[Frameworks] FrameWorks Digest, Vol 10, Issue 40
J Rosette
jrosette at gmail.com
Fri Mar 25 21:27:28 CDT 2011
Hello Frameworks Community -
I've been living and working in SE Asia for the past 6 + years, much of that
in Cambodia. Members of the Frameworks community pls see my filmography and
CV at the following link, there may be some items of interest (incl.
programming emerging titles from the region):
http://www.scribd.com/doc/51115743/Jason-Camerado-Rosette-Filmmaker-Director-Mediamaker-CV-Resume-Partial-Filmography
Thanks and All the Best,
J Rosette / CAMERADO
On Sat, Mar 26, 2011 at 8:47 AM, <frameworks-request at jonasmekasfilms.com>wrote:
> Send FrameWorks mailing list submissions to
> frameworks at jonasmekasfilms.com
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
> frameworks-request at jonasmekasfilms.com
>
> You can reach the person managing the list at
> frameworks-owner at jonasmekasfilms.com
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
>
>
> Today's Topics:
>
> 1. Re: HFA Presents MORGAN FISHER PRESENTS (Myron Ort)
> 2. Re: HFA Presents MORGAN FISHER PRESENTS (Mark Toscano)
> 3. loft sublet with steenbeck (brooklyn, beg april - beg august)
> (ev petrol)
> 4. is this real? - Expiration of your subscription to the
> FRAMEWORKS list (ev petrol)
> 5. Re: HFA Presents MORGAN FISHER PRESENTS (Myron Ort)
> 6. Re: is this real? - Expiration of your subscription to the
> FRAMEWORKS list (Joan Hawkins)
> 7. Re: Random questions (Sam Wells)
> 8. Re: is this real? - Expiration of your subscription to the
> FRAMEWORKS list (Mirko Heinemann)
> 9. Reminder: CSIF Job Call - deadline March 31 (CSIF Programming)
> 10. I Am--a documentary film screening at 11 film festivals
> (Sonali Film)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 25 Mar 2011 11:13:51 -0700
> From: Myron Ort <zeno at sonic.net>
> Subject: Re: [Frameworks] HFA Presents MORGAN FISHER PRESENTS
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID: <E10AF127-46B3-45B1-A300-EF1EDAEF8B74 at sonic.net>
> Content-Type: text/plain; charset="windows-1252"
>
> Wish I could see this. Any chance there will be a similar show on the
> West Coast sometime?
>
> I like the point made here about the comedic vein. I am thinking
> Morgan connects on some level to Buster Keaton.
>
> Myron Ort
>
>
> On Mar 25, 2011, at 8:52 AM, Gravely, Brittany wrote:
>
> > MORGAN FISHER PRESENTS
> > APRIL 8 ? APRIL 10
> >
> > CAMBRIDGE, MA: The Harvard Film Archive is pleased to screen MORGAN
> > FISHER PRESENTS from FRIDAY APRIL 8 ? SUNDAY APRIL 10, 2011.
> >
> > An influential presence in the second wave of postwar American
> > experimental cinema that began in earnest in the late 1960s, Morgan
> > Fisher (b. 1942) has created a body of films whose lucidly complex
> > engagement with the cinematic apparatus, and with conceptual art,
> > is just beginning to be fully appreciated. Few filmmakers have so
> > presciently explored- and expanded- critical debates central to
> > Modernist art and its reception and also revolving around the
> > relationship between art and industry, and between theory and
> > practice. Fisher?s films are, in truth, only part of a more
> > expansive art practice and his Production Stills was, tellingly,
> > screened in 1970 at the Museum of Modern Art in conjunction with
> > its historic ?Information? show, among the first US museum exhibits
> > devoted to conceptual art. In 2005-06, one-person exhibitions at
> > the Tate Modern and Whitney Museum inspired renewed interest in
> > Fisher?s films, and he has recently received recognition for his
> > paintings and other non-film work that employ strategies similar to
> > those in his films.
> > Focusing with rare intensity and insight upon the construction (and
> > deconstruction) of cinematic illusionism, Fisher?s earliest films,
> > such as The Director and His Actor Look at Footage Showing
> > Preparations for an Unmade Film (2) and Production Stills, revealed
> > the careful self-reflexivity and theoretical sophistication that
> > have remained important trademarks of his work. Fisher?s late
> > masterpieces Standard Gauge and ( ) have added another dimension to
> > his meta-cinematic concerns, channeling Fisher?s ardent love, and
> > deep knowledge, of cinema into a heartfelt, and at times distinctly
> > melancholy, searching for the essence of film. Fisher?s late films
> > offer a radical, ?termite? history of the cinema from within the
> > machine, a recovery and even an ontology, of precisely those film
> > techniques and technologies that are typically overlooked and,
> > paradoxically, designed to be invisible- the insert, film gauges,
> > and the motion picture camera itself.
> > An undergraduate art history major at Harvard, Fisher received his
> > formal training in filmmaking in Los Angeles, at USC and UCLA,
> > before taking a variety of jobs in the commercial film industry- as
> > an editor, stock footage researcher, assistant director and even
> > bit actor- working for the likes of Roger Corman and Haskell
> > Wexler. Typically identified with the structuralist film movement,
> > Fisher?s work must also be understood in the broader context of
> > conceptual and minimalist art, on the one hand, and, on the other,
> > the emergent ?apparatus theory? of Marxist film scholars in the
> > 1970s, led by Jean-Luis Baudry. Counterbalancing and enriching the
> > theoretical rigor of Fisher?s films is their subtle and unexpected
> > humor which offers a nuanced variation of the rich yet
> > underappreciated comedic vein running throughout the work of other
> > avant-garde filmmakers in the same generation as Ernie Gehr, Owen
> > Land and Michael Snow.
> > The HFA is proud to welcome Morgan Fisher back to Harvard for this
> > rare opportunity to screen and discuss his pioneering films.
> > Invited to select a film that could complete and complement his
> > retrospective, Fisher chose Alfred Hitchcock?s rarely screened
> > Under Capricorn.
