherman quoting David
Gerstein) difference moment-to-moment in viewing.
18 (or 16)fps vs 24 fps is obviously a very big difference and there is
always the (possibly apocryphal) story of Stan Brakhage viewing Sleep
at 24fps and declaring it a farse, then at 16fps and declaring it a
masterpiece. Not that Brakhage's word is unquestionable but this would
make a huge difference in many of these films. As I'm sure most of us
know...
Steve Polta


On Mon, Aug 3, 2015 at 5:26 PM, Scott Dorsey

wrote:


The B&H filmosound in a box projectors (the 300 series) have
universal

motors with mechanical governors, which can be adjusted for a variety
of

speeds.  If set according to the manual the silent speed is 16
fps, but

if no maintenance has been done it could be anything.  They are
truly

among the best projectors made, aside from the narrow barrel which
severely

limits your lens selection.

That said, I doubt the difference between 16 and 18 fps would be
that

dramatic on screen.

--scott

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[Frameworks] 16fps 16mm projectors?

[Scott Stark]

Hi all, anyone know of 16mm projectors that run at 16fps? As far as I 
know most Pageants, Eikis and Elmos run at 18 if they have a silent 
speed. I know some of the Warhol films were meant to run at 16fps.


thanks,
Scott

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Re: [Frameworks] two projector HD video for installation?

[Scott Stark]

Thanks Kate. Can they be synchronized? 
I haven't found a way to sync blu-ray players. Dave Jones made a great
DVD synchronizer but according to their website they gave up on
blu-ray.
At 03:02 PM 2/12/2015, you wrote:
Hi, Scott.  I actually
have such an installation up right now and can offer my two cents. 
I had started with a mac mini running multiscreener, but that setup
couldn't handle the dual hd no matter what tweaks i tried.  I ended
up going with two brightsign HD1020s (now apparently replaced by the
HD1022), which are networkable media players.  The HD220s (looks
like they are 222s now) should work too and are quite a bit cheaper (they
were just out of stock when i ordered, so they upgraded my order to the
fancier ones), so those might be worth checking out.  I haven't
tried the dual blu-ray setup, so not sure how that would
compare.
Best,
Kate
On Thu, Feb 12, 2015 at 11:55 AM, Scott Stark
<sst...@hi-beam.net>
wrote:


Hi all, I hope this isn't too off-topic. Does anyone have experience
or advice on how to set up a two digital projector installation, each
with its own HD video (Quicktime, probably), on loops, and keeping them
in sync? I was looking at a single hard drive, Mac Mini with Bino
(http://bino3d.org/) but was told the
Mini might not be powerful enough to run two movies at once. Thoughts?
Two blu-ray players with some kind of controller? Any ideas,
welcome.

thanks,

Scott


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-- 
kate lain
k...@katemakesfilms.com
626.644.5283
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[Frameworks] two projector HD video for installation?

[Scott Stark]

Hi all, I hope this isn't too off-topic. Does anyone have experience 
or advice on how to set up a two digital projector installation, each 
with its own HD video (Quicktime, probably), on loops, and keeping 
them in sync? I was looking at a single hard drive, Mac Mini with 
Bino (http://bino3d.org/) but was told the Mini might not be powerful 
enough to run two movies at once. Thoughts? Two blu-ray players with 
some kind of controller? Any ideas, welcome.


thanks,
Scott


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Re: [Frameworks] 35mm / 16mm hot splicer question

[Scott Stark]

Ah got it, thanks again Buck.
Scott
At 05:38 PM 2/8/2015, you wrote:
Hi Scott,
Check the manual I linked to. You setup the film that will be on the
right side on the left side's pins and then clamp it for the cut.
---Buck

Lawrence 'Buck' Bito
Movette Film Transfer
1407 Valencia St, San Francisco, CA 94110
Open Tuesday through Saturday:
Tues. and Thurs.: 8-6
Wed. and Fri.: 9-6
Saturday: 10-4
www.movettefilm.com


On Feb 8, 2015 3:29 PM, Scott Stark  wrote:

a bummer, thanks guys - looks like it's not 
usable for 35mm. Fortunately I got it cheap, but 
cheap is expensive if it doesn't work... 
Still, I'm wondering how you align the right-hand 
film strip - it looks like there are no holes for pins at all. ??

