[Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

Thu Jan 14 18:22:17 UTC 2016

http://rhizome.org/editorial/2009/jan/07/setting-the-tome/ <http://rhizome.org/editorial/2009/jan/07/setting-the-tome/>

scroll to the bottom of the article for the diagram. 

I’ve heard tell of this work being produced more than once, and I’ve always wanted to try it myself (with a group of stalwart cinema students). 

JW

> On Jan 14, 2016, at 1:12 PM, Bernard Roddy <tactilecorpus at gmail.com> wrote:
> 
> I think this work by Tony mentioned by Fred is reproduced as a diagram/instruction in:
> 
> W + B Hein : Dokumente 1967-1985, Fotos, Briefe, Texte.
> 
> 
> On Thu, Jan 14, 2016 at 12:47 AM, Cinema Project <info at cinemaproject.org <mailto:info at cinemaproject.org>> wrote:
> Jesse! 
> 
> In regards to "well-deployed spoilers," I might look into Maurice LeMaître's "Le film est déjà commencé?" from 1952. It was a Lettrist film and supposed staged provocation. There's some accounts/ info on it in Off-Screen Cinema by Kaira M Cabañas. 
> 
> Might not be what you're looking for at all, but it's an interesting sort of (delayed) response to those legendary "reactions." 
> 
> Mia Ferm
> 
> -- 
> Cinema Project
> www.cinemaproject.org <http://www.cinemaproject.org/>
> 971-266-0085 <tel:971-266-0085>
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> 
> On Wed, Jan 13, 2016 at 8:50 PM, Fred Camper <f at fredcamper.com <mailto:f at fredcamper.com>> wrote:
> Yes, that's right. Because it was positive film, a succession of black and white rectangles appeared inside each other as with each new pass the previous result was filmed. I believe it was around 40 minutes long. It was really interesting; I had never seen anything like it before, and have not since.
> 
> Fred Camper
> 
> 
> On 1/13/2016 11:32 PM, Gene Youngblood wrote:
>> I believe Tony Conrad did some kind of demonstration or performance of “film feedback” in which exposed 16mm film went immediately into a developing bath and was projected, and the projection was filmed and projected, and so on.  No doubt someone on this list remembers that and can describe it properly. Also, for scholars of early video, in the current issue of Afterimage Robyn Farrell has an in-depth history of Gerry Schum’s “TV Gallery” and “Video Gallery” projects in Germany in the late sixties, which I only alluded to in passing in Expanded Cinema.
>> 
>> 
>>> On Jan 13, 2016, at 3:17 PM, robert harris <lagonaboba at gmail.com <mailto:lagonaboba at gmail.com>> wrote:
>>> 
>>> The “early cinema/early video” query is a good one, one that I’ve not seen explored with much rigor. 
>>> 
>>> Kleinhans’ question of “broadcast TV or portapak” is significant.
>>> 
>>> Early TV might have more in common with radio than with early film.
>>> 
>>> Early video (portapak) provoked, for some practitioners, sensibilities in keeping with those of the Lumieres. 
>>> 
>>> The Lumiere camera was more like video than any other camera (including the Edison version) as it was, like video, a capture and playback device (and lab).
>>> 
>>> The promptness with which the Lumieres could playback their recordings (if my film mythology serves me) is almost video-like (time was a little slower in those days, so they say).
>>> 
>>>  Both early film and early video were made without post-production edits, hence were finished in camera.
>>> 
>>>  Video’s instant feedback loop is an unequivocal distinction from film.
>>> 
>>> To give proper attention to all origin strains of video, you have to consider camera-less, raster based work (Nam June Paik, Wolf Vostell and others).
>>> 
>>> The “early cinema” equivalent might be the first people to mark on clear leader, some Italian Futurists, Hans Richter, Man Ray etc.
>>> 
>>>  As to cultural “outrage”, it wasn’t uncommon for the people throwing things at the artists and making big scenes to be the Surrealists themselves.
>>> 
>>>  
>>> 
>>> Some worthy writing of early video (essays you should be able to easily find): 
>>> 
>>> Hollis Frampton, The Withering Away of the State of the Art
>>> 
>>> David Antin, Video: The Distinctive Features of the Medium
>>> 
>>> 
>>> 
>>> 
>>> On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans <chuckkle at northwestern.edu <mailto:chuckkle at northwestern.edu>> wrote:
>>> 
>>>> An answer depends on how “early” you’re talking about film (1890s? later?), and about video (Broadcast TV or Portapak?).  Probably the most significant common feature is the fixed camera position.
>>>> 
>>>> The most significant difference (beyond the obvious one of resolution) is shot duration.  Video (portpak on) allowed for remarkably long shots compared to almost all film.
>>>> 
>>>> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or How We Got Into Pictures” is a great explanation of the evolution of early films' means and style, concentrating on how the audience was shaped by the evolving formal elements of cinema.
>>>> 
>>>> Chuck Kleinhans
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