> >
> > Screening Schedule:
> > Director Morgan Fisher in Person
> > Special Event Tickets $12
> > April 8 at 7pm
> > The Director and his Actor Look at Footage Showing Preparations of
> > an Unmade Film (2)
> > USA 1968, 16mm, b/w, 15 min.
> >
> > Documentary Footage
> > USA 1968, 16mm, color, 11 min.
> >
> > Phi Phenomenon
> > USA 1968, 16mm, color, 11 min.
> >
> > Production Stills
> > USA 1970, 16mm, color, 11 min.
> >
> > Cue Rolls
> > USA 1974, 16mm, color, 5.5 min.
> >
> > ( )
> > USA 2003, 16mm, color, 21 min.
> >
> > TRT: 74 min.
> >
> > Director Morgan Fisher in Person
> > Special Event Tickets $12
> > April 9 at 7pm
> > Projection Instructions
> > USA 1976, 16mm, b/w, 4 min.
> >
> > Picture and Sound Rushes
> > USA 1973, 16mm, b/w, 11 min.
> >
> > Production Footage
> > USA 1971, 16mm, color, 10 min.
> >
> > The Wilkinson Household Fire Alarm
> > USA 1973, 16mm, color, 1.5min.
> >
> > Turning Over
> > USA 1975, video, b/w, 15 min.
> >
> > Protective Coloration
> > USA 1979, video, color, 13 min.
> >
> > Standard Guage
> > USA 1984, 16mm, color, 35 min.
> >
> > Detour - The final shot only.
> > Directed by Edgar Ulmer.
> > USA 1945, 35mm, color
> >
> > TRT: 92 min.
> >
> > Under Capricorn
> > April 10 at 3pm
> > It is well known that some of Hitchcock?s films take place all but
> > entirely in a single confined space: Rope, Rear Window, Lifeboat.
> > By working within this self-imposed limit Hitchcock showed that
> > shifts from one space to another, all too easy in film and on which
> > almost all narrative films depend, are hardly a necessity. Another
> > limit in film is a material one, the length of a roll of film.
> > There can be no shot longer than eleven minutes. It is clear that
> > the staging of many of the scenes in Under Capricorn was conceived
> > of in relation to this limit, in fact working backwards from it.
> > The action in these scenes?the dialogue and how it is delivered,
> > the movements of the actors, the rhythms they all create?was
> > composed to accord with a length of time close to the maximum that
> > a roll of film allowed. This procedure inverts the way scenes in
> > almost all films are shot, where they are built up piece by piece
> > from the elements of classical decoupage?the establishing shot, two-
> > shot, close-ups?to move the story forward without regard for how
> > long each shots lasts. In a scene shot in a continuous take,
> > everything necessary has to happen but nothing beyond. And the
> > execution of the scene is as exacting as its composition.
> > Everything must happen perfectly: how the actors deliver their
> > lines, their expressions, their gestures, how and where they move,
> > how the camera moves. One mistake in the least detail, and there is
> > no alternative but to start over again. You can?t cut around
> > mistakes, you can?t get rid of lines you don?t need or add lines
> > that you do, you can?t go back and shoot pick-ups. The longer the
> > take and the more complicated the movements of the actors and the
> > movements of the camera, the more opportunities for things to go
> > wrong. Not only does everything has to happen perfectly, it has to
> > happen without apparent effort, when in fact the shot is the result
> > of a large number of people making extraordinary efforts, the work
> > of each exactly coordinated with the work of everyone else. For me
> > the sustained perfection of the long takes in Under Capricorn
> > inspires awe. - Morgan Fisher
> > Directed by Alfred Hitchcock. With Ingrid Bergman, Joseph Cotton,
> > Michael Wilding.
> > USA 1949, 35mm, color, 117 min.
> >
> > Harvard Film Archive
> > 24 Quincy Street, Cambridge, MA 02138
> > (617) 495-4700
> > http://hcl.harvard.edu/hfa <http://hcl.harvard.edu/hfa>
> > General Admission Tickets $9, $7 Non-Harvard Students, Seniors,
> > Harvard Faculty and Staff. Harvard students free
> > Special event tickets (for in-person appearances) are $12.
> > Tickets go on sale 45 minutes prior to show time. The HFA does not
> > do advance ticket sales.
> >
> > Press Contact:
> > Brittany Gravely
> > Publicist
> > Harvard Film Archive
> > 24 Quincy Street
> > Cambridge, MA 02138
> > 617-496-3211
> > bgravely at fas.harvard.edu
> >
> >
> > _______________________________________________
> > FrameWorks mailing list
> > FrameWorks at jonasmekasfilms.com
> > http://mailman-mail5.webfaction.com/listinfo/frameworks
>
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110325/10df7af8/attachment-0001.html
>
> ------------------------------
>
> Message: 2
> Date: Fri, 25 Mar 2011 12:58:15 -0700 (PDT)
> From: Mark Toscano <fiddybop at yahoo.com>
> Subject: Re: [Frameworks] HFA Presents MORGAN FISHER PRESENTS
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID: <568812.71779.qm at web31007.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=utf-8
>
> I'm happy to say that the prints of Documentary Footage, Phi Phenomenon,
> and Production Footage will be from the Academy's
> preservations/restorations, which came out great, thanks to Morgan's
> extensive collaboration. He's really fun and inspiring to work with for me
> as an archivist.
>
> The two videos are very rarely screened and a substantial addition to
> Morgan's more known/circulated work - Turning Over is hilarious, and
> Protective Coloration is unsettling and powerful.
>
> Morgan is a fantastic thinker and speaker, and I'm a huge fan of his work,
> so I wholeheartedly recommend these shows. If anybody out there is on the
> fence about going, definitely go!
>
> Mark T
>
> p.s. Myron, where are you based?