Jeff, the platens are slightly wider than a strip of 35mm film. 
Oh, and the acetone worked great! pins are now 
retractable. Too bad I had to buy a quart of it just for 2 drops -- :-)

thank you, 
Scott 
At 03:56 PM 2/8/2015, Jeff Kreines wrote: 
>Yep, Buck as always is right — I hadn’t looked closely at the
pictures. 
>How wide are the platens? 
> > On Feb 8, 2015, at 3:38 PM, Scott Stark
 wrote: 
> > 
> > Thanks Jeff, will try that. Any idea on how 
> to align the two film strips without the pins? 
> The 16mm seems to be the only one on the right; 
> there are two other holes on the left that 
> might produce pins once it's unglued. Or are 
> 35mm pros so expert they don't need pins? 
> > 
> > thanks 
> > Scott 
> > 
> > At 03:00 PM 2/8/2015, you wrote: 
> >> On this older version, I think the front and 
> back buttons work in tandem — push on the rear 
> one to move pins in one direction, the front to 
> move in the other. Same on each side. 
> >> The pins may be stuck —try some acetone in 
> the holes around the pins to dissolve old film 
> cement. Work the buttons back and forth. 
> >> Good luck! 
> >> 
> >> Jeff Kreines 
> >> 
> >> > On Feb 8, 2015, at 2:33 PM, Scott Stark
 wrote: 
> >> > 
> >> > Hi all, I have a Bell & Howell 35mm/16mm 
> hot splicer that supposedly has "retractable" 
> 16mm registration pins. I'm wanting to cut some 35mm neg on it.

> >> > 
> >> > Does anyone know how to retract the pins? 
> And how to align the 35mm film without them? I 
> don't see any other pins other than the 16mm 
> ones right in the middle of the 35mm image. 
> There are some buttons on the sides that don't 
> seem to move, and some other nuts and screws. 
> >> > 
> >> > Pics: 
> >> > 
> >> >

http://hi-beam.net/temp/IMG_1597.JPG 
> >> >

http://hi-beam.net/temp/IMG_1596.JPG 
> >> > 
> >> > I have seen this splicer mentioned here: 
>

http://www.smecc.org/film_cameras_for_television_news.htm 
> but could not find a manual for it. 
> >> > 
> >> > Thanks for any advice! 
> >> > 
> >> > best, 
> >> > Scott 
> >> >

www.scottstark.com 
> >> >
www.hi-beam.net

> >> > 
> >> > 
> >> > ___ 
> >> > FrameWorks mailing list 
> >> > FrameWorks@jonasmekasfilms.com 
> >> >

https://mailman-mail5.webfaction.com/listinfo/frameworks 
> >> 
> >> 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 
> 
>Jeff Kreines 
>Kinetta 
>j...@kinetta.com 
>kinetta.com 
> 
> 
>___ 
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>
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Re: [Frameworks] 35mm / 16mm hot splicer question

[Scott Stark]

a bummer, thanks guys - looks like it's not 
usable for 35mm. Fortunately I got it cheap, but 
cheap is expensive if it doesn't work...


Still, I'm wondering how you align the right-hand 
film strip - it looks like there are no holes for pins at all. ??


Jeff, the platens are slightly wider than a strip of 35mm film.

Oh, and the acetone worked great! pins are now 
retractable. Too bad I had to buy a quart of it just for 2 drops -- :-)


thank you,
Scott

At 03:56 PM 2/8/2015, Jeff Kreines wrote:

Yep, Buck as always is right — I hadn’t looked closely at the pictures.
How wide are the platens?
> On Feb 8, 2015, at 3:38 PM, Scott Stark  wrote:
>
> Thanks Jeff, will try that. Any idea on how 
to align the two film strips without the pins? 
The 16mm seems to be the only one on the right; 
there are two other holes on the left that 
might produce pins once it's unglued. Or are 
35mm pros so expert they don't need pins?

>
> thanks
> Scott
>
> At 03:00 PM 2/8/2015, you wrote:
>> On this older version, I think the front and 
back buttons work in tandem — push on the rear 
one to move pins in one direction, the front to 
move in the other.  Same on each side.
>> The pins may be stuck —try some acetone in 
the holes around the pins to dissolve old film 
cement.  Work the buttons back and forth.

>> Good luck!
>>
>> Jeff Kreines
>>
>> > On Feb 8, 2015, at 2:33 PM, Scott Stark  wrote:
>> >
>> > Hi all, I have a Bell & Howell 35mm/16mm 
hot splicer that supposedly has "retractable" 
16mm registration pins. I'm wanting to cut some 35mm neg on it.

