From: Patricia R. Zimmermann (email suppressed)
Date: Fri Dec 26 2008 - 18:12:18 PST
Tess Takahashi is a woman film theorist!
I believe she teaches at York U in Toronto
-------
Patricia R. Zimmermann, Ph.D.
Professor, Cinema, Photography and Media Arts
Roy H. Park School of Communications
Codirector, Finger Lakes Environmental Film Festival
Division of Interdisciplinary and International Studies
Ithaca College
Ithaca, New York 14850 USA
Office: +1 (607) 274 3431
FAX: +1 (607) 274 7078
http://faculty.ithaca.edu/patty/
http://www.ithaca.edu/fleff
email suppressed
---- Original message ----
>Date: Fri, 26 Dec 2008 17:28:54 -0800
>From: Experimental Film Discussion List <email suppressed>)
>Subject: Tess Takahashi
>To: email suppressed
>
> Can anyone give me email contact for Tess Takahashi?
>
> Just discovered an extraordinary essay he penned;
>
> 'AFTER THE DEATH OF FILM: WRITING THE NATURAL WORLD
> IN THE DIGITAL AGE'.
> Visible Language. FindArticles.com. 26 Dec. 2008.
>
> http://findarticles.com/p/articles/mi_qa3982/is_200801/ai_n25421378
>
> If necessary, please feel free to contact me
> off-list.
>
> Thanks! Ken
>
> http://www.kenpaulrosenthal.com
> http://www.crookedbeauty.com
>
> > Date: Tue, 23 Dec 2008 18:48:19 -0500
> > From: email suppressed
> > Subject: FRAMEWORKS Digest - 23 Dec 2008 - Special
> issue (#2008-697)
> > To: email suppressed
> >
> > There are 7 messages totalling 542 lines in this
> issue.
> >
> > Topics in this special issue:
> >
> > 1. DIY 16mm Optical Printer
> > 2. how to tint 16mm b&w footage? (5)
> > 3. Animated films + Water
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> >
> >
> ----------------------------------------------------------------------
> >
> > Date: Tue, 23 Dec 2008 12:37:47 +0000
> > From: james <email suppressed>
> > Subject: Re: DIY 16mm Optical Printer
> >
> > Hi
> >
> > I might add to this that the kodatoy 16mm
> projector has been mentioned on
> > this list before as it has a cranking handle and
> could easily be adapted for
> > this I think.
> >
> > Bolex also made critical gate focusing devices
> which are similar to the ones
> > used in the JK optical printer so you can check
> the framing / focusing with
> > the camera locked off before you waste time and
> film - indeed, I think this
> > would be the hardest aspect of any DIY set up.
> >
> > Lenny Lipton has a chapter in independent film
> (mixed bag) which mentions
> > re-filming the gate, and Lauren Seers films were
> all done using a DIY set up
> > which was mentioned in an earlier post
> >
> > James
> >
> > >
> > > Hi Ryan
> > > I built my own optical printer using the
> transport part of an old (ancient!)
> > > Filmo (I think) projector which has an inching
> knob at the front.
> > > I cut everything else away including the lamp
> house area as well as the
> > > rotating shutter on the inside behind the gate.
> What remained was the carcass
> > > of the projector with the sprocket wheels and
> claw.
> > > Turning the inching knob rotated the sprocket
> wheels which moves the film past
> > > the gate and also operated the claw which pulled
> the frame into registration
> > > in the gate. This was very precise.
> > > I (very crudely) attached a very slow motor to
> the inching knob and this
> > > turned the mechanism at a manageable speed while
> I pressed the single frame
> > > button on the Bolex, which I faced into the
> gate. (I also projected the frame
> > > onto a sheet of ordinary xereox paper leaving
> the lens in the projector and
> > > pointed the cam at that (reflective). It
> delivers a softer image but was
> > > easier to work with and you can matt the frame
> easier)
> > > Having cut away (using a metal-type blade on a
> v. slow jig saw) the lamp house
> > > I situated a slide projector directly behind the
> gate which was bright enough
> > > to shoot into the frame using an extension tube
> on the Bolex. This takes care
> > > of the cooling problem so the film frame will
> not warp.
> > > The feed and take-up arms can be connected with
> a thick rubber band or
> > > belt so the pull of the feed affects the pull of
> the take-up.
> > > It took ages to build and required a lot of fuss
> and set up time every time I
> > > used it, but it worked well.
