From: email suppressed
Date: Sat Jun 12 2010 - 09:23:20 PDT
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Today's Topics:
1. super8 telecine - with cinelab? (Serge Levchin)
2. Re: super8 telecine - with cinelab? (Robert Houllahan)
3. Re: super8 telecine - with cinelab? (Dave Andrae)
4. This week [June 12 - 21, 2010] in avant garde cinema
(Weekly Listing)
----------------------------------------------------------------------
Message: 1
Date: Sat, 12 Jun 2010 15:26:04 +0200
From: Serge Levchin <email suppressed>
Subject: [Frameworks] super8 telecine - with cinelab?
To: email suppressed
Message-ID:
<email suppressed>
Content-Type: text/plain; charset="iso-8859-1"
hello list,
i know this question comes up every so often - and there was a discussion
here not too long ago about some of the better options for transferring
super8 to video.
places like pro8mm have been recommended. pro8mm's rates for SD transfer are
fairly reasonable, but HD is 4 times the price. ($825 for 500ft. of film).
CineLab appears to offer 1080p HD transfers at .37/ft (scene to scene color
corr.) - i.e. $185 for 500ft. of film.
- has anyone tried CineLab for HD or SD telecine?
- is the image quality of a Millennium2 or Ursa Diamond Y-front telecine
(Pro8mm) that much greater than a Rank Cintel transfer (CineLab)?
- does HD telecine make sense for super8 (especially considering there is an
aspect ratio mismatch)?
thanks and best regards,
serge
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Message: 2
Date: Sat, 12 Jun 2010 10:56:26 -0400
From: Robert Houllahan <email suppressed>
Subject: Re: [Frameworks] super8 telecine - with cinelab?
To: Experimental Film Discussion List <email suppressed>
Cc: "email suppressed>
Message-ID: <email suppressed>
Content-Type: text/plain; charset="us-ascii"
We just got a new Y Front / DaVinci room I don't think you will be
dissapointed with this transfer. We will be offering 2K pin registered
S8 scans by the end of the summer.
Rob
Robert Houllahan Film
www.lunarfilms.com
www.cinelab.com
Mapple iTelephone sent
On Jun 12, 2010, at 9:26 AM, Serge Levchin <email suppressed> wrote:
> hello list,
> i know this question comes up every so often - and there was a
> discussion here not too long ago about some of the better options
> for transferring super8 to video.
> places like pro8mm have been recommended. pro8mm's rates for SD
> transfer are fairly reasonable, but HD is 4 times the price. ($825
> for 500ft. of film).
> CineLab appears to offer 1080p HD transfers at .37/ft (scene to
> scene color corr.) - i.e. $185 for 500ft. of film.
>
> - has anyone tried CineLab for HD or SD telecine?
> - is the image quality of a Millennium2 or Ursa Diamond Y-front
> telecine (Pro8mm) that much greater than a Rank Cintel transfer
> (CineLab)?
> - does HD telecine make sense for super8 (especially considering
> there is an aspect ratio mismatch)?
>
> thanks and best regards,
> serge
> _______________________________________________
> FrameWorks mailing list
> email suppressed
> http://mailman-mail5.webfaction.com/listinfo/frameworks
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Message: 3
Date: Sat, 12 Jun 2010 11:03:50 -0400
From: Dave Andrae <email suppressed>
Subject: Re: [Frameworks] super8 telecine - with cinelab?
To: Experimental Film Discussion List <email suppressed>
Message-ID:
<email suppressed>
Content-Type: text/plain; charset="iso-8859-1"
It's not my intention to beat a dead horse, but while doing a standard
definition transfer CineLab scratched my footage - not all of it, mind you,
but enough that at least two or three crucial takes were marred.
I didn't notice the damage until a few months after the fact, while I was
inspecting the film on my Goko moviola (in preparation for getting portions
of it scanned by Pro8mm).
