[Frameworks] B & W on colour stock
Shumona Goel
shumonagoel at gmail.com
Mon Nov 28 04:23:20 CST 2011
Dear Friends,
I am trying to print a 16mm black and white film onto colour stock because
there is no black and white print stock available in India, nor is there a
lab that would process it. I recently did a test that had a strong magenta
tint.
Is it even possible to get a black and white image? I am beginning to
wonder whether HD projection may just be the only route.
Thanks in advance for any advice.
Warmly,
Shumona
On Wed, Nov 23, 2011 at 2:00 AM, tammy kinsey <tammy.kinsey at gmail.com>wrote:
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> ---------- Forwarded message ----------
> From: frameworks-request at jonasmekasfilms.com
> To: frameworks at jonasmekasfilms.com
> Date: Mon, 21 Nov 2011 12:00:45 -0600
> Subject: FrameWorks Digest, Vol 18, Issue 28
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> Today's Topics:
>
> 1. Re: Travelogues (ev petrol)
> 2. CFP/Films ASIAN CINEMA STUDIES SOCIETY CONFERENCE (Gina Marchetti)
> 3. Re: Value systems (Jonathan Thomas)
> 4. Artprojx Cinema: Art Video, Art Basel Miami Beach, Nov 30 -
> Dec 4 2011 - invite (David Gryn)
> 5. Re: Value systems (Gawthrop, Rob)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 20 Nov 2011 17:31:47 -0800 (PST)
> From: ev petrol <epetrol2 at yahoo.com>
> Subject: Re: [Frameworks] Travelogues
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID:
> <1321839107.7669.YahooMailNeo at web160306.mail.bf1.yahoo.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hello Adam
> this one was shot from the balcony & roof of the hotel i was staying in (i
> was in nouakchott for a week); edit approved by the local film-makers
> though (wanted to make sure i wasn't misrepresenting ...)
> http://www.moiratierney.net/nouakchott.htm (very basic info)
> what are you compiling the films for?
> cheers Moira
>
> www.moiratierney.net
> www.soluscollective.org
>
>
> ________________________________
> From: Adam R. Levine <adamrl at gmail.com>
> To: Experimental Film Discussion List <FrameWorks at jonasmekasfilms.com>
> Sent: Thursday, November 10, 2011 12:41 PM
> Subject: [Frameworks] Travelogues
>
>
> Hello you,
>
> I am trying to pull together a list of experimental films that either fall
> directly under the category of "travelogue" or bear witness to travel and
> distance from a point of origin on the part of the filmmaker. These would
> not be so much ethnographic works which are part of a sustained cultural
> exchange, but films made as a result of the filmmaker "passing through" and
> acknowledging the looming spectre/problem/pleasure of "the tourist film".
> Warren Sonbert, perhaps John Smith's "The Hotel Diaries"? I'm sure there
> are others...but can you name them?
>
> Thanks/Grazie/Kiitos!
>
> ARL
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> ------------------------------
>
> Message: 2
> Date: Mon, 21 Nov 2011 18:30:55 +0800
> From: Gina Marchetti <gina.marchetti at gmail.com>
> Subject: [Frameworks] CFP/Films ASIAN CINEMA STUDIES SOCIETY
> CONFERENCE
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID:
> <CAE1Gd0VPHV=AheFv-L4GuRF8LZW6+KiZmPsHQ8DxB_0h3Crx1w at mail.gmail.com
> >
> Content-Type: text/plain; charset="iso-8859-1"
>
> *ASIAN CINEMA STUDIES SOCIETY CONFERENCE *
>
> *MARCH 18-20, 2012*
>
> *THE UNIVERSITY OF HONG KONG*
>
>
>
> This meeting of the Asian Cinema Studies Society welcomes paper, poster,
> workshop and panel proposals covering all aspects of Asian film and media.
>
>
>
> Please send proposals of 200-300 words as RTF or WORD attachments to Dr.
> Natalie Wong at nslw at hku.hk. For all proposals, be certain to include
> the
> title, author(s) name(s), institutional affiliation, mailing address, and
> email contacts, as well as a brief biography of each contributor. For
> panel, workshop, and group submissions, be certain to provide a brief
> description (100 words) of the contribution of each participant. Sessions
> will be 1 ½ hours in duration, and time limits will be strictly enforced.
>
>
>
> *CALL FOR PAPERS DEADLINE: December 31, 2011*
>
>
>
> Notifications of acceptance will be sent out by the end of January 2012.
>
>
>
> We regret that we cannot offer any funds for travel or accommodation.
