[Frameworks] Free Outdated Super 8mm
info at oddballfilm.com
info at oddballfilm.com
Fri Jan 25 18:28:20 CST 2013
Hi:
I have a box of TRI-X reversal 7278, Kodachrome 40, and more-10 new Super 8mm carts in all
New in box dated 1985(!).
Must arrange for pickup in SF.
If not-will use as leader!
Best regards,
Stephen Parr
Director
Oddball Film+Video
www.oddballfilm.com
Oddball Films
www.oddballfilms.blogspot.com
275 Capp Street
San Francisco, CA 94110
Phone 415.558.8112
Fax 415.558.8116
For a link to our latest projects:
oddballfilm.com/projects_2013.pdf
Follow us on facebook and Twitter!
http://www.facebook.com/oddballfilm
http://twitter.com/Oddballfilms
On Jan 23, 2013, at 10:02 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
https://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. Singularity and intentional incoherence (Ittai Rosenbaum)
2. Re: contemporary animation texts (Eric Theise)
3. Re: contemporary animation texts (Michael Betancourt)
4. Re: Singularity and intentional incoherence (Tom Whiteside)
5. Re: Singularity and intentional incoherence (Bryan McManus)
6. Video Art and Experimental Film Festival 2013 (Katya Yakubov)
7. About Gamma (mat fleming)
8. Re: About Gamma (40 Frames)
----------------------------------------------------------------------
Message: 1
Date: Tue, 22 Jan 2013 23:37:28 -0800
From: Ittai Rosenbaum <ittai66 at gmail.com>
Subject: [Frameworks] Singularity and intentional incoherence
To: frameworks at jonasmekasfilms.com
Message-ID:
<CADpdimYEqALprWNs5qYQrJndTUjgB90bVoTrEfcY4p0mOChkPg at mail.gmail.com>
Content-Type: text/plain; charset="windows-1252"
Hi
My name is Ittai Rosenbaum, I am a doctoral student at the music
composition department at UCSC and in the process of defining my
Qualification Exams topics. I wondered if anyone could perhaps have
interesting knowledge or insights about a subject in film theory that might
parallel one of my topics.
I am interested in singular events in composition: events that occur only
once, contrasted and incoherent to the main musical language of the work,
yet deliberately conceived and intentionally inserted in the composition,
contributing, by way of distraction and surprise, to the conception of the
piece.
Coherence seems to constitute a compulsory element in composition, and even
incoherence (surprise, collage etc.) as it happens in the music of, say,
Charles Ives, George Crumb or John Zorn, becomes coherent and even
homogenous once it recurs. I suspect that *singular*, incoherent events may
have a genuine effect, different than that.
I am interested in parallel or similar phenomena in film, as my own
compositions are more than often related to the visual, verbal, social and
other elements usually inherent in film.
Far from an expert in films, I do recall several instances where I felt I
have viewed such singular events in film: the awakening in Chris Marker’s
La jetée – a single moment of two seconds of movement in a film made
entirely of stills, some moments that I can't recall now in Fellini's films
(although usually there is a certain "homogeneity of singularity" in the
ones I saw), and a comic one, in Mel Brooks’s *Silent Movie*, when the
famous pantomime Marcel Marceau utters the only single word in the film:
“no!”
I would be very interested to know if this is something that has been
written about and generally what your experience and opinion is.
thank you
--
Ittai Rosenbaum
www.ittairosenbaum.com
(650) 704-6566
PRÆSENTEM
http://earbits.com/
-------------- next part --------------
An HTML attachment was scrubbed...
URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130122/b9907369/attachment-0001.html
------------------------------
Message: 2
Date: Tue, 22 Jan 2013 23:51:56 -0800
From: Eric Theise <erictheise at gmail.com>
Subject: Re: [Frameworks] contemporary animation texts
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<CAHnuXWj3_jmf4iV+XU3NCHk2qZ-8HJ3CHB7o979sCoe+F2PJ-A at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
On Thu, Jan 17, 2013 at 2:18 PM, Jodie Mack <jodiemack77 at hotmail.com> wrote:
> Here are a few neat books on individual animators written in the past ten
> years:
> PAUL SHARITS (Beauvais)
Would anyone care to share their opinions of this book? I wasn't
aware of it before this thread (thanks Jodie), and I'm not finding it
in any libraries that I have access to. Even Pacific Film Archive
doesn't have it.
