[Frameworks] Outdated Super 8mm Gone
info at oddballfilm.com
info at oddballfilm.com
Fri Jan 25 21:32:37 CST 2013
It's gone. Will post if anything else turns up!
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Stephen Parr
Director
Oddball Film+Video
www.oddballfilm.com
Oddball Films
www.oddballfilms.blogspot.com
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On Jan 25, 2013, at 10:01 AM, frameworks-request at jonasmekasfilms.com wrote:
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Today's Topics:
1. Re: FW: Seeking suggestions - Polaroids in film or video
(Dana Berman Duff)
2. Re: 8mm/16mm looping (Dana Berman Duff)
3. Re: Singularity and intentional incoherence (Ittai Rosenbaum)
4. two new videos from Laptop Hooligans (jaime cleeland)
5. Re: Singularity and intentional incoherence (Andy Ditzler)
6. transformer question (Alex MacKenzie)
7. Re: transformer question (Scott Dorsey)
----------------------------------------------------------------------
Message: 1
Date: Thu, 24 Jan 2013 20:20:12 -0800
From: Dana Berman Duff <d.naduff at gmail.com>
Subject: Re: [Frameworks] FW: Seeking suggestions - Polaroids in film
or video
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID: <CD2747FC.3511E%d.naduff at gmail.com>
Content-Type: text/plain; charset="iso-8859-1"
³The American Friend² Wim Wenders Near the end of the movie: Dennis
Hopper shooting pictures of himself on a pool table.
On 1/24/13 10:35 AM, "Patrick Friel" <patrick.friel at att.net> wrote:
> Hi All,
>
> Mimi Brody at Northwestern University¹s Block Cinema is looking for
> films/videos that use Polaroids (see below) - especially experimental works.
> Contact her directly (m-brody at northwestern.edu) or, if you reply here, I¹ll
> forward to her.
>
> Thx.
>
> Patrick Friel
>
>
>
>
> ------ Forwarded Message
> From: mimibrody <m-brody at northwestern.edu>
> Reply-To: filmprogrammers <filmprogrammers at yahoogroups.com>
> Date: Thu, 24 Jan 2013 18:01:33 -0000
> To: filmprogrammers <filmprogrammers at yahoogroups.com>
> Subject: [filmprogrammers] Seeking suggestions - Polaroids in film or video
>
>
> Hi everyone,
>
> I'm looking for films and videos that incorporate Polaroid film in some way. I
> know there are a few feature films that use Polaroids (for instance, Alice in
> the Cities and Memento) and a recent documentary (Time Zero). I'm mostly
> interested in experimental works, but am curious to hear about additional
> features as well.
>
> Thanks!
>
> Mimi Brody
> Block Cinema
>
>
>
> ------ End of Forwarded Message
>
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Message: 2
Date: Thu, 24 Jan 2013 20:29:54 -0800
From: Dana Berman Duff <d.naduff at gmail.com>
Subject: Re: [Frameworks] 8mm/16mm looping
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID: <CD274A42.35122%d.naduff at gmail.com>
Content-Type: text/plain; charset="iso-8859-1"
That hook in the ceiling is brutal. We used to use metal sewing machine
bobbins as guides/wheelsexactly the right size for super-8. Use light
springs to attach them and the flexible tension will prevent the film from
breaking.
Dana Duff
On 1/21/13 2:03 AM, "Anderwald Grond" <contact at anderwald-grond.at> wrote:
> hi,
> it depends on the duration of the show and the effect you are looking for. we
> do 8mm loops in exhibitions up to 4 week/copy and put on a new copy only when
> the film is completely destroyed, because we like to have scratches as an
> extra element of time. but if you want a pure image, better get a looper.
> attached some small pics.
> hope this helps,
> ruth
> -------------
> Ruth Anderwald + Leonhard Grond
>
> ++43 699 10984551
> Schüttelstr. 21/14
> 1020 Wien
> contact at anderwald-grond.at
> http://www.anderwald-grond.at
> http://www.hasenherz.at
>
> 16mm Looper- there are technicians who can do it. our guy is based in vienna,
> but im sure in your area must be someone, too.
>
> 8mm looped on metal hooks for floor projection
>
>
>
> Am 20.01.2013 um 07:34 schrieb matthew brown:
>
>> Hi,
>> I am trying to set-up a basic loop on a super-8 projector and also a 16mm
>> projector,
>> the film would be pretty short, no more than 10ft.
>>
>> anyone with experience with looping have suggestions/readings/instructions???
>>
>>
>> thanks so much,
>> matthew brown
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
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Message: 3
Date: Fri, 25 Jan 2013 00:05:44 -0800
From: Ittai Rosenbaum <ittai66 at gmail.com>
Subject: Re: [Frameworks] Singularity and intentional incoherence
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<CADpdimaa7wZ5ATd+0C39QjzjWz7iR2FxpS40dhAc4mDsNbnBQA at mail.gmail.com>
Content-Type: text/plain; charset="windows-1252"
Thanks Carl, I'll look for it.
On Thu, Jan 24, 2013 at 1:35 PM, Carl Lee <carl at termite.org> wrote:
> Hi Ittai --
>
> My memory is hazy, but I remember there's a Jane Campion film -- I think
> it might be The Piano, but possibly an earlier film than that -- where a
> girl is telling a story and it suddenly cuts to a short hand-drawn
> animation sequence. It's the only moment in the film that's like that (the
> rest of the movie is "live-action") and it's never really explained why
> we're seeing it like this, though it does relate to the story the girl is
> telling. (If I'm remembering correctly...it's possible I'm just imagining
> remembering it.....but I'm sure others on fw would know for sure.)