> However,
> there will be NO registration fee for those presenting papers, serving as
> panel chairs, or participating in workshops, poster sessions, or in any
> other official capacity. Registered guests are welcome to attend as well;
> however, some conference events/meals may only be available for those
> presenting papers or serving in other official capacities.
>
>
>
> Program committee members: John A. Lent (Chair of ACSS), Tan See-Kam
> (Macau), Natalie Wong (HKU), Staci Ford (HKU), Mirana Szeto (HKU), Winnie
> Yee (HKU), Ang Sze-wei (HKU), Gina Marchetti (HKU).
>
>
>
>
>
> Proposal submissions & inquiries: Dr. Natalie Wong at nslw at hku.hk
>
>
>
> Visit our website at http://www.hku.hk/complit/acssc/
>
>
>
>
>
> *About the Asian Cinema Studies Society (ACSS):*
>
> Inaugurated in 1984, ACSS has been dedicated to fostering research in Asian
> film and related media. It publishes *Asian Cinema* twice yearly, and
> features all types of Asian film, including full-length movies,
> documentaries, animation, and experimental. Nine ACSS conferences have
> been held since 1988, including five in the United States and one each in
> Australia, Canada, South Korea and China. Many of the papers presented at
> ACSS conferences have been published in Asian Cinema and other journals and
> books.
>
>
>
> For more information on ACSS and for membership details, visit its website
> at http://astro.temple.edu/~jlent/asiancinema/acss.html
>
>
>
> *About the Centre for the Study of Globalization and Culture:*
>
> The Center for the Study of Globalization and Cultures (CSGC), set up in
> 1999, is an interdisciplinary center based in the Department of Comparative
> Literature. The focus of its work is on issues of culture and globalization
> with special reference to Asia, China and Hong Kong. Major research themes
> include: the cultures of capitalism; global flows of culture, media and
> technology; cities and globalization; new communities, publics, and
> identities; and post-colonialism and neo-liberalism.
>
>
>
> For more information on CSGC, visit its website at
> http://www0.hku.hk/complit/csgc/
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> ------------------------------
>
> Message: 3
> Date: Mon, 21 Nov 2011 15:14:15 +0000 (GMT)
> From: Jonathan Thomas <cinemametafisica at yahoo.co.uk>
> Subject: Re: [Frameworks] Value systems
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Message-ID:
> <1321888455.58527.YahooMailClassic at web29207.mail.ird.yahoo.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> I don't see value as a dated concept, although commodity value is
> irrelevant. For me, a work has value when it provokes thought, when it
> creates a space to contemplate / meditate on (in the Heideggerian sense)
> the world (as experienced, mediated, related, etc.). Although personally I
> find formalist, materialist work very appealing, this is contained within
> an idea of art as thinking tool over art as object.I do agree, like most
> people probably, that large galleries and museums do play safe, but haven't
> they always? I always aim for artist-run spaces that engender a much more
> widely critical and contextual discourse. 20th century theories of art are
> not yet dated and irrelevant, to me at least. There was a lot of it, and we
> are still wading through it all, trying to untangle it and assess its
> relevance. There has to remain a strand of early 21st century art and
> theory that constitutes a critical pause for breath.
>
> --- On Sun, 20/11/11, Bernard Roddy <roddybp at yahoo.com> wrote:
>
> From: Bernard Roddy <roddybp at yahoo.com>
> Subject: [Frameworks] Value systems
> To: "frameworks at jonasmekasfilms.com" <frameworks at jonasmekasfilms.com>
> Date: Sunday, 20 November, 2011, 14:06
>
>
> Value as a reference today strikes me as dated. It draws on a period when
> art as commodity was an interesting question.
> Restrictions on freedom of expression are back. It's time to examine the
> renewal of conservativism in media art.
> To propose a term for critical study: professional responsibility. Not
> the debate between modernist and post-modernist experimental film. Not the
> relevance of "avant-garde."
>
> Performance art's history is really to the point. We see a transformation
> of performance art's provocations into not only gallery-safe work but a
> kind of artistic administrator's ideal.
> Apologies for the obscurity.