>> >
>> > Does anyone know how to retract the pins? 
And how to align the 35mm film without them? I 
don't see any other pins other than the 16mm 
ones right in the middle of the 35mm image. 
There are some buttons on the sides that don't 
seem to move, and some other nuts and screws.

>> >
>> > Pics:
>> >
>> > http://hi-beam.net/temp/IMG_1597.JPG
>> > http://hi-beam.net/temp/IMG_1596.JPG
>> >
>> > I have seen this splicer mentioned here: 
http://www.smecc.org/film_cameras_for_television_news.htm 
but could not find a manual for it.

>> >
>> > Thanks for any advice!
>> >
>> > best,
>> > Scott
>> > www.scottstark.com
>> > www.hi-beam.net
>> >
>> >
>> > ___
>> > FrameWorks mailing list
>> > FrameWorks@jonasmekasfilms.com
>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>> 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

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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Re: [Frameworks] 35mm / 16mm hot splicer question

[Scott Stark]

Thankd Jeff, will try that. Any idea on how to 
align the two film strips without the pins? The 
16mm seems to be the only one on the right; there 
are two other holes on the left that might 
produce pins once it's unglued. Or are 35mm pros 
so expert they don't need pins?


thanks
Scott

At 03:00 PM 2/8/2015, you wrote:
On this older version, I think the front and 
back buttons work in tandem — push on the rear 
one to move pins in one direction, the front to 
move in the other.  Same on each side.
The pins may be stuck —try some acetone in the 
holes around the pins to dissolve old film 
cement.  Work the buttons back and forth.

Good luck!

Jeff Kreines

> On Feb 8, 2015, at 2:33 PM, Scott Stark  wrote:
>
> Hi all, I have a Bell & Howell 35mm/16mm hot 
splicer that supposedly has "retractable" 16mm 
registration pins. I'm wanting to cut some 35mm neg on it.

>
> Does anyone know how to retract the pins? And 
how to align the 35mm film without them? I 
don't see any other pins other than the 16mm 
ones right in the middle of the 35mm image. 
There are some buttons on the sides that don't 
seem to move, and some other nuts and screws.

>
> Pics:
>
> http://hi-beam.net/temp/IMG_1597.JPG
> http://hi-beam.net/temp/IMG_1596.JPG
>
> I have seen this splicer mentioned here: 
http://www.smecc.org/film_cameras_for_television_news.htm 
but could not find a manual for it.

>
> Thanks for any advice!
>
> best,
> Scott
> www.scottstark.com
> www.hi-beam.net
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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[Frameworks] 35mm / 16mm hot splicer question

[Scott Stark]

Hi all, I have a Bell & Howell 35mm/16mm hot splicer that supposedly 
has "retractable" 16mm registration pins. I'm wanting to cut some 
35mm neg on it.


Does anyone know how to retract the pins? And how to align the 35mm 
film without them? I don't see any other pins other than the 16mm 
ones right in the middle of the 35mm image. There are some buttons on 
the sides that don't seem to move, and some other nuts and screws.


Pics:

http://hi-beam.net/temp/IMG_1597.JPG
http://hi-beam.net/temp/IMG_1596.JPG

I have seen this splicer mentioned here: 
http://www.smecc.org/film_cameras_for_television_news.htm but could 
not find a manual for it.


Thanks for any advice!

best,
Scott
www.scottstark.com
www.hi-beam.net


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[Frameworks] This week [November 8 - 16, 2014] in avant garde cinema

[Scott Stark]

This week [November 8 - 16, 2014] in avant garde cinema

To subscribe/unsubscribe to the weekly listing, go to
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or send an email to weeklylist...@hi-beam.net.

Enter your announcements (calls for entries, new work, screenings,
jobs, items for sale, etc.) at:

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NEW CALLS FOR ENTRIES:
=
Flatpack Film Festival (Birmingham, UK; Deadline: December 22, 2014)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1737.ann

DEADLINES APPROACHING:
=
ANOTHER EXPERIMENT BY WOMEN FILM FESTIVAL (NY NY 
USA; Deadline: November 13, 2014)

 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1716.ann
We Have Never Been Modern: An Experimental Film 
and Video Exhibition @ Dope Chapel (Norman, OK, 
USA; Deadline: November 26, 2014)

 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1733.ann
Gallery 263 (Cambridge, MA, USA; Deadline: December 07, 2014)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1734.ann

Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl

Also available online at Flicker: http://www.hi-beam.net

THIS WEEK'S PROGRAMS (SUMMARY):
==
 *  Stop & Go Animation Screening [November 8, Boise]
 *  Scott Stark: More Than One Way To Find Out 
(Program 2) [November 8, New York, New  York]
 *  Scott Stark: More Than One Way To Find Out 
(Program 3) [November 8, New York, New York]
 *  "Hymns" Program, Part of Bill Morrison: 
Compositions At Moma, T2 [November 8, New York, New York 10019]
 *  Moon Fails + virtual Boys + Transformers 
Pre-Make/Low-Fi Sci-Fi [November 8, San Francisco, California]
 *  Sight Unseen Presents Jesse Malmed: Untitled 
(Just Kidding) [November 9, Baltimore, MD]

 *  Show & Tell: vincent Grenier Program 1 [November 9, New York, New York]
 *  Show & Tell: vincent Grenier Program 2 [November 10, New York, New York]
 *  Kelly Reichardt Presents Penny Allen's 
Property [November 11, Brooklyn, New York 11222]
 *  2014 Eyeworks Festival of Experimental 
Animation, Program 1 [November 11, Chicago, Illinois]

 *  Mfj 60 Publication Screening No. 1 [November 12, Brooklyn, New York]
 *  Deseret [November 12, New York, New York]
 *   Extreme Japanese Transgression & Furry Freakouts! ShuJi Terayama's
Emperor Tomato Ketchup & Buppoosh   [November 12, Tucson]
 *  Mati Diop: A Thousand Suns [November 13, Chicago, Illinois]
 *  Andy Warhol: Light and Dark [November 13, Los Angeles, California]
 *  Persistence of vision: Young Analog 
Filmmakers [November 13, New York, New York]

 *  Jeremy Harris W/ Paul Clipson [November 14, Berkeley, California]
 *  Eyeworks Festival of Experimental Animation, 
Program 2 [November 14, Chicago, Illinois]
 *  Nick Felton &Amp; Brian House: Automatic 
Data, Personal Documentary [November 15, Brooklyn, New York 11211]
 *  Eyeworks Festival of Experimental Animation, 
Program 3 [November 15, Chicago, Illinois]
 *  Eyeworks Festival of Experimental Animation, 
Program 4 [November 15, Chicago, Illinois]

 *  Ken Jacobs: Blankets For Indians [November 15, Houston, Texas]
 *  Mysterious Object At Noon [November 15, New York, New York]
 *  MFJ 60 Publication Screening No. 2 [November 15, New York, New York]
 *  The Fourth Annual San Francisco Cinematheque 
Art Auction & Benefit [November 15, San Francisco, California]
 *  Gallagher's Female Filmmaker Herstory + 
Klahr + Gal/Poetic Pixilation [November 15, San Francisco, California]
 *  The Toxic Edge: A Screening and Conversation 
With Sarah Kanouse [November 16, Brooklyn, New York 11211]

 *  Shapeshifters Cinema Presents Jeremy Rourke [November 16, Oakland]
 *  San Francisco City Symphonies the Films of 
Dominic Angerame  [November 16, Tucson]



Events are sorted by CITY within each DATE.

--
SATURDAY, NOVEMBER 8, 2014
--

11/8
Boise: The Flicks
http://www.theflicksboise.com/
12:30 p.m., 646 Fulton Street

 STOP & GO ANIMATION SCREENING
  Stop-motion animations by visual artists and filmmakers. Today's
  screening will feature two collections. Stop & Go Made From Scratch a
  food, horticulture and crafting collection and Stop & Go 3-D an optical
  and geometric set of animations.

11/8
New York, New York 10003: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6pm, 32 Second Ave (@2nd Street)

 SCOTT STARK: MORE THAN ONE WAY TO FIND OUT (PROGRAM 2)
  Second of three programs. See Nov. 7 for details. All of the films and
  videos in Programs 1 & 2 have been digitized by Anthology Film
  Archives with generous support from The Andy Warhol Foundation for the
  Visual Arts. PROGRAM 2: PROGRAM 2: 11/9/85/LAS/VEGAS/NV (1985, 6 min,
  Super 8mm-to-digital); RESCISSION (1980, 6 min, Super 8mm-to-digital);
  DETECTOR (1987, 

Re: [Frameworks] DLP

[Scott Stark]

Hey thanks to Dave and David for excellent analyses of DLP vs. LCD!