I'm especially interested in analysis of Sharits' sequencing of colors
and the effects he was trying to achieve.
Thanks in advance, Eric
------------------------------
Message: 3
Date: Wed, 23 Jan 2013 09:08:52 -0500
From: Michael Betancourt <hinterland.movies at gmail.com>
Subject: Re: [Frameworks] contemporary animation texts
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<CAOKpnwVamYz3=Zsm+VsKU6biO4-Vp8iX=N=R3UhBBRmL-BFV0A at mail.gmail.com>
Content-Type: text/plain; charset="iso-8859-1"
Did you try amazon.fr?
http://www.amazon.fr/Paul-Sharits-Yann-Beauvais/dp/2840662434/ref=wl_it_dp_o_pC_S_nC?ie=UTF8&colid=63UVXAAAEWIJ&coliid=I38BNNKQMO24D6
Michael Betancourt
Savannah, GA USA
michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic
www.cinegraphic.net | the avant-garde film & video blog
On Wed, Jan 23, 2013 at 2:51 AM, Eric Theise <erictheise at gmail.com> wrote:
> On Thu, Jan 17, 2013 at 2:18 PM, Jodie Mack <jodiemack77 at hotmail.com>
> wrote:
>> Here are a few neat books on individual animators written in the past ten
>> years:
>> PAUL SHARITS (Beauvais)
>
> Would anyone care to share their opinions of this book? I wasn't
> aware of it before this thread (thanks Jodie), and I'm not finding it
> in any libraries that I have access to. Even Pacific Film Archive
> doesn't have it.
>
> I'm especially interested in analysis of Sharits' sequencing of colors
> and the effects he was trying to achieve.
>
> Thanks in advance, Eric
> _______________________________________________
> FrameWorks mailing list
> FrameWorks at jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130123/798524fa/attachment-0001.html
------------------------------
Message: 4
Date: Wed, 23 Jan 2013 15:22:45 +0000
From: Tom Whiteside <tom.whiteside at duke.edu>
Subject: Re: [Frameworks] Singularity and intentional incoherence
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<4761082ED0F718449DC114B6E679097D1ECE7D79 at ex-mbg-03.win.duke.edu>
Content-Type: text/plain; charset="iso-8859-1"
This is interesting - thanks for asking a fresh question. As a "film person" who started out in music decades ago, I have always envied and admired the breadth and depth of musicology. Film studies is such a young field - we are centuries behind.
Filmmaker Hollis Frampton made a film titled "Hapax Legomena" which immediately comes to mind.
And although Mel Brooks doesn't make this list too often, he's going to hit it twice right away. A good example of your singular event would be in his Western film "Blazing Saddles," the cowboys are galloping across the plains and the movie music is playing on the soundtrack, sounds like Count Basie and His Orchestra - well my goodness, it IS Count Basie and His Orchestra and the cowboys just rode right past them, out there on the plains. It's a simple thing, played for laughs - the previously unseen soundtrack orchestra revealed - but it is quite a singular moment. And for many people it probably changed, at least a little bit, the way they think about "movie music."
There is the moment in Jem Cohen's "Lost Book Found" when the conventional "unseen narrator" voice slowly fades out and is replaced by a different, unexpected voice, delivering a more cryptic message. It is a pivotal moment in that film. Similarly, in Raul Ruiz's "Hypothesis of the Stolen Painting" a guy is sitting in a chair talking in rather flat tones, it becomes increasingly boring, he slows down.... and he falls asleep. On camera, the narration just goes to sleep. I only saw that film once and am probably not remembering this correctly, but I do remember the singularity of my experience sitting there, listening to this guy, trying to make sense of it, getting a bit bored, then watching him nod off. That woke me up!
Tom Durham Cinematheque
From: frameworks-bounces at jonasmekasfilms.com [mailto:frameworks-bounces at jonasmekasfilms.com] On Behalf Of Ittai Rosenbaum
Sent: Wednesday, January 23, 2013 2:37 AM
To: frameworks at jonasmekasfilms.com
Subject: [Frameworks] Singularity and intentional incoherence
Hi
My name is Ittai Rosenbaum, I am a doctoral student at the music composition department at UCSC and in the process of defining my Qualification Exams topics. I wondered if anyone could perhaps have interesting knowledge or insights about a subject in film theory that might parallel one of my topics.