> > > The alignment was critical, as well as the
> parallax error of reflex systems
> > > (looks perfect in viewfinder but is jogged to
> left or right on the actual film
> > > plane).
> > > I'm sure there are other critical details of the
> thing that I am forgetting
> > > here (it has been a long time) but the above are
> the main ones.
> > >
> > > Good luck with it all.
> > >
> > > Julie Murray
> > >
> > >
> _________________________________________________________________
> > > It¹s the same Hotmail®. If by ³same² you
> mean up to 70% faster.
> > >
> http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_hotmail_acq_broad1_122
> > > 008
> > >
> > >
> __________________________________________________________________
> > > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> > >
> > >
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> > ------------------------------
> >
> > Date: Tue, 23 Dec 2008 16:42:29 +0100
> > From: marco poloni <email suppressed>
> > Subject: how to tint 16mm b&w footage?
> >
> > Hello all,
> >
> > I just subscribed to frameworks. I am a visual
> artist and filmmaker based in Berlin, Germany. I
> heard of your list through a Chicago-based filmmaker
> friend of line, Peter MIller.
> >
> > I have a tough one... I am looking for a
> laboaratory in or outside of the US that has film
> tinting capabilities, i.e. the tinting of b&w
> footage with color dyes. This was a process much
> practised in the early days of cinema, to add
> expressive quality to specific scenes, and
> also—to my knowledge—to discriminate
> original films from unauthorised copies.
> >
> > This is a rather obsolete process. The only
> filmmakers I know of who used it are the Milan-based
> couple Ricci&Gianikian.
> >
> > Would anyone have a tip here?
> >
> > Thanks, all best,
> > Marco
> >
> > ------------------------------------------------
> > Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > gsm +41.78.6322028, skype marcopoloni
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> > ------------------------------
> >
> > Date: Tue, 23 Dec 2008 08:14:54 -0800
> > From: Kerry Laitala <email suppressed>
> > Subject: Re: how to tint 16mm b&w footage?
> >
> > Well, the Berg Blue toning kits work o.k., but it
> can be hard to get the red truly red and not pink.
> I've used several fabric dyes that produce good
> reaults-much cheaper, but I cannot say whether they
> effect archivability of the film
> material...good-luck...
> >
> > Best,
> >
> > kerry
> >
> >
> > --- On Tue, 12/23/08, marco poloni
> <email suppressed> wrote:
> >
> > > From: marco poloni <email suppressed>
> > > Subject: how to tint 16mm b&w footage?
> > > To: email suppressed
> > > Date: Tuesday, December 23, 2008, 7:42 AM
> > > Hello all,
> > >
> > > I just subscribed to frameworks. I am a visual
> artist and
> > > filmmaker based in Berlin, Germany. I heard of
> your list
> > > through a Chicago-based filmmaker friend of
> line, Peter
> > > MIller.
> > >
> > > I have a tough one... I am looking for a
> laboaratory in or
> > > outside of the US that has film tinting
> capabilities, i.e.
> > > the tinting of b&w footage with color dyes. This
> was a
> > > process much practised in the early days of
> cinema, to add
> > > expressive quality to specific scenes, and
> also—to my
> > > knowledge—to discriminate original films
> from unauthorised
> > > copies.
> > >
> > > This is a rather obsolete process. The only
> filmmakers I
> > > know of who used it are the Milan-based couple
> > > Ricci&Gianikian.
> > >
> > > Would anyone have a tip here?
> > >
> > > Thanks, all best,
> > > Marco
> > >
> > > ------------------------------------------------
> > > Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > > gsm +41.78.6322028, skype marcopoloni
> > >
> > >
> > >
> __________________________________________________________________
> > > For info on FrameWorks, contact Pip Chodorov at
> > > <email suppressed>.
> >
> >
> >
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> > ------------------------------
> >
> > Date: Tue, 23 Dec 2008 09:24:00 -0800
> > From: Steve Polta <email suppressed>
> > Subject: Re: Animated films + Water
> >
> > PSYCHO PORPOISE by Rock Ross, of San Francisco's
> No Nothing/New Nothing Cinema, is a great short work
> of direct-safety-pin-to-16mm scratch filmmaking.