The scratch ran between two rolls, so I know it was CineLab's doing and not
caused by my SU-60-E (up to that point no one but CineLab had handled the
footage).
Thankfully, I ended up being able to work around the damage, and the film I
was working on turned out to be pretty good ( you can read about it here:
http://daveandrae.wordpress.com ), but it was definitely a kick in the balls
at the time.
As for getting your film scanned in HD, I think it's worth the money--you
get what you pay for.
A lot of money can be saved though if you know ahead of time what you're
going to use and go through the trouble of splicing together exactly what
you need and nothing more.
The nice thing about Pro8mm's machine is that it doesn't touch the film's
emulsion at any point in the scanning process, and a progressive scan at
1080 looks quite nice.
As for getting 4:3 footage scanned in 16:9, you could always blow it up, but
personally I don't mind the look of pillar boxes, and most viewers won't
notice them once your film is underway.
Best,
-DA
On Sat, Jun 12, 2010 at 9:26 AM, Serge Levchin <email suppressed> wrote:
> hello list,
> i know this question comes up every so often - and there was a discussion
> here not too long ago about some of the better options for transferring
> super8 to video.
> places like pro8mm have been recommended. pro8mm's rates for SD transfer
> are fairly reasonable, but HD is 4 times the price. ($825 for 500ft. of
> film).
> CineLab appears to offer 1080p HD transfers at .37/ft (scene to scene color
> corr.) - i.e. $185 for 500ft. of film.
>
> - has anyone tried CineLab for HD or SD telecine?
> - is the image quality of a Millennium2 or Ursa Diamond Y-front telecine
> (Pro8mm) that much greater than a Rank Cintel transfer (CineLab)?
> - does HD telecine make sense for super8 (especially considering there is
> an aspect ratio mismatch)?
>
> thanks and best regards,
> serge
> _______________________________________________
> FrameWorks mailing list
> email suppressed
> http://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
--
http://www.dave-andrae.com
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Message: 4
Date: Sat, 12 Jun 2010 09:23:14 -0700 (PDT)
From: email suppressed (Weekly Listing)
Subject: [Frameworks] This week [June 12 - 21, 2010] in avant garde
cinema
To: email suppressed
Message-ID: <email suppressed>
This week [June 12 - 21, 2010] in avant garde cinema
To subscribe/unsubscribe to the weekly listing, go to
http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe
or send an email to (address suppressed)-beam.net.
Enter your announcements (calls for entries, new work, screenings,
jobs, items for sale, etc.) at:
http://www.hi-beam.net/cgi-bin/ann.pl
NEW FILM/VIDEO: NON-FEATURE:
============================
"rauscht" by yoel meranda
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=422.ann
"Vapors" by Morgan Mannino
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=421.ann
NEW CALLS FOR ENTRIES:
=====================
subarchive UBU (Location: pittsburgh pa, usa; No entry deadline)
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsnd&readfile=150.ann
Cut and Run (Location: San Francisco, CA; No entry deadline)
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsnd&readfile=151.ann
1st Annual MIY (Make It Yourself) Contest: The 60 Second Hand Job Presented (Winnipeg, Manitoba ; Deadline: June 19, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1178.ann
Go Short - International Short Film Festival (Nijmegen, Netherlands; Deadline: December 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1182.ann
Sydney Underground Film Festival (Sydney, NSW, Australia; Deadline: June 25, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1183.ann
Boulder International Film Festival (Boulder. CO USA; Deadline: September 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1184.ann
Images Festival (Toronto, Ontario, CANADA; Deadline: August 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1185.ann