I've also been a fan of LCDs (I find the DLP rainbow effect very 
annoying and distracting) and so asked a guy at a local rental house 
his opinion. He came up with a few things AGAINST LCDs:


LCD's are generally more expensive (we knew that).
DLP bulbs last ~10,000 hours, LCD only ~1,000 hours
DLP's are brighter
LCD's are bigger
LCD's are a lot NOISIER
DLP's can generally use longer lenses so they can be placed in the 
back of the room


Now as Ekrem mentioned there seems to be no place where you can go 
and actually SEE these projectors for comparison. Would anyone say 
the above cons are true?


thanks,
Scott
www.ercatx.org
www.scottstark.com


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[Frameworks] This week [April 18 - 26, 2014] in avant garde cinema

[Scott Stark]

 16mm) PASHT (1965, 5 min,
16mm) FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound) THE HORSEMAN, THE
WOMAN AND THE MOTH (1968, 19 min, 16mm) THE WEIR-FALCON SAGA (1970, 29
min, 16mm) SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm. Preserved by
Anthology Film Archives.) SEXUAL MEDITATION: ROOM WITH A VIEW (1971, 4
min, 16mm, b&w. Preserved by Anthology Film Archives.) THE SHORES OF
PHOS: A FABLE (1972, 10 min, 16mm) A selection from some of Brakhage's
most densely mysterious works. Total running time: ca. 95 min.

4/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30 pm, 32 2nd Avenue

SHOW & TELL: HOOLBOOM PROGRAM 3
BUFFALO DEATH MASK (2013, 23 min, digital) A conversation with Canadian
painter Stephen Andrews returns us to a pre-cocktail moment, when being
HIV+ afforded us the consolation of certainty. DAMAGED (2002, 9 min,
digital) A 9-minute portrait of an indecisive man related in 18 decisive
moments. FRANK'S COCK (1993, 8 min, 16mm) "In the simplest of frames, in
monologue, Callum Rennie plays a man remembering his lover lost to AIDS.
[…] Eight minutes of pure, perfect cinema." –Cameron Bailey, NOW
MAGAZINE RAIN (2003, 5 min, digital) "Hoolboom's restlessly intelligent
film is broken up into ten parts, each revolving around issues of
representation, eventually narrowing into a sort of treatise on the
Hollywood dream factory and its impact on how we imagine the future.
Total running time: ca. 50 min.

--
MONDAY, APRIL 21, 2014
--

4/21
Austin, TX: Experimental Response Cinema
http://ercatx.org
8:00pm, Salvage Vanguard Theater, 2803 E Manor Rd

SHOOT YOURSELF: ARTISTS IN THEIR OWN LIGHT
Fusebox Festival and Experimental Response Cinema present: SHOOT
YOURSELF: Artists in their own light. What is it that draws artists to
stand in front of their own lenses? Perhaps it's vanity\; perhaps it's
having a convenient and willing body, or perhaps it's just the draw of
the limelight, a way to manufacture their own 15 minutes of fame. Or
maybe it's a chance to reveal, in a public way, something personal that
only the unblinking neutrality of the mechanical eye can expose. The
film and video artists in this program point their cameras at themselves
to frame their explorations of body, psyche, sexuality and social
construct. Featuring works by Lori Felker, Jeroen Offerman, Sharon
Hayes, Miranda July, Kate Hers, Bridget Irish, Jun Jalbuena, Dara
Greenwald, Amaranta Sanchez, Scott Stark and Ekrem Serdar. Programmed by
Scott Stark.

4/21
Los Angeles, CA: REDCAT - Roy and Edna Disney/CalArts Theater
8:30pm, 631 West 2nd Street

SMALL NEW FILMS
Since 2002, the Echo Park Film Center (EPFC) has been an influential
proponent of small-gauge film, particularly Super 8mm and 8mm. This
survey of handmade films affirms the independent spirit of the EPFC
community in an aesthetically eclectic range of works from personal
diary films to cross-disciplinary collaborations, from documentary
portraiture to hand-processed abstraction. Drawing on young
experimenters from the center's education and residency programs as well
as artists commissioned to make brand-new films for EPFC's 12-year
anniversary, the program includes films by Rick Bahto, Ursula Brookbank,
Kate Brown, Paul Clipson, Hayley Elliott, Marilyn Hernandez, Ellie
Parker, John Porter, Chloe Reyes, Martine Syms, Penelope Uribe-Abee, and
Pablo Valencia, all projected from Super 8 or 8mm camera originals.