I am interested in singular events in composition: events that occur only once, contrasted and incoherent to the main musical language of the work, yet deliberately conceived and intentionally inserted in the composition, contributing, by way of distraction and surprise, to the conception of the piece.
Coherence seems to constitute a compulsory element in composition, and even incoherence (surprise, collage etc.) as it happens in the music of, say, Charles Ives, George Crumb or John Zorn, becomes coherent and even homogenous once it recurs. I suspect that singular, incoherent events may have a genuine effect, different than that.
I am interested in parallel or similar phenomena in film, as my own compositions are more than often related to the visual, verbal, social and other elements usually inherent in film.
Far from an expert in films, I do recall several instances where I felt I have viewed such singular events in film: the awakening in Chris Marker's La jetée - a single moment of two seconds of movement in a film made entirely of stills, some moments that I can't recall now in Fellini's films (although usually there is a certain "homogeneity of singularity" in the ones I saw), and a comic one, in Mel Brooks's Silent Movie, when the famous pantomime Marcel Marceau utters the only single word in the film: "no!"
I would be very interested to know if this is something that has been written about and generally what your experience and opinion is.
thank you
--
Ittai Rosenbaum
www.ittairosenbaum.com<http://www.ittairosenbaum.com>
(650) 704-6566
PRÆSENTEM
http://earbits.com/
-------------- next part --------------
An HTML attachment was scrubbed...
URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130123/605353ad/attachment-0001.html
------------------------------
Message: 5
Date: Wed, 23 Jan 2013 10:24:54 -0600
From: Bryan McManus <bryanhaysmcmanus at gmail.com>
Subject: Re: [Frameworks] Singularity and intentional incoherence
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<CAP_h8pQdKUYNO_d0yrbk6pedOg=eArNd0ZP96eVA8aGo1MCDsA at mail.gmail.com>
Content-Type: text/plain; charset="windows-1252"
Hi Ittai,
Yours is an interesting pursuit! Much luck to you in your study. Your
thoughts reminded me of an interview I heard with David Lynch (forgive me,
I cannot remember where) where he spoke about the "eye of the duck" as
being an element of his films. Interestingly, I think he was referring to
this moment as being both an incoherence and an axis - in that the event is
distracting/surprising/etc - yet confirming of some internal or underlying
structure. his thoughts may be a helpful place to continue your study.
Best,
Bryan
Bryan McManus
Aritist, Filmmaker
bryanmcmanus.com
On Wed, Jan 23, 2013 at 1:37 AM, Ittai Rosenbaum <ittai66 at gmail.com> wrote:
> Hi
>
> My name is Ittai Rosenbaum, I am a doctoral student at the music
> composition department at UCSC and in the process of defining my
> Qualification Exams topics. I wondered if anyone could perhaps have
> interesting knowledge or insights about a subject in film theory that might
> parallel one of my topics.
>
> I am interested in singular events in composition: events that occur only
> once, contrasted and incoherent to the main musical language of the work,
> yet deliberately conceived and intentionally inserted in the composition,
> contributing, by way of distraction and surprise, to the conception of the
> piece.
>
> Coherence seems to constitute a compulsory element in composition, and
> even incoherence (surprise, collage etc.) as it happens in the music of,
> say, Charles Ives, George Crumb or John Zorn, becomes coherent and even
> homogenous once it recurs. I suspect that *singular*, incoherent events
> may have a genuine effect, different than that.
>
> I am interested in parallel or similar phenomena in film, as my own
> compositions are more than often related to the visual, verbal, social and
> other elements usually inherent in film.
> Far from an expert in films, I do recall several instances where I felt I
> have viewed such singular events in film: the awakening in Chris Marker’s
> La jetée – a single moment of two seconds of movement in a film made
> entirely of stills, some moments that I can't recall now in Fellini's films
> (although usually there is a certain "homogeneity of singularity" in the
> ones I saw), and a comic one, in Mel Brooks’s *Silent Movie*, when the
> famous pantomime Marcel Marceau utters the only single word in the film:
> “no!”
>
> I would be very interested to know if this is something that has been
> written about and generally what your experience and opinion is.