> Very detailed frame-by-frame work (on image and
> sound)--each time I've screened it I believe I've
> screened the original. It is a small wonder to
> behold. It's very West Coast, very No Nothing,
> short, silly, loud, humorous and fun, skirts a very
> fine (and interesting) line between abstraction and
> cartoon representation. A masterpiece of the genre
> in my opinion.
> >
> > Steve Polta
> >
> >
> > --- On Mon, 12/22/08, Ariella Ben-Dov
> <email suppressed> wrote:
> >
> > > From: Ariella Ben-Dov <email suppressed>
> > > Subject: Animated films + Water
> > > To: email suppressed
> > > Date: Monday, December 22, 2008, 1:34 PM
> > > Dear Frameworkers, I am looking for animated
> films that
> > > feature water in
> > > some way. It can either literally include images
> of water
> > > or use water (as
> > > in watercolors) to create the images. The films
> can be
> > > contemporary or
> > > historic and in any format. Please let me know
> if you have
> > > any thoughts or
> > > suggestions about animators to contact and
> specific films
> > > to view.
> > > Thanks a lot,
> > > Ariella J. Ben-Dov
> > > Artistic Director and Festival Director,
> Margaret Mead Film
> > > & Video Festival
> > > Manager, Public Programs
> > >
> > > American Museum of Natural History
> > > Central Park West at 79th Street
> > > New York, New York 10024
> > >
> > > (212) 496-4217 Phone
> > > (212) 769-5329 Fax
> > > email suppressed
> > > http://www.amnh.org/mead
> > >
> > >
> > >
> __________________________________________________________________
> > > For info on FrameWorks, contact Pip Chodorov at
> > > <email suppressed>.
> >
> >
> >
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> > ------------------------------
> >
> > Date: Tue, 23 Dec 2008 13:42:43 -0500
> > From: marco poloni <email suppressed>
> > Subject: Re: how to tint 16mm b&w footage?
> >
> > Sounds like good tips, and like a lot of
> tinkering... i'll try to get that berg blue kit.
> > Thanks a lot,
> > Marco
> >
> > -----Original Message-----
> > >From: Kerry Laitala <email suppressed>
> > >Sent: Dec 23, 2008 11:14 AM
> > >To: email suppressed
> > >Subject: Re: how to tint 16mm b&w footage?
> > >
> > >Well, the Berg Blue toning kits work o.k., but it
> can be hard to get the red truly red and not pink.
> I've used several fabric dyes that produce good
> reaults-much cheaper, but I cannot say whether they
> effect archivability of the film
> material...good-luck...
> > >
> > >Best,
> > >
> > >kerry
> > >
> > >
> > >--- On Tue, 12/23/08, marco poloni
> <email suppressed> wrote:
> > >
> > >> From: marco poloni <email suppressed>
> > >> Subject: how to tint 16mm b&w footage?
> > >> To: email suppressed
> > >> Date: Tuesday, December 23, 2008, 7:42 AM
> > >> Hello all,
> > >>
> > >> I just subscribed to frameworks. I am a visual
> artist and
> > >> filmmaker based in Berlin, Germany. I heard of
> your list
> > >> through a Chicago-based filmmaker friend of
> line, Peter
> > >> MIller.
> > >>
> > >> I have a tough one... I am looking for a
> laboaratory in or
> > >> outside of the US that has film tinting
> capabilities, i.e.
> > >> the tinting of b&w footage with color dyes.
> This was a
> > >> process much practised in the early days of
> cinema, to add
> > >> expressive quality to specific scenes, and
> also—to my
> > >> knowledge—to discriminate original films
> from unauthorised
> > >> copies.
> > >>
> > >> This is a rather obsolete process. The only
> filmmakers I
> > >> know of who used it are the Milan-based couple
> > >> Ricci&Gianikian.
> > >>
> > >> Would anyone have a tip here?
> > >>
> > >> Thanks, all best,
> > >> Marco
> > >>
> > >>
> ------------------------------------------------
> > >> Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > >> gsm +41.78.6322028, skype marcopoloni
> > >>
> > >>
> > >>
> __________________________________________________________________
> > >> For info on FrameWorks, contact Pip Chodorov at
> > >> <email suppressed>.
> > >
> > >
> > >
> > >
> > >
> >
> >__________________________________________________________________
> > >For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> >
> > ------------------------------------------------
> > Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > gsm +41.78.6322028, skype marcopoloni
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> > ------------------------------
> >
> > Date: Tue, 23 Dec 2008 13:29:13 -0600
> > From: Ed Inman <email suppressed>
> > Subject: Re: how to tint 16mm b&w footage?