>
>
> --- On Fri, 3/25/11, Myron Ort <zeno at sonic.net> wrote:
>
> From: Myron Ort <zeno at sonic.net>
> Subject: Re: [Frameworks] HFA Presents MORGAN FISHER PRESENTS
> To: "Experimental Film Discussion List" <frameworks at jonasmekasfilms.com>
> Date: Friday, March 25, 2011, 11:13 AM
>
> Wish I could see this. Any chance there will be a similar show on the West
> Coast sometime?
> I like the point made here about the comedic vein. ?I am thinking Morgan
> connects on some level to Buster Keaton.
> Myron Ort
>
> On Mar 25, 2011, at 8:52 AM, Gravely, Brittany wrote:
> MORGAN FISHER PRESENTS
> APRIL 8 ? APRIL 10
>
> CAMBRIDGE, MA: The Harvard Film Archive is pleased to screen MORGAN FISHER
> PRESENTS from FRIDAY APRIL 8 ? SUNDAY APRIL 10, 2011. ?
> ?
> An influential presence in the second wave of postwar American
> experimental cinema that began in earnest in the late 1960s, Morgan Fisher
> (b. 1942) has created a body of films whose lucidly complex engagement with
> the cinematic apparatus, and with conceptual art, is just beginning to be
> fully appreciated. Few filmmakers have so presciently explored- and
> expanded- critical debates central to Modernist art and its reception and
> also revolving around the relationship between art and industry, and between
> theory and practice. Fisher?s films are, in truth, only part of a more
> expansive art practice and his Production Stills was, tellingly, screened in
> 1970 at the Museum of Modern Art in conjunction with its historic
> ?Information? show, among the first US museum exhibits devoted to conceptual
> art. In 2005-06, one-person exhibitions at the Tate Modern and Whitney
> Museum inspired renewed interest in Fisher?s films, and he has recently
> received
> recognition for his paintings and other non-film work that employ
> strategies similar to those in his films.
> Focusing with rare intensity and insight upon the construction (and
> deconstruction) of cinematic illusionism, Fisher?s earliest films, such as
> The Director and His Actor Look at Footage Showing Preparations for an
> Unmade Film (2) and Production Stills, revealed the careful self-reflexivity
> and theoretical sophistication that have remained important trademarks of
> his work. Fisher?s late masterpieces Standard Gauge and ( ) have added
> another dimension to his meta-cinematic concerns, channeling Fisher?s ardent
> love, and deep knowledge, of cinema into a heartfelt, and at times
> distinctly melancholy, searching for the essence of film. Fisher?s late
> films offer a radical, ?termite? history of the cinema from within the
> machine, a recovery and even an ontology, of precisely those film techniques
> and technologies that are typically overlooked and, paradoxically, designed
> to be invisible- the insert, film gauges, and the motion picture camera
> itself.
> An undergraduate art history major at Harvard, Fisher received his formal
> training in filmmaking in Los Angeles, at USC and UCLA, before taking a
> variety of jobs in the commercial film industry- as an editor, stock footage
> researcher, assistant director and even bit actor- working for the likes of
> Roger Corman and Haskell Wexler. Typically identified with the structuralist
> film movement, Fisher?s work must also be understood in the broader context
> of conceptual and minimalist art, on the one hand, and, on the other, the
> emergent ?apparatus theory? of Marxist film scholars in the 1970s, led by
> Jean-Luis Baudry. Counterbalancing and enriching the theoretical rigor of
> Fisher?s films is their subtle and unexpected humor which offers a nuanced
> variation of the rich yet underappreciated comedic vein running throughout
> the work of other avant-garde filmmakers in the same generation as Ernie
> Gehr, Owen Land and Michael Snow.
> The HFA is proud to welcome Morgan Fisher back to Harvard for this rare
> opportunity to screen and discuss his pioneering films. Invited to select a
> film that could complete and complement his retrospective, Fisher chose
> Alfred Hitchcock?s rarely screened Under Capricorn.
>
> Screening Schedule:
> Director Morgan Fisher in Person
> Special Event Tickets $12
> April 8 at 7pm
> The Director and his Actor Look at Footage Showing Preparations of an
> Unmade Film (2)
> USA 1968, 16mm, b/w, 15 min.
> ?
> Documentary Footage
> USA 1968, 16mm, color, 11 min.
> ?
> Phi Phenomenon
> USA 1968, 16mm, color, 11 min.
> ?
> Production Stills
> USA 1970, 16mm, color, 11 min.
> ?
> Cue Rolls
> USA 1974, 16mm, color, 5.5 min.
> ?
> ( )
> USA 2003, 16mm, color, 21 min.
> ?
> TRT: 74 min.
> ?
> Director Morgan Fisher in Person
> Special Event Tickets $12
> April 9 at 7pm
> Projection Instructions
> USA 1976, 16mm, b/w, 4 min.
> ?
> Picture and Sound Rushes
> USA 1973, 16mm, b/w, 11 min.
> ?
> Production Footage
> USA 1971, 16mm, color, 10 min.
> ?
> The Wilkinson Household Fire Alarm
> USA 1973, 16mm, color, 1.5min.
> ?
> Turning Over
> USA 1975, video, b/w, 15 min.
> ?
> Protective Coloration
> USA 1979, video, color, 13 min.
> ?
> Standard Guage
> USA 1984, 16mm, color, 35 min.
> ?
> Detour - The final shot only.
> Directed by Edgar Ulmer.
> USA 1945, 35mm, color
> ?
> TRT: 92 min.
> ?
> Under Capricorn
> April 10 at 3pm
> It is well known that some of Hitchcock?s films take place all but
> entirely in a single confined space: Rope, Rear Window, Lifeboat. By working
> within this self-imposed limit Hitchcock showed that shifts from one space
> to another, all too easy in film and on which almost all narrative films
> depend, are hardly a necessity. Another limit in film is a material one, the
> length of a roll of film. There can be no shot longer than eleven minutes.
> It is clear that the staging of many of the scenes in Under Capricorn was
> conceived of in relation to this limit, in fact working backwards from it.
