Mike Snow¹s ŒSo Is This¹
Peter
(Perth)
On 22/02/2017 9:49 am, "FrameWorks on behalf of Morgan Hoyle-Combs"
wrote:
>Hello
>
>Does anyone know of any film (essay/diary/doc) where lying is a theme or
>the main focus? I
Me too - but I think adding a filter to knock out Œbunny rabbit research¹
queries (and replies that include the word ŒBugs¹) would be immensely
welcome.
Just a suggestion (also in the spirit of giving),
Peter
(Perth)
On 25/12/2016 6:39 am, "FrameWorks on behalf of Chuck Kleinhans"
La Région Centrale: le plus spectaculaire de tous!
Peter (Perth)
From: FrameWorks
>
on behalf of John Sundholm
>
Reply-To: Experimental Film Discussion
Mike Leggett’s VISTASOUND (1981) – superb.
Peter
(Perth)
From: FrameWorks
>
on behalf of lindsay mcintyre
>
Reply-To: Experimental Film Discussion List
My father was a 18 year old tail gunner on a RCAF Lancaster bomber involved in
the night bombings of Dresden – his stories were soul destroying (to say the
least).
I don’t see (nor hear) any connection between the Dresden bombings during WW2
and Lis’ film, what I see is a fantastic set of
John Dunkley-Smith’s BACK IN BEDFORD (1976) is based on a repeated 360 degree
tracking circuit of a quiet city block in Bedford (the UK one) - great film,
one of my favourites…
Peter
(back in Perth)
From: FrameWorks
I’ve got a matte box/bellows for an Arri ST – the bar mounts on the upper
camera body (but I think it can be mounted via a bottom channel on the SR).
Peter
(Perth)
From: FrameWorks
>
on behalf of
Yes No Maybe Maybe Not
(Malcolm Le Grice, 1967)
Peter
(Perth)
From: Rick Prelinger foot...@panix.commailto:foot...@panix.com
Reply-To: Experimental Film Discussion List
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Date: Saturday, 9 May 2015 6:45 am
To: Experimental Film
Wavelength (Snow, 1967); Zorns Lemma (Frampton, 1970); Arnulf Rainer
(Kubelka, 1960) - in that order.
Peter
(Perth)
On 28/03/2015 9:47 am, Bernard Roddy rodd...@yahoo.com wrote:
I taught an introductory course in which I framed things under the
terms underground, avant-garde, studio-art video,
Rarely discussed, but a fantastic film – one of the best from the LFMC.
Peter
(Perth)
From: Pip Chodorov framewo...@re-voir.commailto:framewo...@re-voir.com
Reply-To: Experimental Film Discussion List
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Date: Wednesday, 11
Good essay – basically, head to the Tate and spend 55 minutes in front of JMW’s
Rouen Cathedral instead.
Peter
(Perth)
From: nicky.ham...@talktalk.netmailto:nicky.ham...@talktalk.net
nicky.ham...@talktalk.netmailto:nicky.ham...@talktalk.net
Reply-To: Experimental Film Discussion List
Very sad news.
Vale – A. L. Rees.
Peter
(Perth)
From: nicky.ham...@talktalk.netmailto:nicky.ham...@talktalk.net
nicky.ham...@talktalk.netmailto:nicky.ham...@talktalk.net
Reply-To: Experimental Film Discussion List
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Date:
There’s this thing called the net:
http://vimeo.com/45572792
(about 59 minutes in)
Peter
(Perth)
From: Esperanza Collado
esperanzacolla...@gmail.commailto:esperanzacolla...@gmail.com
Reply-To: Experimental Film Discussion List
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Just contact him directly through Linkedin – if you’re not a member, join (and
face the spam emails for a bit until you finish your business with Martin –
then quit).
Peter
(Perth)
From: christopher nigel
christophernige...@gmail.commailto:christophernige...@gmail.com
Reply-To: Experimental
Great effort – if it gets cloudy they can show some noir classics (and get
everybody worked up over gender stereotypes).
Peter
(Perth)
From: Elizabeth McMahon elizmcma...@gmail.commailto:elizmcma...@gmail.com
Reply-To: Experimental Film Discussion List
That ‘Video Silence’ piece is fascinating.
Peter
(Perth)
From: Zach Poff z...@zachpoff.commailto:z...@zachpoff.com
Reply-To: Experimental Film Discussion List
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Date: Wednesday, 6 August 2014 9:39 pm
To:
Please don’t put chemistry inside a Bolex – even the clockwind ones aren’t that
robust.
