Granted, though suggestions for local SF Bay Area online promotions would be
great as well.
-charles
On Thu, Oct 27, 2011 at 10:27 PM, k. a.r. a_r...@hotmail.com wrote:
where in the south bay? I haven't heard anything about it.
Kristie Reinders, B.F.A.
Director of Cinematography,
I have to add a film not that well known outside of Mexico, but a classic down
here: Magueyes by Ruben Gámez. It's a beautiful film. Jesse Lerner I think
has a copy on 35mm.
Jorge l.
Date: Thu, 27 Oct 2011 22:26:26 -0400
From: warrencocker...@gmail.com
To: frameworks@jonasmekasfilms.com
Here is a full version corrected by Noel Burch.
-Pip
Une surface grise brouillée parsemée de pleins de
losanges noirs s'étend indéfiniment en tous sens
et c'est précisément à cinq centimètres au-dessus
d'elle qu'aura lieu cette récréation.
Surgit brusquement d'un point de lumière
verdâtre,
Don't know if anyone has suggested this: 'The Quick Brown Fox Jumps Over the
Lazy Dog' by Johann Lurf. Also a great little film I screened at Edinburgh this
year - 'Achtung/Hallo 35' by Viktoria Schmid. I'm sure I can think of more but
these pop into my head right now.
Kim
From:
Chris Gehman's Refraction Series (CFMDC)
Christina Battle's Hysteria (CFMDC)
Joost Rekveld's 37 (Light Cone)
Tomonari Nishikawa's Lumphini 2552 (Canyon?)
Bart Vetgar's Zwerk (Light Cone)
Pat O'Neill's Horizontal Boundaries (the ultimate 35mm film, imho)
Gustav Deutsch's Film Ist (Six Pack)
Sami
Good afternoon frameworkers,
I have 100 feet of Super 8mm color neg that I would like blown up to a
positive 16mm print.
I would consider doing this myself, but time is currently an issue and last I
was at Millennium I was unable to do it because the Super 8 gate was missing
the necessary
Kevin,
I suggest that you invest in some ND gels. That may require some make shift
barndoors or makeshift gel frames. Or, you can use black wrap and pin the ND
to the black wrap (gotta get 'em far enough away from the light source to
keep them from melting).
I made that suggestion because
The only real reason for dimmers is to perform light cues, as in a stage
production. To simply adjust intensity on the subject, just move the lamps
closer or farther and let the inverse square law adjust the illumination. If
you need to have less bright lighting in a fixed smaller space, the
Following the Tscherkassky suggestion, I'd also throw Richard Kerr's
collage d'hollywood into the mix. It's made up of recycled Hollywood film
trailers, and is distributed by CFMDC.
And in case it hasn't already been mentioned, Joshua Bonnetta's Long
Shadows is a really nice film and is now
Dear Pip,
Thanks so much for this information. I am writing about *REcreation* so
will try to familiarize myself with the texts of Lautréamont. The
discrepancy between the text's is interesting in itself in terms of
translation, comprehension and memory. Do you happen to know the whereabouts
Present and past favorites to add to the mix:
IM FREIEN (IN THE OPEN) by Austrian filmmaker Albert Sackl, 23 min, 2011
available in 35mm and 16mm /1.33 Contact: Ralph McKay/ sixpackfilm/Americas
(recently screened here in Milwaukee as an exclusive preview w. a TIE
program
at the UWM Union
Interesting article with complex social, biological, as well as
aesthetic implications into the future. . . . Obviously, capturing
imagery is a far cry from understanding the complexities of 'thought,'
and it's still very futuristic, but as we conceivably 'think' to each
other, or project
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