> The action in these scenes?the dialogue and how it is delivered, the
> movements of the actors, the rhythms they all create?was composed to accord
> with a length of time close to the maximum that a roll of film allowed. This
> procedure inverts the way scenes in almost all films are shot, where they
> are built up piece by piece from the elements of classical
> decoupage?the establishing shot, two-shot, close-ups?to move the story
> forward without regard for how long each shots lasts. In a scene shot in a
> continuous take, everything necessary has to happen but nothing beyond. And
> the execution of the scene is as exacting as its composition. Everything
> must happen perfectly: how the actors deliver their lines, their
> expressions, their gestures, how and where they move, how the camera moves.
> One mistake in the least detail, and there is no alternative but to start
> over again. You can?t cut around mistakes, you can?t get rid of lines you
> don?t need or add lines that you do, you can?t go back and shoot pick-ups.
> The longer the take and the more complicated the movements of the actors and
> the movements of the camera, the more opportunities for things to go wrong.
> Not only does everything has to happen perfectly, it has to happen without
> apparent effort, when in fact the shot is the result of a large
> number of people making extraordinary efforts, the work of each exactly
> coordinated with the work of everyone else. For me the sustained perfection
> of the long takes in Under Capricorn inspires awe. - Morgan Fisher
> Directed by Alfred Hitchcock. With Ingrid Bergman, Joseph Cotton, Michael
> Wilding.
> USA 1949, 35mm, color, 117 min.
> ?
> Harvard Film Archive
> 24 Quincy Street, Cambridge, MA 02138
> (617) 495-4700
> http://hcl.harvard.edu/hfa <http://hcl.harvard.edu/hfa>
> General Admission Tickets $9, $7 Non-Harvard Students, Seniors, Harvard
> Faculty and Staff. Harvard students free
> Special event tickets (for in-person appearances) are $12.
> Tickets go on sale 45 minutes prior to show time. The HFA does not do
> advance ticket sales.
> ?
> Press Contact:
> Brittany Gravely
> Publicist
> Harvard Film Archive
> 24 Quincy Street
> Cambridge, MA 02138
> 617-496-3211
> bgravely at fas.harvard.edu
>
>
> _______________________________________________FrameWorks mailing
> listFrameWorks at jonasmekasfilms.comhttp://
> mailman-mail5.webfaction.com/listinfo/frameworks
>
> -----Inline Attachment Follows-----
>
> _______________________________________________
> FrameWorks mailing list
> FrameWorks at jonasmekasfilms.com
> http://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Fri, 25 Mar 2011 13:40:39 -0700 (PDT)
> From: ev petrol <epetrol2 at yahoo.com>
> Subject: [Frameworks] loft sublet with steenbeck (brooklyn, beg april
> - beg august)
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID: <953377.90809.qm at web34301.mail.mud.yahoo.com>
> Content-Type: text/plain; charset="us-ascii"
>
> hey folks
> subletting again - old school loft in dumbo (brooklyn), loadsa space,
> working flatbed & projectors, roof access &c - get in touch for more details
> cheers moira
>
> www.moiratierney.net
>
> www.soluscollective.org
>
>
>
>
>
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110325/658b70a3/attachment-0001.html
>
> ------------------------------
>
> Message: 4
> Date: Fri, 25 Mar 2011 14:01:29 -0700 (PDT)
> From: ev petrol <epetrol2 at yahoo.com>
> Subject: [Frameworks] is this real? - Expiration of your subscription
> to the FRAMEWORKS list
> To: frameworks at jonasmekasfilms.com
> Message-ID: <340454.22641.qm at web34302.mail.mud.yahoo.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> did as requested below & got an error message:
>
> Sorry, the FRAMEWORKS list is closed. Contact the list owner(
> FRAMEWORKS-request at LISTSERV.AOL.COM) for more information
>
> still getting messages & posting ok though ...??
>
> www.moiratierney.net
>
> www.soluscollective.org
>
> --- On Wed, 3/23/11, LISTSERV at LISTSERV.AOL.COM <LISTSERV at LISTSERV.AOL.COM>
> wrote:
>
> From: LISTSERV at LISTSERV.AOL.COM <LISTSERV at LISTSERV.AOL.COM>
> Subject: Expiration of your subscription to the FRAMEWORKS list
> To: epetrol2 at YAHOO.COM
> Date: Wednesday, March 23, 2011, 6:00 AM
>
> Wed, 23 Mar 2011 06:00:01
>
> Your subscription to the FRAMEWORKS list? has expired and you have failed
> to confirm? it in the? 7 day? delay that you? had been granted.? You have
> therefore been automatically removed from? the list. You can re-subscribe
> to? the? list, if? you? want? to, by? sending? the? following command? to
> LISTSERV at LISTSERV.AOL.COM:
>
> ? ? ? ? ? ? ? ? ? ? ? ? ? SUBscribe FRAMEWORKS
>
>
>
>
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110325/58fabc29/attachment-0001.html
>
> ------------------------------
>
> Message: 5
> Date: Fri, 25 Mar 2011 14:04:19 -0700
> From: Myron Ort <zeno at sonic.net>
> Subject: Re: [Frameworks] HFA Presents MORGAN FISHER PRESENTS
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID: <E8E326DB-EE63-4DAB-85DC-0710AC5FFD09 at sonic.net>
> Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes;
> format=flowed
>
> I am based in Northern California (hour north of SF), but will be
> visiting the Los Angeles area mid May.
> I too am a huge fan or Morgan (who once visited me up here some years
> back -- we have mutual friends and acquaintances -- I think I met
> him at a private screening of Abe Osheroff's first documentary around
> the time that Thom Anderson was working on his Muybridge film, I hate
> to think how many years ago that was....
>
>
> Myron
>
>
> On Mar 25, 2011, at 12:58 PM, Mark Toscano wrote:
>
> > I'm happy to say that the prints of Documentary Footage, Phi
> > Phenomenon, and Production Footage will be from the Academy's
> > preservations/restorations, which came out great, thanks to
> > Morgan's extensive collaboration. He's really fun and inspiring to
> > work with for me as an archivist.