FLEX Fest (Gainesville, FL, USA; Deadline: October 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1186.ann
DEADLINES APPROACHING:
======================
abstracta (roma, Italia; Deadline: June 30, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1116.ann
ZEBRA Poetry Film Festival (Berlin, Germany; Deadline: June 14, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1126.ann
VIDEOHOLICA 2010 INTERNATIONAL VIDEO ART FESTIVAL (Varna, Bulgaria; Deadline: June 30, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1127.ann
Coney Island Film Festival (Brooklyn, NY, USA; Deadline: July 02, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1131.ann
INVIDEO (Milano - Italy; Deadline: June 25, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1146.ann
CortopotereShortFilmFestival (Bergamo, Italy; Deadline: June 14, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1161.ann
L'Alternativa Barcelona Independent Film Festival (Barcelona; Deadline: July 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1162.ann
San Francisco Documentary Festival (San Francisco, CA; Deadline: July 02, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1171.ann
Black Rock City Film Festival (Black Rock City - Burning Man; Deadline: July 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1172.ann
1st Annual MIY (Make It Yourself) Contest: The 60 Second Hand Job Presented (Winnipeg, Manitoba ; Deadline: June 19, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1178.ann
Toronto Urban Film Festival (TUFF) (Toronto, Ontario, Canada; Deadline: July 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1180.ann
London Film Festival (London, UK; Deadline: June 25, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1181.ann
Sydney Underground Film Festival (Sydney, NSW, Australia; Deadline: June 25, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1183.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Personal Cinema Series: Jon Behrens [June 12, New York, New York]
* Visa De Censure X/New Old [June 12, New York]
* In the Shadow.../Soleil [June 12, New York]
* Stephen Connolly: Occasional Pieces and Afflicted States [June 13, Los Angeles, California]
* Pierre Clementi Shorts Program [June 13, New York]
* Wheel of Ashes [June 13, New York]
* The virgin's Bed [June 14, New York]
* Early Monthly Segments #16 [June 14, Toronto, Ontario, Canada]
* Wheel of Ashes [June 15, New York]
* Visa De Censure X/New Old [June 16, New York]
* Pierre Clementi Shorts Program [June 16, New York]
* In the Shadow.../Soleil [June 17, New York]
* Open Screening [June 17, San Francisco, California]
* Top of the Food Chain A Film By John Paizs [June 18, San Francisco, California]
* Personal Cinema Series: Barton Lewis – Films About Light and the Urban
Landscape [June 19, New York, New York]
* Essential Cinema: Marie Menken Program 1 [June 19, New York]
* The Sound Cinema of Stan Brakhage [June 20, Los Angeles, California]
* Essential Cinema: Marie Menken Program 2 [June 20, New York]
Events are sorted by CITY within each DATE.
-----------------------
SATURDAY, JUNE 12, 2010
-----------------------
6/12
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, 66 East 4th Street
PERSONAL CINEMA SERIES: JON BEHRENS
For more than 30 years, Seattle-based artist Jon Behrens has worked
completely outside of the mainstream conception of what filmmaking is.
He began to make films as a teenager in the late seventies, starting
with his Grandfather's Wollensak regular 8mm camera and then moving to
16mm shortly thereafter. Since the age of 16 Behrens has made well over
100 films of various lengths, subject matters and approaches, from
documents of the early Seattle punk rock scene to poetic film
experiments in which the celluloid film stock has been manipulated. Over
the years Jon has screened his films nationally and internationally, and
has been called one of the Northwest's most prolific filmmakers.----
Program: THE PRODUCTION AND DECAY OF STRANGE PARTICLES (7½ min.-2008),
UNDERCURRENTS (10 min.-1994), THE ASTRUM ARGENTIUM (6 min.-2006), ALL
SAINTS DAY II (5 min.-2002), STAN'S SALON (3 min-1997), FLUFFY FLUFFY