> >
> > Photographer's Formulary in the USA sells a
> variety of traditional B/W toner formulas:
> >
> > http://www.photoformulary.com/DesktopDefault.aspx
> >
> > Of course most people use these on paper these
> days. I would be hesitant to experiment on valuable
> footage, but I suppose some would work on film.
> There is a pretty good article on film tinting on
> Wiki:
> >
> > http://en.wikipedia.org/wiki/Film_tinting
> >
> > As an alternative, have you considered projecting
> with filters?
> >
> > Ed
> >
> >
> >
> >
> >
> >
> > -----Original Message-----
> > >From: marco poloni <email suppressed>
> > >Sent: Dec 23, 2008 12:42 PM
> > >To: email suppressed
> > >Subject: Re: how to tint 16mm b&w footage?
> > >
> > >Sounds like good tips, and like a lot of
> tinkering... i'll try to get that berg blue kit.
> > >Thanks a lot,
> > >Marco
> > >
> > >-----Original Message-----
> > >>From: Kerry Laitala <email suppressed>
> > >>Sent: Dec 23, 2008 11:14 AM
> > >>To: email suppressed
> > >>Subject: Re: how to tint 16mm b&w footage?
> > >>
> > >>Well, the Berg Blue toning kits work o.k., but
> it can be hard to get the red truly red and not
> pink. I've used several fabric dyes that produce
> good reaults-much cheaper, but I cannot say whether
> they effect archivability of the film
> material...good-luck...
> > >>
> > >>Best,
> > >>
> > >>kerry
> > >>
> > >>
> > >>--- On Tue, 12/23/08, marco poloni
> <email suppressed> wrote:
> > >>
> > >>> From: marco poloni <email suppressed>
> > >>> Subject: how to tint 16mm b&w footage?
> > >>> To: email suppressed
> > >>> Date: Tuesday, December 23, 2008, 7:42 AM
> > >>> Hello all,
> > >>>
> > >>> I just subscribed to frameworks. I am a visual
> artist and
> > >>> filmmaker based in Berlin, Germany. I heard of
> your list
> > >>> through a Chicago-based filmmaker friend of
> line, Peter
> > >>> MIller.
> > >>>
> > >>> I have a tough one... I am looking for a
> laboaratory in or
> > >>> outside of the US that has film tinting
> capabilities, i.e.
> > >>> the tinting of b&w footage with color dyes.
> This was a
> > >>> process much practised in the early days of
> cinema, to add
> > >>> expressive quality to specific scenes, and
> also—to my
> > >>> knowledge—to discriminate original
> films from unauthorised
> > >>> copies.
> > >>>
> > >>> This is a rather obsolete process. The only
> filmmakers I
> > >>> know of who used it are the Milan-based couple
> > >>> Ricci&Gianikian.
> > >>>
> > >>> Would anyone have a tip here?
> > >>>
> > >>> Thanks, all best,
> > >>> Marco
> > >>>
> > >>>
> ------------------------------------------------
> > >>> Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > >>> gsm +41.78.6322028, skype marcopoloni
> > >>>
> > >>>
> > >>>
> __________________________________________________________________
> > >>> For info on FrameWorks, contact Pip Chodorov
> at
> > >>> <email suppressed>.
> > >>
> > >>
> > >>
> > >>
> > >>
> >
> >>__________________________________________________________________
> > >>For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> > >
> > >
> > >------------------------------------------------
> > >Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > >gsm +41.78.6322028, skype marcopoloni
> > >
> > >
> >
> >__________________________________________________________________
> > >For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> > ------------------------------
> >
> > Date: Tue, 23 Dec 2008 18:48:17 -0500
> > From: marco poloni <email suppressed>
> > Subject: Re: how to tint 16mm b&w footage?
> >
> > Hi Ed,
> >
> > Thanks for the valuable feedback. I definitely
> would experiment on a copy of my master.¨
> >
> > You know what? Your suggestion to project via a
> filter is simple, and damn smart! Thanks for this!
> >
> > Marco
> >
> > -----Original Message-----
> > >From: Ed Inman <email suppressed>
> > >Sent: Dec 23, 2008 2:29 PM
> > >To: email suppressed
> > >Subject: Re: how to tint 16mm b&w footage?