> >
> > The two videos are very rarely screened and a substantial addition
> > to Morgan's more known/circulated work - Turning Over is hilarious,
> > and Protective Coloration is unsettling and powerful.
> >
> > Morgan is a fantastic thinker and speaker, and I'm a huge fan of
> > his work, so I wholeheartedly recommend these shows. If anybody
> > out there is on the fence about going, definitely go!
> >
> > Mark T
> >
> > p.s. Myron, where are you based?
> >
> >
> > --- On Fri, 3/25/11, Myron Ort <zeno at sonic.net> wrote:
> >
> > From: Myron Ort <zeno at sonic.net>
> > Subject: Re: [Frameworks] HFA Presents MORGAN FISHER PRESENTS
> > To: "Experimental Film Discussion List"
> > <frameworks at jonasmekasfilms.com>
> > Date: Friday, March 25, 2011, 11:13 AM
> >
> > Wish I could see this. Any chance there will be a similar show on
> > the West Coast sometime?
> > I like the point made here about the comedic vein. I am thinking
> > Morgan connects on some level to Buster Keaton.
> > Myron Ort
> >
> > On Mar 25, 2011, at 8:52 AM, Gravely, Brittany wrote:
> > MORGAN FISHER PRESENTS
> > APRIL 8 ? APRIL 10
> >
> > CAMBRIDGE, MA: The Harvard Film Archive is pleased to screen
> > MORGAN FISHER PRESENTS from FRIDAY APRIL 8 ? SUNDAY APRIL 10, 2011.
> >
> > An influential presence in the second wave of postwar American
> > experimental cinema that began in earnest in the late 1960s, Morgan
> > Fisher (b. 1942) has created a body of films whose lucidly complex
> > engagement with the cinematic apparatus, and with conceptual art,
> > is just beginning to be fully appreciated. Few filmmakers have so
> > presciently explored- and expanded- critical debates central to
> > Modernist art and its reception and also revolving around the
> > relationship between art and industry, and between theory and
> > practice. Fisher?s films are, in truth, only part of a more
> > expansive art practice and his Production Stills was, tellingly,
> > screened in 1970 at the Museum of Modern Art in conjunction with
> > its historic ?Information? show, among the first US museum exhibits
> > devoted to conceptual art. In 2005-06, one-person exhibitions at
> > the Tate Modern and Whitney Museum inspired renewed interest in
> > Fisher?s films, and he has recently received
> > recognition for his paintings and other non-film work that employ
> > strategies similar to those in his films.
> > Focusing with rare intensity and insight upon the construction
> > (and deconstruction) of cinematic illusionism, Fisher?s earliest
> > films, such as The Director and His Actor Look at Footage Showing
> > Preparations for an Unmade Film (2) and Production Stills, revealed
> > the careful self-reflexivity and theoretical sophistication that
> > have remained important trademarks of his work. Fisher?s late
> > masterpieces Standard Gauge and ( ) have added another dimension to
> > his meta-cinematic concerns, channeling Fisher?s ardent love, and
> > deep knowledge, of cinema into a heartfelt, and at times distinctly
> > melancholy, searching for the essence of film. Fisher?s late films
> > offer a radical, ?termite? history of the cinema from within the
> > machine, a recovery and even an ontology, of precisely those film
> > techniques and technologies that are typically overlooked and,
> > paradoxically, designed to be invisible- the insert, film gauges,
> > and the motion picture camera itself.
> > An undergraduate art history major at Harvard, Fisher received his
> > formal training in filmmaking in Los Angeles, at USC and UCLA,
> > before taking a variety of jobs in the commercial film industry- as
> > an editor, stock footage researcher, assistant director and even
> > bit actor- working for the likes of Roger Corman and Haskell
> > Wexler. Typically identified with the structuralist film movement,
> > Fisher?s work must also be understood in the broader context of
> > conceptual and minimalist art, on the one hand, and, on the other,
> > the emergent ?apparatus theory? of Marxist film scholars in the
> > 1970s, led by Jean-Luis Baudry. Counterbalancing and enriching the
> > theoretical rigor of Fisher?s films is their subtle and unexpected
> > humor which offers a nuanced variation of the rich yet
> > underappreciated comedic vein running throughout the work of other
> > avant-garde filmmakers in the same generation as Ernie Gehr, Owen
> > Land and Michael Snow.
> > The HFA is proud to welcome Morgan Fisher back to Harvard for this
> > rare opportunity to screen and discuss his pioneering films.
> > Invited to select a film that could complete and complement his
> > retrospective, Fisher chose Alfred Hitchcock?s rarely screened
> > Under Capricorn.
> >
> > Screening Schedule:
> > Director Morgan Fisher in Person
> > Special Event Tickets $12
> > April 8 at 7pm
> > The Director and his Actor Look at Footage Showing Preparations of
> > an Unmade Film (2)
> > USA 1968, 16mm, b/w, 15 min.
> >
> > Documentary Footage
> > USA 1968, 16mm, color, 11 min.
> >
> > Phi Phenomenon
> > USA 1968, 16mm, color, 11 min.
> >
> > Production Stills
> > USA 1970, 16mm, color, 11 min.
> >
> > Cue Rolls
> > USA 1974, 16mm, color, 5.5 min.
> >
> > ( )
> > USA 2003, 16mm, color, 21 min.
> >
> > TRT: 74 min.
> >
> > Director Morgan Fisher in Person
> > Special Event Tickets $12
> > April 9 at 7pm
> > Projection Instructions
> > USA 1976, 16mm, b/w, 4 min.
> >
> > Picture and Sound Rushes
> > USA 1973, 16mm, b/w, 11 min.
> >
> > Production Footage
> > USA 1971, 16mm, color, 10 min.
> >
> > The Wilkinson Household Fire Alarm
> > USA 1973, 16mm, color, 1.5min.
> >
> > Turning Over
> > USA 1975, video, b/w, 15 min.
> >
> > Protective Coloration
> > USA 1979, video, color, 13 min.
> >
> > Standard Guage
> > USA 1984, 16mm, color, 35 min.
> >
> > Detour - The final shot only.
