[Frameworks] critiques?

Sat Jan 30 23:53:10 UTC 2021

Why off list ?

Grrrrrrr

On Thu, Jan 28, 2021 at 5:51 PM Michael Campos-Quinn <
michaelcamposquinn at gmail.com> wrote:

> Thanks John and Chris for these suggestions! Yes, I'm sure it's easier
> when you can pop out for a beer to keep talking.... I would agree that
> eliciting helpful language is the real challenge, and a skill that may or
> may not be available to all.
>
> Mary, the idea of a remote critique series sounds potentially valuable! If
> anyone is interested I guess get in touch off-list?
>
> Cheers,
> Michael
>
>
>
> On Thu, Jan 28, 2021 at 1:18 PM mary billyou <mbillyou at gmail.com> wrote:
>
>> If anyone is interested in participating a critique series I'd be up for
>> facilitating!
>>
>> Mary
>>
>> On Wed, Jan 27, 2021, 11:45 PM Chris Freeman <
>> christopherbriggsfreeman at gmail.com> wrote:
>>
>>> Go to grad school lulz :)
>>>
>>> But seriously getting good substantial critique outside of an academic
>>> environment is tough.
>>>
>>> I've known people that have set up critique groups to get together and
>>> view work in progress.  That can be helpful and a good community-building
>>> project.  It's all going to depend on what those people bring though - how
>>> deep can they go with the language or art or filmmaking?  There's a bit of
>>> a skill involved in critiquing and giving useful feedback that not everyone
>>> is going to have.  That "rad, dude" person may have much deeper thoughts
>>> about your work but may never have been taught how to put them into words.
>>>
>>> I used to run a sort of "open mic" experimental night at a local art
>>> house theater.  People brought their short films on a thumb drive before
>>> the screening, we loaded them up and watched them, then had Q&A afterwards
>>> - and continued it across the street at the bar afterwards.  I don't
>>> remember it going super deep, but again something like that can be a
>>> community builder and a start to finding the people whose opinions you
>>> trust.  Something like that is not possible right now, but if you are the
>>> type who might be interested in programming community events, that could be
>>> an opportunity after covid.  Or start it now with a virtual thing.
>>>
>>> Also you could try to set up studio visits / work in progress screenings
>>> with filmmakers in your community, film professors, any locals that run
>>> screenings or film festivals.  You never know who might take you up on it.
>>> Again, find the people who you think will give useful feedback.  Or try it
>>> virtually so you aren't tied to just locals.  Look at the program from any
>>> past screenings or film festivals you might have been in and hit up the
>>> other filmmakers that were screened - "Hey we were in that film festival
>>> together, I really liked your work, would you mind taking a look at my
>>> upcoming film?"  It'll be hit or miss if it's cold calling, but try for the
>>> people you talked to at any past events.
>>>
>>> Or sometimes there are residencies or short-term things run by arts
>>> organizations you can apply for that are like an academic environment, but
>>> without all the student loan debt.
>>>
>>> Take a class if there are any local institutions that do film or media,
>>> maybe continuing ed / community ed classes at a college, or at local arts
>>> organizations.  Or maybe there are some available online these days.
>>>
>>> Also have some questions for people you are showing the work to.  Are
>>> you trying to get a sense of how the pacing is working?  How natural the
>>> dialog sounds?  How the glitch effects reinforce the theme?  The more
>>> specific, open-ended questions you can come up with, the more conversation
>>> you'll spark.
>>>
>>> On Wed, Jan 27, 2021 at 6:56 PM John Muse <jmuse at sonic.net> wrote:
>>>
>>>> Hi, Michael.  I’ve found crits (even with friends!) to be most useful
>>>> when a., folks are in a room (or Zoom) together and can really talk through
>>>> their experience with you; b., you prepare a few questions in advance,
>>>> which can be thematic or technical, about the topic or the formal issues or
>>>> their entanglement; c., you can offer different cuts (of a few sequences,
>>>> of approaches to sound design, of color correction) for comparison; d.,
>>>> there are snacks!
>>>>
>>>> It can be hard to explain the idea of a “rough cut” or “work in
>>>> progress” or “temp music” or “temp titles” to people who aren’t makers and
>>>> steeped in the lore, but you can frame things and focus everyone’s
>>>> attention on the things that really matter to you.
>>>>
>>>> Hope this helps!
>>>>
>>>> j
>>>>
>>>> > On Jan 27, 2021, at 8:07 PM, Michael Campos-Quinn <
>>>> michaelcamposquinn at gmail.com> wrote:
>>>> >
>>>> > Hello,
>>>> >
>>>> > I'm curious to hear what anyone would suggest for getting critical
>>>> feedback on works in progress beyond sharing with friends. There are so
>>>> many different aesthetic interests and even politics so there's no single
>>>> answer, but I've found myself looking for something between "rad, dude" and
>>>> crickets.
>>>> >
>>>> > Any suggestions would be super appreciated!
>>>> >
>>>> > Best wishes to you all,
>>>> > Michael Campos-Quinn
>>>> > --
>>>> > Frameworks mailing list
>>>> > Frameworks at film-gallery.org
>>>> > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>>>
>>>> j/PrM
>>>>
>>>>
>>>> *************************************************
>>>>
>>>> John Muse
>>>> Assistant Professor of Visual Studies
>>>> Haverford College
>>>> he/him/his
>>>> j=John PrM=Professor Muse
>>>>
>>>> http://www.finleymuse.com/
>>>> https://www.haverford.edu/faculty/jmuse
>>>> https://johnmuse.academia.edu/
>>>> https://www.instagram.com/johnmuseartist/
>>>> https://www.facebook.com/jmuse99
>>>> https://www.last.fm/user/jmuse
>>>>
>>>> *************************************************
>>>>
>>>>
>>>>
>>>>
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