CALM CALM (10 min.-1998), ANOMALIES OF THE UNCONSCIOUS (12 min.-2003),
VERNAL OBEISANCE (6 min.-2003), THE FLICKERING OF THE MIND'S EYE (10
min.-2001).----Admission $8/$6 members
6/12
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 2nd Avenue
VISA DE CENSURE X/NEW OLD
by Pierre Clémenti 1967-75, 45 minutes, 16mm. "A distillation of the
hundreds of hours Clémenti and his friends spent smoking dope,
performing and dropping acid, this is a mythopoeic evocation of man's
spiritual awakening. Set to a soundtrack by Clearlight Symphony, the
film's hypnotic intensity is maintained through a prismatic, iris-like
mandala superimposed at center screen – a constant visual referent and
the locus of concentration within the frame. A psychedelic overload of
images both beautiful and troubling, the film is particularly effective
in the deliberate shock of its montage: Clémenti on stage spitting a
tarantula out of his mouth, James Brown and Jimi Hendrix in concert,
Bertolucci on the set of PARTNER seen tugging at a noose around his
neck, The Living Theatre's historic performance at the Avignon Theatre
Festival in summer 1968…" –Michael Chaiken & NEW OLD 1979, 66 minutes,
16mm. "Clémenti followed VISA DE CENSURE NO. X with NEW OLD, described
by the director as 'the discovery of language, images, rhythm; the birth
of cinema and my own birth.' Revisiting the 15 hours of footage he shot
during his 'nomadic existence', NEW OLD covers roughly the years from
1967 to 1977, positing the counterculture of the 60s alongside that of
the late 70s, the Aquarian ethos against the mindset of punk rock."
–Michael Chaiken
6/12
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
IN THE SHADOW.../SOLEIL
IN THE SHADOW OF THE BLUE SCOUNDREL by Pierre Clémenti 1978-85, 84
minutes, 16mm. In French with projected English subtitles. "Clémenti's
most ambitious film was this feature-length, future-shock narrative, a
political fiction set against a Burroughs-esque landscape of drug
dealers, addicts, government control systems, and Islamic revolution.
The plot concerns the destabilization of Necro City by Islamic
insurgents who have flooded the blighted metropolis with potent strains
of heroin and hashish, with Clémenti playing General Nutsbody, the
city's military leader. The sub-narcotic lull of the film's looping
soundtrack, the saturated-to-abstraction colors, and the double-exposure
photography give Paris's subterranean underworld a savage, no-budget
grandeur not unlike New York's high-Reagan-era Lower East Side as
depicted by Nick Zedd or Richard Kern." –Michael Chaiken & SOLEIL 1988,
16 minutes, 16mm. In French with projected English subtitles. "Part
narrative, part meditation, SOLEIL is haunted by memories past, present,
and future. The last film Clémenti was to direct, and his personal
favorite, it begins with a reenactment of his arrest in Rome where,
alone in a cell, he suffers the slow grind of the judicial system's
wheels. As if to secure his own image for posterity, he sets himself the
task of recording his final words: 'Deafened by the song of innocence,
awaiting no fame…Who is this fragile heart beyond melancholy? Here lies
Pierre Clémenti. The deceased was beloved, was perfect, to excess.'"
–Michael Chaiken
---------------------
SUNDAY, JUNE 13, 2010
---------------------
6/13
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
STEPHEN CONNOLLY: OCCASIONAL PIECES AND AFFLICTED STATES
Filmforum is delighted to host the premiere screening for UK-based
filmmaker Stephen Connolly here in Los Angeles. One of the leading
strands of experimental film today utilizes observational documentary
techniques, without necessarily tying the edited film to a clear
narrative or leading character. Instead, the work investigates the
social, political and historical terrain of contemporary spaces and
landscapes through shards of space and lengthy stares. Connolly's short
films retain the sensitivity to light, rhythm, and perception that
characterize all fine experimental and documentary work.