> > Directed by Edgar Ulmer.
> > USA 1945, 35mm, color
> >
> > TRT: 92 min.
> >
> > Under Capricorn
> > April 10 at 3pm
> > It is well known that some of Hitchcock?s films take place all but
> > entirely in a single confined space: Rope, Rear Window, Lifeboat.
> > By working within this self-imposed limit Hitchcock showed that
> > shifts from one space to another, all too easy in film and on which
> > almost all narrative films depend, are hardly a necessity. Another
> > limit in film is a material one, the length of a roll of film.
> > There can be no shot longer than eleven minutes. It is clear that
> > the staging of many of the scenes in Under Capricorn was conceived
> > of in relation to this limit, in fact working backwards from it.
> > The action in these scenes?the dialogue and how it is delivered,
> > the movements of the actors, the rhythms they all create?was
> > composed to accord with a length of time close to the maximum that
> > a roll of film allowed. This procedure inverts the way scenes in
> > almost all films are shot, where they are built up piece by piece
> > from the elements of classical
> > decoupage?the establishing shot, two-shot, close-ups?to move the
> > story forward without regard for how long each shots lasts. In a
> > scene shot in a continuous take, everything necessary has to happen
> > but nothing beyond. And the execution of the scene is as exacting
> > as its composition. Everything must happen perfectly: how the
> > actors deliver their lines, their expressions, their gestures, how
> > and where they move, how the camera moves. One mistake in the least
> > detail, and there is no alternative but to start over again. You
> > can?t cut around mistakes, you can?t get rid of lines you don?t
> > need or add lines that you do, you can?t go back and shoot pick-
> > ups. The longer the take and the more complicated the movements of
> > the actors and the movements of the camera, the more opportunities
> > for things to go wrong. Not only does everything has to happen
> > perfectly, it has to happen without apparent effort, when in fact
> > the shot is the result of a large
> > number of people making extraordinary efforts, the work of each
> > exactly coordinated with the work of everyone else. For me the
> > sustained perfection of the long takes in Under Capricorn inspires
> > awe. - Morgan Fisher
> > Directed by Alfred Hitchcock. With Ingrid Bergman, Joseph Cotton,
> > Michael Wilding.
> > USA 1949, 35mm, color, 117 min.
> >
> > Harvard Film Archive
> > 24 Quincy Street, Cambridge, MA 02138
> > (617) 495-4700
> > http://hcl.harvard.edu/hfa <http://hcl.harvard.edu/hfa>
> > General Admission Tickets $9, $7 Non-Harvard Students, Seniors,
> > Harvard Faculty and Staff. Harvard students free
> > Special event tickets (for in-person appearances) are $12.
> > Tickets go on sale 45 minutes prior to show time. The HFA does not
> > do advance ticket sales.
> >
> > Press Contact:
> > Brittany Gravely
> > Publicist
> > Harvard Film Archive
> > 24 Quincy Street
> > Cambridge, MA 02138
> > 617-496-3211
> > bgravely at fas.harvard.edu
> >
> >
> > _______________________________________________FrameWorks mailing
> > listFrameWorks at jonasmekasfilms.comhttp://mailman-
> > mail5.webfaction.com/listinfo/frameworks
> >
> > -----Inline Attachment Follows-----
> >
> > _______________________________________________
> > FrameWorks mailing list
> > FrameWorks at jonasmekasfilms.com
> > http://mailman-mail5.webfaction.com/listinfo/frameworks
> >
> >
> >
> >
> >
> > _______________________________________________
> > FrameWorks mailing list
> > FrameWorks at jonasmekasfilms.com
> > http://mailman-mail5.webfaction.com/listinfo/frameworks
> >
>
>
>
> ------------------------------
>
> Message: 6
> Date: Fri, 25 Mar 2011 17:36:21 -0400
> From: Joan Hawkins <jchawkin at gmail.com>
> Subject: Re: [Frameworks] is this real? - Expiration of your
> subscription to the FRAMEWORKS list
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID: <BANLkTimjYBw9UxijTQn-BCkQe8tACY3b1Q at mail.gmail.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> message came through--jh
>
>
> On Fri, Mar 25, 2011 at 5:01 PM, ev petrol <epetrol2 at yahoo.com> wrote:
>
> > did as requested below & got an error message:
> >
> > Sorry, the FRAMEWORKS list is closed. Contact the list owner(
> > FRAMEWORKS-request at LISTSERV.AOL.COM) for more information
> >
> > still getting messages & posting ok though ...??
> >
> > www.moiratierney.net
> > www.soluscollective.org
> >
> > --- On *Wed, 3/23/11, LISTSERV at LISTSERV.AOL.COM <
> LISTSERV at LISTSERV.AOL.COM
> > >* wrote:
> >
> >
> > From: LISTSERV at LISTSERV.AOL.COM <LISTSERV at LISTSERV.AOL.COM>
> > Subject: Expiration of your subscription to the FRAMEWORKS list
> > To: epetrol2 at YAHOO.COM
> > Date: Wednesday, March 23, 2011, 6:00 AM
> >
> > Wed, 23 Mar 2011 06:00:01
> >
> > Your subscription to the FRAMEWORKS list has expired and you have failed
> > to confirm it in the 7 day delay that you had been granted. You have
> > therefore been automatically removed from the list. You can re-subscribe
> > to the list, if you want to, by sending the following command to
> > LISTSERV at LISTSERV.AOL.COM <
> http://mc/compose?to=LISTSERV@LISTSERV.AOL.COM>
> > :
> >
> > SUBscribe FRAMEWORKS
> >
> >
> >
> > _______________________________________________
> > FrameWorks mailing list
> > FrameWorks at jonasmekasfilms.com
> > http://mailman-mail5.webfaction.com/listinfo/frameworks
> >
> >
>
>
> --
> Joan Hawkins
> Associate Professor and Director of Film and Media Studies
> Indiana University
> Dept of Communication and Culture
> 800 E. Third St
> Bloomington, IN 47405
>
> office phone 812-855-1548
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110325/a7d7522b/attachment-0001.html
>
> ------------------------------
>
> Message: 7
> Date: Fri, 25 Mar 2011 17:41:11 -0400
> From: Sam Wells <silverfilm at gmail.com>
> Subject: Re: [Frameworks] Random questions
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID:
> <AANLkTimE47PkQc8T0xcpe=0b5jN-GB64V=iF5aMdC8Se at mail.gmail.com>
> Content-Type: text/plain; charset=windows-1252
>
> >Has anyone used/built/seen a 16mm pinhole camera? I?d like to see what
> kind of images would be produced from such a thing. How was it made?
