On Feb 19, 2012, at 7:36 AM, mailto:carli...@aol.com>>
mailto:carli...@aol.com>> wrote:
So why don't the teachers of these classes just REQUIRE these students to view
actual film prints?
Like, who's in charge?
I don't get this idea of the "audience" wanting this rather than that. If the
te
Frameworkers,
If anyone has a telephone number for Cindy Keefer of the Center for
Visual Music that you wouldn't mind sharing off-list, it would be
greatly appreciated.
thank you,
David Dinnell
Program Director
Ann Arbor Film Festival
da...@aafilmfest.org
___
Frameworkers,
Thanks for your quick response.
-David
On Sun, Feb 19, 2012 at 8:02 AM, David Dinnell wrote:
> Frameworkers,
> If anyone has a telephone number for Cindy Keefer of the Center for
> Visual Music that you wouldn't mind sharing off-list, it would be
> greatly appreciated.
> thank you,
Departments don¹t give them money to rent films or projectors. Most schools
have disposed of their 16mm projectors.
Etc.
On 2/18/12 3:36 PM, "carli...@aol.com" wrote:
> In a message dated 2/18/2012 2:16:46 P.M. Pacific Standard Time,
> djte...@gmail.com writes:
>> But a fundamental problem re
Let's not forget,film prints never fade or scratch and are always perfect.
Matt
http://www.youtube.com/user/oscarthepug1234
http://www.youtube.com/user/matthelme007
From: "carli...@aol.com"
To: frameworks@jonasmekasfilms.com
Sent: Saturday, February 18, 2012
Could not agree more. But a workable middle ground needs to be found, utilizing
digital reproductions for cursory surveys but integrating real projected prints
where it is essential to the work. Maintaining one or two projectors for these
unique experiences doesn't seem like too much of a burden
I was wondering why Canyon went for profit anyway?
Matt
http://www.youtube.com/user/oscarthepug1234
http://www.youtube.com/user/matthelme007
From: Tim Halloran
To: Experimental Film Discussion List
Sent: Sunday, February 19, 2012 11:00 AM
Subject: Re: [Frame
Canyon has tried for nonprofit status a number of times. Problem is that while Canyon filmmakers rarely make anything like a profit, Canyon is a distributor whose goal is to rent films and send the profits back to the filmmmakers and ideally make enough of a profit for themselves to expand their fa
The consortium sounds like a good idea. Focus on uni.'s and cinemas etc,
that already rent from canyon first, then try to expand to unis that may
not print budgets, then unis that may not have proper projectors, and so on.
Perhaps make the libraries pay for it, selling it like a pro quest or jstor
hey all,
does anyone have, or have access to, a darkroom with a 16mm rewind? i'm filming
in paris for two days this coming week (tuesday and wednesday) and it would be
really awesome if i could use one. i'd need it on tuesday morning for about
half an hour.
many thanks in advance for any h
> Like, who's in charge?
Who do you think? The upper-class family paying $60K a year to put their kid
through the 'selective liberal arts college,' or the underpaid un-tenured
professor who knows a college will receive a minimum of 200 applications for
her position if they boot her after a thir
In a message dated 2/19/2012 1:39:17 P.M. Pacific Standard Time, djtet53@
gmail.com writes:
Who do you think? The upper-class family paying $60K a year to put their
kid through the 'selective liberal arts college,' or the underpaid
un-tenured professor who knows a college will receive a mi
Relax. While you do make some relevant points, it's not quite as bad as that
for junior faculty. Everything requires a bit of political finesse but you do
have some rights and can get what you need if you play your cards right. And I
do know what I'm talking about as I am one of them.
Tim
Sent
I thought it started as a non-profit in the 60's?
Matt
http://www.youtube.com/user/oscarthepug1234
http://www.youtube.com/user/matthelme007
From: Ekrem Serdar
To: Experimental Film Discussion List
Sent: Sunday, February 19, 2012 11:40 AM
Subject: Re: [Framew
> At the risk of bringing up an old issue here, I am disturbed that nowhere in
> the debate is it mentioned that there is a unique aesthetic value, for many
> films, to presenting them as originally intended, on film.
Not true because we haven't even had a debate. I posited that we are in a
mom
Tim Halloran wrote:
> Relax. While you do make some relevant points, it's not quite as bad as
> that for junior faculty. Everything requires a bit of political finesse
> but you do have some rights and can get what you need if you play your
> cards right. And I do know what I'm talking about as I
David,
Your post come in just after I posted mine.