6/13
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
PIERRE CLEMENTI SHORTS PROGRAM
Etienne O'Leary HOMEO (1967, 38 minutes, 16mm) CHROMO SUD (1968, 21
minutes, 16mm) Canadian-born filmmaker Etienne O'Leary worked with an
intoxicating style that foregrounded rapid and even subliminal cutting,
dense layering of superimposed images, and a spontaneous notebook-type
shooting style. Yet even if much of O'Leary's material was initially
'diaristic', depicting the friends, lovers, and places that he
encountered in his private life, the metamorphoses it underwent during
editing transformed it into a series of ambiguously fictionalized,
sometimes darkly sexual fantasias. CHROMO SUD, his most sinister work by
far, owes as much to Kenneth Anger as to Jonas Mekas, presenting the
libertarian impulses of the time in as orgiastically morbid and sadistic
a vein as Anger's SCORPIO RISING biker culture. Olivier Mosset FILM
PORNO (1968, 3 minutes, 16mm) "To understand what this FILM PORNO is or
isn't – it isn't cinema, and certainly not pornography – one would have
to go back to those revolutionary years when the act of writing,
painting, or filming couldn't be separated from the process of life,
creation, and liberation." –Frances Lengel Ange Leccia STRIDURA (1980,
13 minutes, 16mm) A future shock vision of a post-Apocalyptic, fascist
society. Starring Clémenti in dual roles as "the rebel" and the
behind-the-scenes Ayatollah Hamenei-esque character deciding his fate
from an airtight control room. Secret chambers of power, rabid military
police, and nuclear explosions, this film is a virtual Mahmoud
Ahmadinejad compendium. Alfredo Leonardi LIBRO DI SANTI ROMA ETERNA
(BOOK OF SAINTS OF ETERNAL ROME) (1968, 14.5 minutes, 16mm) "Leonardi's
subject matter is happiness and joy, through the choice of image, and
through the editing (structuring) and through the camera movement, and
the more I see this film the more I want to see it again. [It] is in my
book of living classics." –Jonas Mekas, VILLAGE VOICE This program will
also include two selections from the vast tape collection of video
artist Michel Auder, one shot in the late 60s and one a decade later,
and both featuring Clémenti. Total running time: ca. 120 minutes.
Screening as part of THE FILMS OF PIERRE CLÉMENTI
6/13
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue
WHEEL OF ASHES
by Peter Emanuel Goldman 1968/71, 110 minutes, 35mm. With Pierre
Clémenti, Katinka Bo, Pierre Besançon, Judith Malina, Juliet Berto,
Stasia Gelber. Archival print courtesy of the Museum of Modern Art.
Goldman, who had recently established himself as one of the leading
lights of the American underground film movement with his first feature
film, ECHOES OF SILENCE, made his second feature in France, with
Clémenti starring as a young man adrift in Paris, searching for meaning
via sexual encounters, solitary contemplation, and an exploration of
both Western and Eastern religious traditions. Hardly seen in the U.S.,
in the 60s or since, WHEEL OF ASHES represents a fascinating
intersection of important European and American underground figures.
"There was not one of us who was not profoundly touched by this
film…perhaps the first to give a true feeling of certain quarters of
Paris." –CAHIERS DU CINÉMA Screening as part of THE FILMS OF PIERRE
CLÉMENTI
---------------------
MONDAY, JUNE 14, 2010
---------------------
6/14
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:45 pm, 32 2nd Avenue
THE VIRGIN'S BED
See program notes for June 11th, 9 pm.