>
>
> The commercial "feel" on Anders' reel pinhole lens.
>
> You could just make a pinhole with blackwrap or something.
>
> If for instance you had C-mount extension tubes you could put one one of
> them
>
> -Sam
>
>
> ------------------------------
>
> Message: 8
> Date: Sat, 26 Mar 2011 01:17:14 +0100
> From: Mirko Heinemann <nobenome at googlemail.com>
> Subject: Re: [Frameworks] is this real? - Expiration of your
> subscription to the FRAMEWORKS list
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID:
> <AANLkTinx2nA6doFik3q6xYVfDQ4xRrGmjdcJOWw6YiJ_ at mail.gmail.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> This is was Pip wrote about this problem
>
> "we migrated so please ignore this, but it was a valid server request.
> -Pip"
>
> The list moved from aol.com to jonasmekasfilms.com. And aol.com still
> sends
> this automatic mails.
> Just ignore aol.
>
> Mirko
>
> 2011/3/25 Joan Hawkins <jchawkin at gmail.com>
>
> > message came through--jh
> >
> >
> > On Fri, Mar 25, 2011 at 5:01 PM, ev petrol <epetrol2 at yahoo.com> wrote:
> >
> >> did as requested below & got an error message:
> >>
> >> Sorry, the FRAMEWORKS list is closed. Contact the list owner(
> >> FRAMEWORKS-request at LISTSERV.AOL.COM) for more information
> >>
> >> still getting messages & posting ok though ...??
> >>
> >> www.moiratierney.net
> >> www.soluscollective.org
> >>
> >> --- On *Wed, 3/23/11, LISTSERV at LISTSERV.AOL.COM <
> >> LISTSERV at LISTSERV.AOL.COM>* wrote:
> >>
> >>
> >> From: LISTSERV at LISTSERV.AOL.COM <LISTSERV at LISTSERV.AOL.COM>
> >> Subject: Expiration of your subscription to the FRAMEWORKS list
> >> To: epetrol2 at YAHOO.COM
> >> Date: Wednesday, March 23, 2011, 6:00 AM
> >>
> >> Wed, 23 Mar 2011 06:00:01
> >>
> >> Your subscription to the FRAMEWORKS list has expired and you have
> failed
> >> to confirm it in the 7 day delay that you had been granted. You
> have
> >> therefore been automatically removed from the list. You can
> re-subscribe
> >> to the list, if you want to, by sending the following command
> to
> >> LISTSERV at LISTSERV.AOL.COM<
> http://mc/compose?to=LISTSERV@LISTSERV.AOL.COM>
> >> :
> >>
> >> SUBscribe FRAMEWORKS
> >>
> >>
> >>
> >> _______________________________________________
> >> FrameWorks mailing list
> >> FrameWorks at jonasmekasfilms.com
> >> http://mailman-mail5.webfaction.com/listinfo/frameworks
> >>
> >>
> >
> >
> > --
> > Joan Hawkins
> > Associate Professor and Director of Film and Media Studies
> > Indiana University
> > Dept of Communication and Culture
> > 800 E. Third St
> > Bloomington, IN 47405
> >
> > office phone 812-855-1548
> >
> > _______________________________________________
> > FrameWorks mailing list
> > FrameWorks at jonasmekasfilms.com
> > http://mailman-mail5.webfaction.com/listinfo/frameworks
> >
> >
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110326/66bff9e3/attachment-0001.html
>
> ------------------------------
>
> Message: 9
> Date: Fri, 25 Mar 2011 16:20:49 -0600
> From: CSIF Programming <programming at csif.org>
> Subject: [Frameworks] Reminder: CSIF Job Call - deadline March 31
> To: undisclosed-recipients:;
> Message-ID: <F3EA7366-3B34-4286-8F7A-D5AB31864D3A at csif.org>
> Content-Type: text/plain; charset="us-ascii"
>
> The Calgary Society of Independent Filmmakers (CSIF) is seeking
> applications for the position of Production Coordinator.
>
> This position is highly technical and would suit a person that is
> interested in managing equipment, repairing & building gear, working with
> old & new technology, designing workshops & production challenges, and
> mentoring & supporting filmmakers in their work.
>
>
> Application Deadline: Thursday March 31st, 2011 at 12pm (noon).
>
> The Coordinator will be responsible for the following major duties:
>
> Monitoring the production needs of the CSIF membership and overseeing the
> purchase, maintenance, repair, upgrading and rental of CSIF Film Production
> Equipment and Post-Production Facilities as well as providing technical
> assistance to CSIF members using the CSIF Film Production Equipment and
> Post-Production Facilities.
>
>
> Requirements:
> The Production Coordinator acts with the mandate of the Calgary Society of
> Independent Filmmakers to administer the production needs of the society and
> its membership. Applicants must have strong knowledge of film and video
> production equipment, its use and maintenance, also knowledge of
> post-production and the management of these facilities, administrative
> abilities including budgeting, strong oral and written communication skills.
> Applicants must have knowledge of the Canadian media arts, filmmaking
> and/or artist-run centres. Applicants must also be able to work
> independently as well as a part of a team. Strong computer, networking and
> other technical proficiencies will be considered an asset.
>
>
> Responsibilities:
> * Ensuring CSIF Film Production Equipment and Post-Production
> facilities are up-to-date and reflective of current advances in filmmaking
> technology, while also maintaining older technologies.
