From: Adam Hart (email suppressed)
Date: Mon Mar 08 2004 - 11:20:00 PST
from what i understand, project stay free is 'defending' haynes, baldwin et
al in the sense that they're showing their work. i know there's no legal
action involved.
that's all. and for me, that's enough.
but i don't think that the music vs. film thing has all that much to do with
mere visibility. the grey album is fantastic, fun and accessible. meanwhile,
while i adore 'superstar' and 'tribulation 99', they aren't geared as much
towards mass consumption. most films that use copyrighted footage are by
some definition 'underground' or avant-garde, and they've probably gotten
about as much press as a more experimental music group like negativeland has
received.
-adam hart
seattle wa
>From: Rick Prelinger <email suppressed>
>Reply-To: Experimental Film Discussion List <email suppressed>
>To: email suppressed
>Subject: Re: godard's histories, illegal art, music vs. film
>Date: Mon, 8 Mar 2004 09:15:34 -0800
>
>Just to keep the record straight (and not trying to jump on anyone),
>the Illegal Art exhibition that toured various cities last year is
>not defending Craig Baldwin, Todd Haynes, or DJ Danger Mouse. I
>don't believe Danger Mouse has in fact been sued -- he received a
>cease-and-desist order and quit distributing the Grey Album. Sony,
>who owns the compositions on the Beatles' "White Album," has
>contacted Illegal Art's web provider and told them to take the "Grey
>Album" recordings from the Illegal Art exhibit site. For updates,
>follow http://www.eff.org/IP/grey_tuesday.php.
>
>Thinking about remixing, appropriation, collage and détournement,
>it's been striking me lately how quiet it is in the film and video
>world with regard to these strategies and their consequences, even
>though moving image works comprise many of the most significant works
>in this category. In contrast, it's noisier than ever in musicland,
>where transformative works like the "Grey Album" draw large audiences
>and get major media coverage. Is it just that music sampling and
>remixing have become totally mainstreamed? Is it that listeners of
>"sampled" music far outnumber viewers of "sampled" films/videos? Or
>is something happening in music that's going way beyond what's been
>done with moving images?
>
>Rick
>
>
>
>
>>it's actually in print, along with being on cd. someone in france put out
>>a
>>gorgeous coffee-table style book that has most or all of the separate
>>images. so, i suppose we could track one of those down and put the cd on
>>the
>>stereo while passing around the book.
>>
>>if anyone's involved with the illegal art tour that's defending craig
>>baldwin and todd haynes (and dj dangermouse now too), let's get them a new
>>recruit.
>>
>>-adam hart
>>seattle wa
>>
>
>--
>
>Rick Prelinger
>Prelinger Archives http://www.prelinger.com
>P.O. Box 590622, San Francisco, Calif. 94159-0622 USA
>email suppressed
>
>Online film collection at Internet Archive:
>http://www.archive.org/movies/prelinger.php
>
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.