6/14
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
8:00 PM, Gladstone Hotel, 1214 Queen Street West
EARLY MONTHLY SEGMENTS #16
= Robert Gardner + David Rimmer = *NOTE: ON MONDAY FOR JUNE* The films
of Robert Gardner have a controversial place in the genre they are most
often situated – that of the ethnographic film. This is largely due to
the poetry that he injects into a field that favours scientific
methodology over aesthetic qualities. Indeed, Gardner's lush and
detailed camerawork owes as much to his desire for precise documentation
as it does to his commitment to film as an art form (a commitment he
notably publicized in his longstanding Boston TV series, The Screening
Room, which featured hour-long discussions with film artists like Hollis
Frampton, Jonas Mekas and Yvonne Rainer). Dead Birds is his most
challenging film, both in its production and reception. Made during the
heart of the Cold War, Gardner and his small crew of anthropologists
(including the ill-fated Michael Rockefeller) engaged with the Dani
people of Dutch New Guinea to study the ritualized warfare practices
they had developed in isolation over thousands of years. Perhaps
overburdened with the weight of a culture threatened with nuclear
annihilation and looking for clues amongst the stone age it may return
to, Dead Birds is an investigation suffused with a graceful formal
beauty. From the way in which Gardner maps out the space of a
battlefield to his focused attention on the intimate spaces where we
encounter the more lasting rituals of day to day life. Programme:
Treefall, David Rimmer, 16mm, 1970, Canada, 5 minutes Dead Birds, Robert
Gardner, 16mm, 1964, USA, 83 minutes @ the Art Bar, Gladstone Hotel |
1214 Queen St West **MONDAY** June 14, 2010 | 8:00pm screening, $5 Early
Monthly Segments is a monthly film series named after an early film by
Robert Beavers, and is inspired by the immediacy, vibrancy and
experimentation found in that film. Programmed by Scott Berry, Chris
Kennedy, and Kate MacKay this series features historical and
contemporary avant-garde films in a salon-like setting at the Gladstone
Art Bar. In this relaxed context with refreshing beverages and food
available, we hope to encourage a convivial atmosphere for engaged
viewing and post-screening dialogue. Thanks to The Gladstone Hotel and
Studio 7 Arts for this screening. Contact email suppressed
for email list Website: earlymonthlysegments.org #17 = TUESDAY 7/6/10 =
Naomi Uman IN PERSON!
----------------------
TUESDAY, JUNE 15, 2010
----------------------
6/15
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
WHEEL OF ASHES
See notes for June 13th, 6:30 pm.
------------------------
WEDNESDAY, JUNE 16, 2010
------------------------
6/16
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
VISA DE CENSURE X/NEW OLD
See notes for March 12th, 4:30 pm.
6/16
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:30 pm, 32 2nd Avenue
PIERRE CLEMENTI SHORTS PROGRAM
See notes for March 13th, 4 pm.
-----------------------
THURSDAY, JUNE 17, 2010
-----------------------
6/17
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
IN THE SHADOW.../SOLEIL
See notes for June 12th. 7 pm.
6/17
San Francisco, California: Artists Television Access
http://www.atasite.org/
7:30, $5/free, 992 Valencia St at 21st
OPEN SCREENING
ATA's open screening is the only monthly open submissions screening in
the Bay Area. Get your work out there! Get feedback! Or just come and
take it all in! One hour of shorts are accepted monthly on an open
revolving basis, anything goes with the screened work, and the
refreshments are pretty good too. $5, FREE admission for contributing
artists. Door:7:30pm Projector: 8pm Not a filmmaker? Come and hang out
with us anyway. Enjoy the atmosphere, the art, the movies, the people,
the refreshments Submissions: Label all tapes w/ name, contact, title
and length. Mail to: Openscreening, 992 Valencia, SF, 94110 1-2 week
advance submissions strongly recommended. If not. . . it is all good.
Max length: 15 min. Formats: DVD, miniDV/DVcam, VHS, beta, 8mm and 16mm
All genres. More Info: contact Katy at email suppressed
---------------------
FRIDAY, JUNE 18, 2010
---------------------
6/18
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, $6, 992 Valencia St at 21st
TOP OF THE FOOD CHAIN A FILM BY JOHN PAIZS
ATA is screening for one night only the hilarious " Top of The Food
Chain" By John Paizs. If you came out for "Crime Wave" last month this
story of cannibals from outer space will not disappoint you, clearly
something odd is mysteriously going on in the tiny town of Exceptional
Vista. And the result? Definitely spectacular though probably as much an
acquired taste as the late night B-Movies that inspired it. Once given a
bit of time to get rolling however, Top of the Food Chain's full impact
sneaks up on you. By the end, the amateur autopsies, blithely offhand
resurrections and Scott's he/she rubber friend- as well as a nutty aria
about our lady of Fatima's hat that Exceptional visita's resident sexpot
sings instead of saying grace over dinner - will either have alienated
you completely or enticed you wholeheartedly into a world far beyond the
boundaries of everyday imagination. Those are just a few of the
terrifically ironic surprises that await you when you come to ATA to see
Top of the Food chain.