>
> * Ensuring the CSIF membership has access to CSIF Film Production
> Equipment and Post-Production Facilities through the administration of
> booking schedules and the CSIF Project Approval Policy
>
> Creating, developing, and implementing a Workshop Program that provides
> CSIF members with the opportunity to develop proficiencies in their artistic
> and technical practices.
>
> * Managing and administering the CSIF FISH Fund including the call
> for submissions, coordination of the selection committee, and follow-up
> reporting to the CSIF Board and funding agencies
>
> * Working with the CSIF Operations Coordinator to ensure equipment,
> production, and workshop related administrative tasks are accomplished,
> including: record keeping, databases, sub-ledgers, and workshop
> documentation
>
> * Researching and initiating fundraising activities and sponsorship
> opportunities
>
> * Grant writing and follow-up reporting to funding agencies
>
> * Acting as a contact for general inquiries from the CSIF membership
> and the larger community
>
> * Performing general administrative duties in cooperation with the
> CSIF Staff such as: answering telephones, responding to e-mail, general
> reception, event planning, and member services
>
> * Assisting with the supervision of part-time contract workers and
> internships
>
> * Assisting with the coordination of volunteers to perform tasks for
> CSIF activities such as workshops
>
> * Assisting with the development of special projects in collaboration
> with the CSIF Board of Directors, CSIF Staff, and CSIF Membership
>
> * Working with the CSIF Board of Directors to develop strategies for
> achieving the organization's mission and making recommendations to the CSIF
> Board of Directors for developing and implementing policies
>
> * Providing written activity reports stating requirements and any
> concerns to the CSIF Board of Directors at the regular monthly meetings of
> the Board
>
> The position is permanent, full-time (35 hrs / week) with a starting annual
> salary commensurate on experience (around $32,000 CAD). Health benefits
> will also be discussed with the successful applicant. There is an
> expectation that incumbents will be available to work on Saturdays, and will
> attend and support events held outside of regular business hours as needed.
>
> As CSIF evolves to meet changing needs, so will the roles required of its
> staff. Accordingly, applicants should be aware that this document might not
> necessarily represent the full role that the occupant will perform in the
> long term. This document is intended to provide an overview of the
> incumbent's role at the date of advertisement.
>
> All applications must include a cover letter, a current resume, writing
> sample and three letters of reference.
>
> Applications will be accepted until Thursday March 31st, 2011 at 12pm.
> They can be delivered to the CSIF at Building J2, (Currie Barracks) during
> open hours of 10 am - 5 pm, Tuesday - Saturday, or mailed to J2, 2711
> Battleford Ave. SW, Calgary, Alberta, T3E 7L4. Late applications will not
> be accepted.
> More information can be found at www.csif.org or by calling our offices at
> (403) 205 4747.
>
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110325/2c662517/attachment-0001.html
>
> ------------------------------
>
> Message: 10
> Date: Fri, 25 Mar 2011 18:46:55 -0700 (PDT)
> From: Sonali Film <sonalifilm at yahoo.com>
> Subject: [Frameworks] I Am--a documentary film screening at 11 film
> festivals
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID: <193388.14583.qm at web65703.mail.ac4.yahoo.com>
> Content-Type: text/plain; charset="utf-8"
>
> @font-face {
> font-family: "Cambria";
> }@font-face {
> font-family: "Century Gothic";
> }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt;
> font-size: 12pt; font-family: "Times New Roman"; }span.yshortcuts {
> font-family: "Times New Roman"; }div.Section1 { page: Section1; }
> Just wanted to announce that my latest documentary film "I Am" will be
> screening at the following film festivals:
>
>
> Indian Film
> Festival of Los Angeles (April 15th 2011)
>
> Riverside
> International Film Festival (April 8th-17th 2011)
>
> Atlanta Film
> Festival (April 28th-May 7th 2011)
>
> DOK.fest Munich
> International Documentary
> Film Festival, Germany (May 4th-11th 2001)
>
> Pink Apple Film
> Festival, Zurich, Switzerland (May 4th-12th 2011)
>
> QDoc Portland
> Queer Documentary Film Festival (June 2nd-5th 2011)
>
> Tel Aviv International
> LGBT Film Festival (June 11th-18th 2011)
>
> New Filmmakers
> New York (June 15th 2011)
>
> Vancouver Queer
> Film Festival (August 11th-21st 2011)
>
> Boston LGBT Film
> Festival (May 7th 2011)
>
>
> Tasveer?s Independent
> South Asian Film Festival (September 2011)
>
>
>
> I AM
>
>
>
>
>
>
>
>
>
>
> @font-face {
> font-family: "Cambria";
> }@font-face {
> font-family: "Century Gothic";
> }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt;
> font-size: 12pt; font-family: "Times New Roman"; }div.Section1 { page:
> Section1; }
>
>
>
>
> I Am chronicles the journey of an Indian lesbian filmmaker who
> returns to Delhi, eleven years later, to re-open what was once home, and
> finally confronts the loss of her mother whom she never came out to. As she
> meets and speaks to parents of other gay and lesbian Indians, she pieces
> together the fabric of what family truly means, in a landscape where being
> gay
> was until recently a criminal and punishable offense.
>
>
>
>
> -----------------------
>
> http://www.sonalifilm.com
>
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110325/abcb991d/attachment.html
> -------------- next part --------------
> A non-text attachment was scrubbed...
> Name: I Am poster.jpg
> Type: image/jpeg
> Size: 981369 bytes
> Desc: not available
> Url :
> http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110325/abcb991d/attachment.jpg
>
> ------------------------------
>
> _______________________________________________
> FrameWorks mailing list
> FrameWorks at jonasmekasfilms.com
> http://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
> End of FrameWorks Digest, Vol 10, Issue 40
> ******************************************
>
--
Jason Rosette: <<Producer>> <<Director>> <<Media Programmer>>
http://www.jasonrosette.com
-------------- next part --------------
An HTML attachment was scrubbed...
URL: http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20110326/18369295/attachment-0001.html
More information about the FrameWorks
mailing list