I'm sorry about your troubles. As I suggested earlier, everyone's
situation is different, and everyone is different. Maybe you had a
particularly bad situation. Maybe there were other reasons for your
troubles. There are people who try to show fi
I don't think it can be stated any better than this.
Tim
> Date: Sun, 19 Feb 2012 17:15:12 -0600
> From: f...@fredcamper.com
> To: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] canyon in the news (bad news dept)
>
> David,
>
> Your post come in just after I posted mine.
>
> I'
Hi Edwin,
There are L'Abominable and L"Etna but you have to be a member.
I could help you later in the week but I'm not in Paris until tuesday night.
-Pip Chodorov
At 21:04 + 19/02/12, edwin m wrote:
>does anyone have, or have access to, a darkroom with a 16mm rewind?
>i'm filming in paris f
I think David's point about identifying value is very important.
Something I have always wondered is whether this level of debate concerning
format and viewing exisits in other genres or other art forms. Do art
history teachers and students limit their study only to paintings and
sculptures to wh
Matt,
As an outsider and hybrid filmmaker I find your point regarding value
identification spot on. I was not aware that it is so cheap to rent a print
of let's say a Brakage piece.
I believe that the "democratic" dissemination of avant-garde film works is
over ...especially at these rental price
The companies that make film are letting it die.
Matt
http://www.youtube.com/user/oscarthepug1234
http://www.youtube.com/user/matthelme007
From: Tim Halloran
To: f...@fredcamper.com; frameworks@jonasmekasfilms.com
Sent: Sunday, February 19, 2012 3:23 PM
Subj
Doesn't MOMA or the Museum of the Moving Image have a program like this?
Matt
http://www.youtube.com/user/oscarthepug1234
http://www.youtube.com/user/matthelme007
From: Nicholas Kovats
To: Experimental Film Discussion List
Sent: Sunday, February 19, 2012 5:1
Great observations, and I have in fact structured my teaching of film studies
along the lines of the art history model. Just as any worthy art history
instructor speaks not just to the value of experiencing the original work of
art but also to the fundamental differences and deficiencies in the
This is a point that concerns me on a daily
basis, as a publisher of video reproductions of
avant-garde films.
It is essential to see the films on film. It is
not enough that a reproduction looks good, or
looks like the original. What is important is not
what it looks like, but what it IS.
W
Hello all,
I am seeking contact information for:
Joan Jonas
Eric Bogosian
Amy Taubin
This is in relation to a performance work by the artist and filmmaker James
Nares, titled Desirium Probe. The work was performed by Nares in 1977 and
1978. If anyone here on the list happened to attend either of
I went to the screening of 'Sleep' in Providence last night that has already
been the subject of some discussion on this list. I figured this was my one and
only chance to see this piece. I am 58, and I have never before been in the
geographical proximity of a screening of it (at least that i wa
a...@mindspring.com
This was her phone a long time ago: 212.673.6428
From: Andy Ditzler
Sent: Sunday, February 19, 2012 8:46 PM
To: Experimental Film Discussion List
Subject: [Frameworks] seeking contact info
Hello all,
I am seeking contact information for:
Joan Jonas
Eric Bogosian
Amy
> There are people who try to show film on film and can't, and
> there are some who succeed.
I did show film on film, not exclusively, but to the best I could manage.
> But even when you can't, you can talk about
> how the film shown on film actually looks,
Of course, I did that.
> and recommen
A small point along the lines of political economy, as per David:
The decline of cinema on celluloid is dwarfed by the crisis and catastrophe of
the massive cuts to higher education, its humanities, its arts, its
professorial jobs, and all ideas and practices that are not instruments
advancing
In a message dated 2/19/2012 9:28:06 P.M. Pacific Standard Time,
pa...@ithaca.edu writes:
>So far, all we have is the same-old same-old line: the co-ops are in
trouble and its up to the academics to save them by ponying up more money.
That
is not going to work. Not even close. That's the
> If academics can save a bunch of old books together and call it a research
> library, then why can't they save a bunch of old films for distribution
> purposes? Who else is going to care?
>
> Maybe we should start throwing out all those silly old books,
> too.
Maintaining a film collection, and
Same in the UK, where humanities and arts students are now liable to pay full
fees, £9,000, or around $13,500. per annum. Although that may (?) sound cheap
to people in the USA, it has deterred at least 8% of potential applicants for
the next academic year, which is the first year the new fees s
Along those longs, of which Patricia bespeaks, my beloved, internationally
treasured and cherished library, Donnell Library Center, home of Donnell Media
Center, was sold to become a generic, Midtown high end hooker hotel. After
serving the NYC citizenry with pride, efficiency, affection and a m
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