-----------------------
SATURDAY, JUNE 19, 2010
-----------------------
6/19
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, 66 East 4th Street
PERSONAL CINEMA SERIES: BARTON LEWIS – FILMS ABOUT LIGHT AND THE URBAN
LANDSCAPE
FILMS ABOUT LIGHT AND THE URBAN LANDSCAPE.---- The Millennium is
especially pleased to present for the first time a program of films by a
long-time user of our filmmaking facilities. Barton Lewis will be
present to screen eight short 16mm films that have emerged from his
interest in light and the urban landscape. The films were made between
1998 and 2009 and the program totals 84 minutes. Lewis is the man with
the movie camera wandering through the streets on New York City filming
new and old structures–the High Line, an elevated railroad in Chelsea
and a graffiti-scrawled, dilapidated meat packing plant in the West
Village that no longer exists. His filmmaking locations take him to
Pacific Street and Bridge Street in Brooklyn, the East River Pavilion,
Roosevelt Avenue and his West 14th Street apartment in
Manhattan.----Admission $8/$6 members
6/19
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MARIE MENKEN PROGRAM 1
VISUAL VARIATIONS ON NOGUCHI (1955, 4 minutes, 16mm, b&w) HURRY! HURRY!
(1957, 3 minutes, 16mm) GLIMPSE OF THE GARDEN (1957, 5 minutes, 16mm)
DWIGHTIANA (1959, 3 minutes, 16mm, score by Teiji Ito) BAGATELLE FOR
WILLARD MAAS (1961, 5 minutes, 16mm) NOTEBOOK (1962-63, 10 minutes,
16mm, silent) MOOD MONDRIAN (1961, 7 minutes, 16mm, silent) EYE MUSIC IN
RED MAJOR (1961, 4 minutes, 16mm, silent) Marie Menken represents the
lyrical sensibility in the American avant-garde film. She manages to get
the maximum visual intensity from minimally photogenic subjects. Her
usage of single-frame and her poetic attitude and purity had a strong
influence on many filmmakers of the sixties. Total running time: ca. 50
minutes.
---------------------
SUNDAY, JUNE 20, 2010
---------------------
6/20
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
THE SOUND CINEMA OF STAN BRAKHAGE
Among his more than 350 personal films, Stan Brakhage (1933-2003)
produced only 27 works with soundtracks (a complete list appears below).
In this program, five of these sound films will be shown, representing a
variety of approaches to what Brakhage referred to as "the 'sound
problem' of motion picture aesthetic."
6/20
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MARIE MENKEN PROGRAM 2
ANDY WARHOL (1965, 22 minutes, 16mm) WRESTLING (1964, 8 minutes, 16mm,
b&w, silent) MOONPLAY (1962, 5 minutes, 16mm, b&w) DRIPS IN STRIPS
(1961, 3 minutes, 16mm, silent) GO! GO! GO! (1962-64, 12 minutes, 16mm,
silent) LIGHTS (1964-66, 7 minutes, 16mm, b&w, silent) SIDEWALKS (1966,
7 minutes, 16mm, b&w, silent) EXCURSION (1968, 5 minutes, 16mm) WATTS
WITH EGGS? (1967, 12 minutes, 16mm, silent) ARABESQUE FOR KENNETH ANGER
(1961, 4 minutes, 16mm) Total running time: ca. 90 minutes.
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End of FrameWorks Digest, Vol 1, Issue 27
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