Peter
(Perth)
From: Matilda Thomas
matilda.lily.tho...@gmail.commailto:matilda.lily.tho...@gmail.com
Reply-To: Experimental Film Discussion List
By their very nature clouds dissipate and vanish. I¹ve always felt it may
only be good as a temporary option - storing the data on external hd¹s
that can keep up with os upgrades the preferred choice.
Peter
Perth
On 4/06/2014 12:57 pm, Fred Camper f...@fredcamper.com wrote:
I've been using
That’s a lot of syllables – must be some pretty great things going on there.
Peter
From: minou minou.noro...@gmail.commailto:minou.noro...@gmail.com
Reply-To: Experimental Film Discussion List
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Date: Thursday, 15 May 2014 9:21 pm
Good on Jonas for pointing out the obvious. If you can’t view films at
festivals where can you?
Peter
Perth
On 28/04/2014 8:48 am, Pip Chodorov framewo...@re-voir.com wrote:
Films when scanned may look like film but for
some films it is more important what they are
than what they look like.
I
Then again, with all the dross out in the world, some people/students
should never be allowed to make a film/video.
Peter
(Perth)
On 24/04/2014 8:12 am, Aaron F. Ross aa...@digitalartsguild.com wrote:
It's true, professors with tenure can ignore the changing times.
There's no accountability and
I still use FCP myself but advised the faculty to move everything to FCPX 2 or
3 years ago. FCP just couldn’t keep up with Apple’s persistent OSX changes
(Lion, Mountain Lion now Maverick) which left video editing way back in the
pre-Raphaelite doldrums. FCPX is a clunker, consumer grade
That’s ok - it may be that others are looking for help to get to New Mexico as
well.
Peter
From: Bill Basquin billbasq...@earthlink.netmailto:billbasq...@earthlink.net
Reply-To: Bill Basquin
billbasq...@earthlink.netmailto:billbasq...@earthlink.net, Experimental
Film Discussion List
Andy – you slowly move the left projector to the right and the right projector
to the left until the frames align as one.
Peter
(Perth)
From: Andy Ditzler a...@andyditzler.commailto:a...@andyditzler.com
Reply-To: Experimental Film Discussion List
Aggy Read’s BOOBS A LOT was banned in the ‘60s – Canyon should still have a
print.
Peter
(hoping not to bump into some airplane pieces when I go for a surf, Perth)
From: Abigail Severance bellec...@mac.commailto:bellec...@mac.com
Reply-To: Experimental Film Discussion List
On Mar 8, 2014, at 4:12 PM, Jeff Kreines wrote:
Calkvsky and “next to nothing” in the same sentence? Really?
He’s legendary on eBay for prices that make one ask what he/she is smoking.
haha ha
so true!
Apparently he is right here in Petaluma.
And one could assume that Petaluma isn't an
Pablo,
Get your screen shot on good quality bw neg, process and then contact print it
in your darkroom to Kodak's 5302 Fine Grained Release Positive film
(http://motion.kodak.com/motion/Products/Distribution_And_Exhibition/5302.htm)
- it is blue light sensitive (therefore you can develop it in
Has anyone mentioned Lis Rhodes in London? Legendary, fantastic
spatial/temporal works.
Peter
(Perth)
Hi Adam,
I'm curious, why the RFI?
I've been working on a series of 16mm spore print films since 2009/2010.
They are most effective when exhibited as installations and/or live
performances.
You
Yes, it's like asking someone to help you find canned beans at Safeway.
Peter
(Perth)
There's actually quite a bit in the mainstream:
for groups: start with the TV series Orphan Black (first season on Blu-ray and
DVD now, second season starts this spring); also earlier, Doll House
also pretty
That's actually your 5th reply…
(just saying)
I'm sorry, the connection didn't work well and I reply four times!
This dvd could be helpful:
Secrets Of Nature
http://filmstore.bfi.org.uk/acatalog/info_16864.html
De: Kenneth Curwood
You've got to wonder why people keep 'effing around with pc codecs and
searching around endlessly in hidden directories for files when there is
such a thing called a Mac. Add up your hours and I think you'll find a Mac
would pay for itself within a month. Heave the cryptic multi-tasking Edsel
into
There are a number of filmmakers who have made the splice, and the quality
of the cut, extremely important - Peter Gidal is (arguably) the most
important of these. If you think about it, it is an attribute of shaping
time which can be used - you may want to.
Stan's 'wink' is a wonderfully
Mike Leggett films are especially fascinating – perhaps the most articulate
exploration of the sound/image relationship out of all his films is VISTASOUND.