> Bernie
> -----Inline Attachment Follows-----
>
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> ------------------------------
>
> Message: 4
> Date: Mon, 21 Nov 2011 15:50:58 -0000
> From: "David Gryn" <david at artprojx.com>
> Subject: [Frameworks] Artprojx Cinema: Art Video, Art Basel Miami
> Beach, Nov 30 - Dec 4 2011 - invite
> To: "Experimental Film Discussion List"
> <frameworks at jonasmekasfilms.com>
> Message-ID: <98FBC8DE21854418A275F8375C83CBBE at userPC>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Dear Frameworkers - if anyone is in Miami - you are welcome to join us -
> these Art Video screenings are Free to all. Best wishes David
>
>
>
> Artprojx Cinema: Art Video, Art Basel Miami Beach, Nov 30 - Dec 4 2011.
> David Gryn director of London's Artprojx has organised and curated Art
> Video, featuring film and video works by today's most exciting
> international artists, submitted by the galleries of Art Basel Miami Beach.
> Specially organized and commissioned, for the 10th Edition of the Fair, Art
> Video will be screened for the first time in the SoundScape Park, on the
> 7,000-square-foot outdoor projection wall of the Frank Gehry designed New
> World Center, as well as within five viewing pods inside the Miami Beach
> Convention Center. Artists selected include: Cory Arcangel, Yael Bartana,
> Pierre Bismuth, Slater Bradley, Brice Dellsperger, Tracey Emin, Kota Ezawa,
> Dara Friedman, Theaster Gates, Katy Grannan, Neil Hamon, Alex Hubbard,
> Christian Jankowski, Cristina Lucas, Ryan McGinley, Marilyn Minter, Laurel
> Nakadate, Rashaad Newsome, Hans Op de Beeck, Martha Rosler, Matt Saunders,
> Lorna Simpson, Penny Siopis, Clemens von Wedemeyer. See the full programme
> at http://www.artbaselmiamibeach.com
>
>
> --
>
> David Gryn / Artprojx
> artprojx at gmail.com
> http://www.artprojx.com
> http://davidgryn.wordpress.com
> +447711127848
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> ------------------------------
>
> Message: 5
> Date: Mon, 21 Nov 2011 17:28:22 +0000
> From: "Gawthrop, Rob" <Rob.Gawthrop at falmouth.ac.uk>
> Subject: Re: [Frameworks] Value systems
> To: Bernard Roddy <roddybp at yahoo.com>, Experimental Film Discussion
> List <frameworks at jonasmekasfilms.com>
> Message-ID: <CAF03AB5.E3ED%rob.gawthrop at falmouth.ac.uk>
> Content-Type: text/plain; charset="windows-1252"
>
> The point I was making in my question followed on from Fred’s posting that
> included:
>
> It seems to be entirely acceptable and unquestioned on this list to post
> that some or all forms of video projection look like crap ... As a format
> for presenting film, it is, of course, imperfect, as I myself argued almost
> three decades ago, though that was in the days of VHS, a lot worse than
> more recent formats.
>
> Assumptions about ‘quality’ need to be challenged. Issues around
> ‘quality’ are based upon value systems which in themselves operate
> ideologically. Can the politics be seperated from the aesthetics? This
> seems entirely relevent as we watch evictions of the Occupations - and that
> doesn’t mean I’m advocating literalism - just putting my original question
> into context.
>
> Rob
>
>
> On 20/11/2011 16:47, "Bernard Roddy" <roddybp at yahoo.com> wrote:
>
> Oh and . . this encounter with a provocative work tends to draw ALL
> attention to it AS provocation, to the detriment of the work. That's the
> real price of a restrictive environment. It' s not just a price paid in
> terms of the interest new work generates. It's certainly not just a
> question of having some kind of political "impact." The greatest price is
> that of interpretation. You get really dumb fixations on work if there
> isn't a serious investigation of what gets passed off as "provocation."
>
> Bernie
>
>
>
>
> ________________________________
> From: Bernard Roddy <roddybp at yahoo.com>
> To: "frameworks at jonasmekasfilms.com" <frameworks at jonasmekasfilms.com>
> Sent: Sunday, November 20, 2011 8:06 AM
> Subject: [Frameworks] Value systems
>
>
> Value as a reference today strikes me as dated. It draws on a period when
> art as commodity was an interesting question.
>
> Restrictions on freedom of expression are back. It's time to examine the
> renewal of conservativism in media art.
>
> To propose a term for critical study: professional responsibility. Not
> the debate between modernist and post-modernist experimental film. Not the
> relevance of "avant-garde."
>
> Performance art's history is really to the point. We see a transformation
> of performance art's provocations into not only gallery-safe work but a
> kind of artistic administrator's ideal.
>
> Apologies for the obscurity.
>
> Bernie
>
> _______________________________________________
> FrameWorks mailing list
> FrameWorks at jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
>
>
>
>
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