4/21
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd St., Los Angeles, CA 90012

SMALL NEW FILMS
Since 2002, the Echo Park Film Center (EPFC) has been an influential
proponent of small-gauge film, particularly Super 8mm and 8mm. This
survey of handmade films affirms the independent spirit of the EPFC
community in an aesthetically eclectic range of works from personal
diary films to cross-disciplinary collaborations, from documentary
portraiture to hand-processed abstraction. Drawing on young
experimenters from the center's education and residency programs as well
as artists commissioned to make brand-new films for EPFC's 12-year
anniversary, the program includes Kate Brown's 4X3, Marilyn Hernandez's
Perforated Damage, Alee Peoples' Waxing and Milking, a film for two
projectors by Rick Bahto, and shorts by Paul Clipson, Chloe Reyes and
Pablo Valencia—all projected from Super 8 or 8mm camera originals. In
person: Rick Bahto, Kate Brown, Marilyn Hernandez, Alee Peoples, Chloe
Reyes and Pablo Valencia Program curated by Rick Bahto  

4/21
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
8 PM, Gladstone Hotel Ballroom, 1214 Queen St West

EARLY MONTHLY SEGMENTS #62 = MONDAY, APRIL 21, 2014 = MARK LAPORE
Mark LaPore brought a deeply felt criticality to documentary film,
particularly in relation to its more anthropological tendencies. A
filmmaker and teac

Re: [Frameworks] banned film

[Scott Stark]

Thanks to all for the great tips on "banned" films! Many I hadn't 
thought of -- frameworkers can always be counted on for good suggestions.


In case anyone's interested, I'm putting this show together for the 
Forbidden Film Fest in Austin, Texas -- and there is a call for 
submissions (April 15 deadline) ("for a naughty good time"):


http://www.forbiddenfilmfest.com/Submit_2.html

thanks
Scott


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[Frameworks] banned films?

[Scott Stark]

Hi friends, I'm looking for ideas for a "banned films" program for a 
local (Austin) erotica-based film festival. Flaming Creatures is 
definitely top of the list. Any ideas for other films that have been 
banned, censored or otherwise disparaged for risque content? 
(experimental preferred)


thanks,
Scott


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Re: [Frameworks] Dara Greenwald videos?

[Scott Stark]

Yeah I saw her Vimeo page, was hoping to go through proper channels (and
get better quality than Vimeo) -- thanks. Didn't see her work on VDB
(where I think she used to work) or EAI.
Scott
At 10:49 AM 1/7/2014, you wrote:
check here, as well:

http://vimeo.com/daragreenwald/videos/page:1/sort:date
if what you are looking for is not there (the list looks complete to me,
but I am not sure) you can get in touch with Josh through the
interference archive:

interferencearch...@gmail.com

On Tue, Jan 7, 2014 at 1:46 PM, Cari Machet
<carimac...@gmail.com>
wrote:


Electronic Arts Intermix (EAI)

535 West 22nd Street, 5th floor

New York, NY 10011

www.eai.org

they will know

On 1/7/14, Patrick Friel
<patrick.fr...@att.net>
wrote:

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

> should be!

>

> I'd contact her partner, Josh McPhee.  I don't have his
info, but I think

> he's findable on the web.  Maybe Dara's website has been
updated with info

> on renting her work.

>

> One of her pieces showed in a retrospective program at the
Chicago

> Underground Film Festival last year.  Check with them
(Bryan Wendorf).

>

> pf

>

>

>

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

>

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

>> rental?

>

> thanks

> Scott

>

> ___

> FrameWo

>> rks mailing

>> list

>

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>

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>> nfo/frameworks

>

>

>

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>


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carimac...@gmail.com

AIM carismachet

Syria +963-099 277
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Berlin +49 152 11779219

Twitter: @carimachet
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https://twitter.com/carimachet>

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[Frameworks] Dara Greenwald videos?

[Scott Stark]

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

thanks
Scott

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[Frameworks] Laitala's Old Man of the Mountain

[Scott Stark]

Hi all, just wanted to pass on this crowd-funding campaign for our 
prolific filmmaker friend Kerry Laitala, a worthy project with 3 days to go.


http://www.kickstarter.com/projects/2113130589/the-old-man-of-the-mountain

Scott Stark

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[Frameworks] Kuchar on the Oscars

[Scott Stark]

It was a pleasant surprise to see George Kuchar in the memorial 
sequence in last night's Oscars.

-s

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