>
> thank you
>
>
> --
> Ittai Rosenbaum
> www.ittairosenbaum.com
>
> (650) 704-6566
>
> PRÆSENTEM
>
> http://earbits.com/
>
> _______________________________________________
> FrameWorks mailing list
> FrameWorks at jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130123/8dbd4f5d/attachment-0001.html
------------------------------
Message: 6
Date: Wed, 23 Jan 2013 11:27:09 -0500
From: Katya Yakubov <paper.film at gmail.com>
Subject: [Frameworks] Video Art and Experimental Film Festival 2013
To: frameworks at jonasmekasfilms.com
Message-ID: <F35BBED1-6DD0-4379-A8CF-E305CAB809A2 at gmail.com>
Content-Type: text/plain; charset="utf-8"
Hello Frameworks!
I am representing the 2013 Video Art and Experimental Film Festival, screening February 7th-9th at Tribeca Cinemas. VAEFF, in its third year, aspires to become a public gateway into the ever-expanding, fluctuating, and intersecting worlds of experimental film and video art.
Not only a platform for showcasing exceptional work, the VAEFF is also a forum for the public and artists to exchange and debate ideas. The festival's discussions and panels between screenings will help to further VAEFF founder Dan Fine's desire to "democratize the relationship between artists, curators, institutions, and the public worldwide." In doing so, we hope to expose our audience to a diverse range of ideas and works surrounding the avant-garde and experimental film medium.
This year's line-up of films, which wouldn't necessarily be seen in a narrative-dominated festival circuit nor in the insular museum-gallery world, include works from prominent video artists like Kalup Linzy, Allison Schulnik, and Zackary Drucker, as well as many up-and-coming young filmmakers.
Please check out our website for more information. Our event details are also listed below.
http://festival.videoart.net/index.php
Feel free to email me with any questions. If you have any interest in covering or spotlighting our event in a local online or print publication, I will be more than happy to speak with you about the festival!
Many thanks!
Katya Yakubov
Head of Research and Assistant Curator
Video Art & Experimental Film Festival 2013
347-743-1541
http://festival.videoart.net/
wwww.videoart.net
-------------- next part --------------
An HTML attachment was scrubbed...
URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130123/7096f8fb/attachment-0001.html
------------------------------
Message: 7
Date: Wed, 23 Jan 2013 16:38:23 +0000
From: mat fleming <matfleming76 at googlemail.com>
Subject: [Frameworks] About Gamma
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<CAAP1R13e_a7+DcygE7xdaEW0uvu7Km1udhVm5ntD+EvdGaP22g at mail.gmail.com>
Content-Type: text/plain; charset="iso-8859-1"
Dear all,
Please can someone point me in the direction of a really good text which
will help me understand Gamma and it's practical application for a
filmshooter and self processor?
I'm getting into the use of machines for printing and processing and I'm
mixing my own chemicals now and I want to learn how to be more controlled
about all the variables of film exposure and print exposure and developers
and temperatures and timings.
Help
Thanks
-------------- next part --------------
An HTML attachment was scrubbed...
URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130123/6e4f4c09/attachment-0001.html
------------------------------
Message: 8
Date: Wed, 23 Jan 2013 08:42:44 -0800
From: 40 Frames <info at 40frames.org>
Subject: Re: [Frameworks] About Gamma
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<CAAUwOmNajjJSMS0Keb4KdOaiB1ANVyKQ_LT2Ld_DULYyj0f+jw at mail.gmail.com>
Content-Type: text/plain; charset="iso-8859-1"
Dominic Case - Motion Picture Film Processing (1985, Focal Press)
Bernard Happe - Your Film and The Lab (1983, Focal Press)
On Wed, Jan 23, 2013 at 8:38 AM, mat fleming <matfleming76 at googlemail.com>wrote:
> Dear all,
>
> Please can someone point me in the direction of a really good text which
> will help me understand Gamma and it's practical application for a
> filmshooter and self processor?
> I'm getting into the use of machines for printing and processing and I'm
> mixing my own chemicals now and I want to learn how to be more controlled
> about all the variables of film exposure and print exposure and developers
> and temperatures and timings.
>
> Help
>
> Thanks
>
> _______________________________________________
> FrameWorks mailing list
> FrameWorks at jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
--
40 FRAMES
Alain LeTourneau
Pam Minty
40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA
+1 503 231 6548
www.40frames.org
www.16mmdirectory.org
www.emptyquarterfilm.org
-------------- next part --------------
An HTML attachment was scrubbed...
URL: https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130123/a5c70fee/attachment-0001.html
------------------------------
_______________________________________________
FrameWorks mailing list
FrameWorks at jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks
End of FrameWorks Digest, Vol 32, Issue 23
******************************************
More information about the FrameWorks
mailing list