>
> Carl
>
>
>
> On 1/23/2013 6:04 PM, Ittai Rosenbaum wrote:
>
> Tom, Bryan, Roger
>
> Thank you so much! The examples - of which I knew only one: "Blazing
> Saddles" - sound very interesting and relevant. I will check them all out
> and share any further information.
>
> Ittai
>
>
> On Wed, Jan 23, 2013 at 10:13 AM, Beebe, Roger <rogerbb at ufl.edu> wrote:
>
>> Just to piggyback on/unpack Tom's mention of "Hapax Legomena"--it's
>> actually 7 films (that can be considered as one larger unit). The title
>> refers to words that only appear once in the written record, in an author's
>> work, etc. (In ancient texts, this makes them especially difficult to
>> decipher, as you might imagine.) So the title itself refers to
>> singularity--you'll have to take a look at the films, three of which are on
>> the Frampton Criterion set, to see if the films seem to speak to/embody
>> that concept.
>>
>> ...
>> Roger
>>
>> On Jan 23, 2013, at 10:22 AM, Tom Whiteside wrote:
>>
>> 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
>>
>> (650) 704-6566
>>
>> PRÆSENTEM
>>
>> http://earbits.com/
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>>
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>
>
> --
> Ittai Rosenbaum
> www.ittairosenbaum.com
>
> (650) 704-6566
>
> PRÆSENTEM
>
> http://earbits.com/
>
>
> _______________________________________________
> FrameWorks mailing listFrameWorks at jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
>
> _______________________________________________
> FrameWorks mailing list
> FrameWorks at jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
--
Ittai Rosenbaum
www.ittairosenbaum.com
(650) 704-6566
PRÆSENTEM
http://earbits.com/
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Message: 4
Date: Fri, 25 Jan 2013 12:46:56 +0000 (GMT)
From: jaime cleeland <ethnomite at yahoo.co.uk>
Subject: [Frameworks] two new videos from Laptop Hooligans
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<1359118016.37746.YahooMailNeo at web171202.mail.ir2.yahoo.com>
Content-Type: text/plain; charset="utf-8"
http://www.youtube.com/watch?v=9So_t5oqlFQ
http://www.youtube.com/watch?v=6dezBKEXdfA
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Message: 5
Date: Fri, 25 Jan 2013 10:32:23 -0500
From: Andy Ditzler <andy at andyditzler.com>
Subject: Re: [Frameworks] Singularity and intentional incoherence
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Message-ID:
<CANgjuVw8s3su0dQbj4rgN8FMswJPzvJ_6_qx9oYsa11xqG_GAg at mail.gmail.com>
Content-Type: text/plain; charset="windows-1252"
Hello,
Consider the brief close-up appearance of the cockatoo around the last
third of Citizen Kane. Cut to bird, loud bird shriek on soundtrack, then
back to the story. Welles' purpose in this odd cutaway was to wake up the
audience, exactly as Tom Whiteside describes with his experience. ("It has
a sort of purpose, but no meaning" - reference on p. 72 of This Is Orson
Welles.) I suspect other singularities, at least in the novel use of them
by Hollywood, have a similar purpose/effect.
D. A. Miller has written interestingly on Hitchcock's cameos in a way that
could be connected to their "singularity" within each film; but then again,
the cameos as a whole represent a coherence in that they occur throughout
Hitchcock's career.
Andy Ditzler
On Wed, Jan 23, 2013 at 2:37 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
>
>
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Message: 6
Date: Fri, 25 Jan 2013 09:11:33 -0800
From: Alex MacKenzie <alexgmackenzie at gmail.com>
Subject: [Frameworks] transformer question
To: frameworks at jonasmekasfilms.com
Message-ID: <424EB9C6-690B-49E2-B480-7AFE16DAF29E at gmail.com>
Content-Type: text/plain; charset=us-ascii
I am taking two 16mm analytic projectors to the UK from North America, and require power transformers.
Each projector is marked as 120V 400W 60 Cycle. They are analytic projectors and I am pulsing the image (ie I am not looking for steady 24fps),
Can I use standard transformers that convert 120V/230V 60Hz/50Hz? Or do I need to worry about the Cycles? It seems most places have transformers, but they might not be able to accomodate the 50 vs 60 aspect. If you have any suggestions, it would be appreciated, thanks!
------------------------------
Message: 7
Date: Fri, 25 Jan 2013 12:47:41 -0500
From: Scott Dorsey <kludge at panix.com>
Subject: Re: [Frameworks] transformer question
To: frameworks at jonasmekasfilms.com
Message-ID: <5102c53d.SJrK2NDgclM1x4lU%kludge at panix.com>
Content-Type: text/plain; charset=us-ascii
If you use a normal crappy autotransformer from the hardware store, it will
probably be fine. However, the projector motor will run 20% slower. This
means your 24 fps setting will not be 24 fps but it also means the motor
will run hotter and the cooling fan will not move as much air past the
lamp. So if you do this, I would use a smaller lamp size.
It's easy to change voltage, it's very hard to change operating frequency.
If these are Kodak Analyst projectors there are some belt changes that will
make them operate properly on 50 Hz. If they are Specos there are some pulley
replacements. Check the projector manual.
--scott
------------------------------
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