From: Pablo Marin (email suppressed)
Date: Mon Jun 26 2006 - 07:30:35 PDT
Pip Chodorov,
thanks for the reply, I noted that -as ussual- your
posts are not write in a hurry; there´s enough to back
´em up.
still, regarding here, the issue is a little more
complicated. yes, there have been some visits now and
then (Kubelka, Willem Heim, Anger, Mekas, Emingholz,
Ono, Nekes) and some books edited but one cannot be
fooled by this. first, as you pointed out, those
events took place very distant one from the other
(1997, 2000, 2002). and second, as i wrote earlier,
those are things that doesn´t deal with experimental
film as much as they do with such topics as
Independent cinema or Small gauge film (as in Haciendo
Cine article). anyway, there IS some "base interest"
as you say for this kind of film (as there is for
korean food or skateboarding) but most of the time
this efforts are focussed only on abroad: touring
programms of local films that sometimes were never
shown here like the one made by Guzman or the upcoming
in Holland prepared by young experimentalist Ernesto
Baca. and this is a strong point, and i understand it
because i have proceeded in the same way with my own
films: i will be showing it in upcoming TIE as a world
premiere. partly because the desinterest of local
audiences/programmers/festivals and partly because the
places they do want to show it are not the right ones
in terms of technical or ideological issues. i don´t
think filmmakers should accept the terms of two bit
programmers and "organizations" in order to "be done a
favor" and get his/her film shown. and here is the
main difference with that world of "experimental
progress", and a possible answer to your question as
well Pip -- the lack of (physical)institutions as
Anthology or Millennium. i mention only these two
because i happen to be there last May and felt what
was it like indoors, seeing a Hollis Frampton program,
listening to Bradley Eros, MM Serra and others at Film
Coop ´45 anniversary or watching a class on optical
printing downstairs, feeling completely at home.
finally, yes, to your statement regarding the state of
Exp film on a ten year basis. one could say it´s
increasing (like the rest of audiovisual products
touched by the big-bang of digital low cost
production). but maybe the increasing-decreasing
equation isn´t the right one or the more precise.
pablo marín
buenos aires.
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.