> > >
> > >Photographer's Formulary in the USA sells a
> variety of traditional B/W toner formulas:
> > >
> > >http://www.photoformulary.com/DesktopDefault.aspx
> > >
> > >Of course most people use these on paper these
> days. I would be hesitant to experiment on valuable
> footage, but I suppose some would work on film.
> There is a pretty good article on film tinting on
> Wiki:
> > >
> > >http://en.wikipedia.org/wiki/Film_tinting
> > >
> > >As an alternative, have you considered projecting
> with filters?
> > >
> > >Ed
> > >
> > >
> > >
> > >
> > >
> > >
> > >-----Original Message-----
> > >>From: marco poloni <email suppressed>
> > >>Sent: Dec 23, 2008 12:42 PM
> > >>To: email suppressed
> > >>Subject: Re: how to tint 16mm b&w footage?
> > >>
> > >>Sounds like good tips, and like a lot of
> tinkering... i'll try to get that berg blue kit.
> > >>Thanks a lot,
> > >>Marco
> > >>
> > >>-----Original Message-----
> > >>>From: Kerry Laitala <email suppressed>
> > >>>Sent: Dec 23, 2008 11:14 AM
> > >>>To: email suppressed
> > >>>Subject: Re: how to tint 16mm b&w footage?
> > >>>
> > >>>Well, the Berg Blue toning kits work o.k., but
> it can be hard to get the red truly red and not
> pink. I've used several fabric dyes that produce
> good reaults-much cheaper, but I cannot say whether
> they effect archivability of the film
> material...good-luck...
> > >>>
> > >>>Best,
> > >>>
> > >>>kerry
> > >>>
> > >>>
> > >>>--- On Tue, 12/23/08, marco poloni
> <email suppressed> wrote:
> > >>>
> > >>>> From: marco poloni
> <email suppressed>
> > >>>> Subject: how to tint 16mm b&w footage?
> > >>>> To: email suppressed
> > >>>> Date: Tuesday, December 23, 2008, 7:42 AM
> > >>>> Hello all,
> > >>>>
> > >>>> I just subscribed to frameworks. I am a
> visual artist and
> > >>>> filmmaker based in Berlin, Germany. I heard
> of your list
> > >>>> through a Chicago-based filmmaker friend of
> line, Peter
> > >>>> MIller.
> > >>>>
> > >>>> I have a tough one... I am looking for a
> laboaratory in or
> > >>>> outside of the US that has film tinting
> capabilities, i.e.
> > >>>> the tinting of b&w footage with color dyes.
> This was a
> > >>>> process much practised in the early days of
> cinema, to add
> > >>>> expressive quality to specific scenes, and
> also—to my
> > >>>> knowledge—to discriminate original
> films from unauthorised
> > >>>> copies.
> > >>>>
> > >>>> This is a rather obsolete process. The only
> filmmakers I
> > >>>> know of who used it are the Milan-based
> couple
> > >>>> Ricci&Gianikian.
> > >>>>
> > >>>> Would anyone have a tip here?
> > >>>>
> > >>>> Thanks, all best,
> > >>>> Marco
> > >>>>
> > >>>>
> ------------------------------------------------
> > >>>> Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > >>>> gsm +41.78.6322028, skype marcopoloni
> > >>>>
> > >>>>
> > >>>>
> __________________________________________________________________
> > >>>> For info on FrameWorks, contact Pip Chodorov
> at
> > >>>> <email suppressed>.
> > >>>
> > >>>
> > >>>
> > >>>
> > >>>
> >
> >>>__________________________________________________________________
> > >>>For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> > >>
> > >>
> > >>------------------------------------------------
> > >>Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > >>gsm +41.78.6322028, skype marcopoloni
> > >>
> > >>
> >
> >>__________________________________________________________________
> > >>For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> > >
> > >
> >
> >__________________________________________________________________
> > >For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> >
> > ------------------------------------------------
> > Marco Poloni, Korsörer Strasse 1, D-10437
> Berlin
> > gsm +41.78.6322028, skype marcopoloni
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> > ------------------------------
> >
> > End of FRAMEWORKS Digest - 23 Dec 2008 - Special
> issue (#2008-697)
> >
> ******************************************************************
>
> ------------------------------------------------
>
> It’s the same Hotmail®. If by “same” you mean
> up to 70% faster. Get your account now.
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.