Peter
Larry Gottheim's MOUCHES VOLANTES; FOUR SHADOWS; TREE OF KNOWLEDGE; MNEMOSYNE,
MOTHER OF MUSES. Gottheim can be reached at
Why Liquid Light? It's such a flimsy and temperamental coating, I've never
really seen it live up to any of its claims over 20 years – even on crockery.
Why don't you simply use Kodak Fine Grain Release stock (7302) - you expose it
under an enlarger, you can process in traditional bw print
So Is This – Michael Snow
Last Year at Marienbad, of course.
Sent from my iPhone
On Jun 7, 2013, at 1:11 PM, Benjamin R. Taylor
cont...@benjaminrtaylor.commailto:cont...@benjaminrtaylor.com wrote:
Sorry, just to clarify 'Proustian' a bit more:
I'm thinking of films that are being used as a
Try some clear lacquer spray – if you spray it on and add another couple of
fine coats when its still wet, the lay-off should be smooth and it will be
fairly flexible. I've done this in the past and you have to get the lacquer to
'soak' over/around your mark making while wet without skimming
Geez, Mike Snow's Back and Forth has nothing to do with 'dizziness' or
'disorientation'. There is a room, four windows, a door and some people doing
things – the camera position only moves once (just after the beginning). In
terms of phenomena it is remarkably 'static'. Ask yourself, is
I think he meant you push it one stop (or f-stop on your lens) – you have to
use a different developer to retain the grain. You can either under-expose by
setting your metre on a different rating, or simply open your lens by one-stop
every time you metre a situation (inset it f4 if you metre
It was just stupid, that's all. The author tries (but comes across as stupid),
the editor who is responsible must be stupid, the publication is pretty stupid
for printing it. A stupidathon, full circle – even without scrutinising bears,
that's credibility in a non-return airmail package to
Start at the very heart of representational matter:
Kazimir Malevich (Black Square, 1915) and (White on White, 1918)
…then look at Malcolm Le Grice's 'Blind White Duration' (1968) and Peter
Gidal's 'Room Film 1973' (1973).
P
http://www.bampfa.berkeley.edu/exhibition/silence
On Tue, Mar 5, 2013
There's also the second section of Hollis' 'Surface Tension' (which may be
the one you're referring toŠ.
Quoting David Tetzlaff djte...@gmail.com:
Anyway, there's the Frampton walk-through-NYC film (forget the name),
Ordinary Matter.
That walk through NYC continues to, um, Stonhenge...
Fred
Zoom Lapse – John Du Cane, 1975 (UK)
Accretion – John Du Cane, 1977 (I think – also UK)
Peter
Hello Frameworks,
I'm hoping you can suggest some films (experimental or otherwise) to look at
that utilize the zoom lens (the active, moving zoom). So far I have looked at
these:
WAVELENGTH by
Wondershare Free YouTube Downloader – operates on any browser:
(http://www.wondershare.com/pro/free-youtube-downloader.html)
No need to upgrade to the 'pro' version (unless you want to set batch downloads)
The videos come in a flv files – just crunch them (to whatever format) with:
Fergus Walking (part 2 in the 3 part Autumn Scenes) – William Raban, UK (not
US), 1978.
P
And Death Race 2000.
On Fri, Dec 14, 2012 at 5:36 PM, Fred Camper
f...@fredcamper.commailto:f...@fredcamper.com wrote:
Quoting Bryan Konefsky bkonef...@gmail.commailto:bkonef...@gmail.com:
Hello
Seated Figures – Michael Snow, Cdn., 1988.
P
Fergus Walking (part 2 in the 3 part Autumn Scenes) – William Raban, UK (not
US), 1978.
P
And Death Race 2000.
On Fri, Dec 14, 2012 at 5:36 PM, Fred Camper
f...@fredcamper.commailto:f...@fredcamper.com wrote:
Quoting Bryan Konefsky
Oops, forgot:
Taxi Driver, Scorcese 1976.
From an institutional point of view, I would imagine a course on cars in film
would be very popular – almost every exchange based product out of Hollywood
features a car in the obligatory chase sequence. But if it's a critical course
I would imagine
That flatbed Moviola would have cost around $8000 in 1980 (an upright one
around $1500 - $2500); a set of rewinds (single reel) about $200; a gang-sync
around $650 and a tape splicer around $250; a 'baby' Steenbeck (4 plate, 1 x
pix/I x snd) around $4-5000; a 6-plate (1 x pix/ 2 x snd) around
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