From: Jonathan Walley (email suppressed)
Date: Sun Mar 25 2007 - 18:03:14 PDT
I think db was referring to the subject matter of the film; the
"George" character's actors all leave him halfway through production on
his "nudie" movie.
I have Paul Sharits's Bad Burns (1982) in mind. "Outtakes" from his
film/installation 3rd Degree. Also, Bradley Eros's essay in the most
recent Millennium Film Journal describes a program he was involved with
in which accidents were sought after in a live projection event
featuring the wrong gauge of film threaded through projectors,
burning/melting film, projectors turned upside-down, etc. There, I
guess the plan A WAS the plan B. Or maybe there wasn't really any plan.
When failure = success, maybe the idea of "accidental" isn't quite
relevant.
Jonathan Walley
Assistant Professor
Cinema Department
Denison University
Granville, Ohio 43203
email suppressed
On Mar 25, 2007, at 8:47 PM, Sandra Maliga wrote:
> I'd have to disagree re The Kuchars. They were committed to their
> esthetic, including wild sync.
>
>
> --Sandy
>
>
>
>
>
> On Mar 25, 2007, at 4:44 PM, db wrote:
>
>> This sounds like the backbone of George Kuchar's "Hold Me While I'm
>> Naked." This may not be what you are looking for, however, since you
>> are seeking accidents.
>>
>> db
>>
>> On Mar 25, 2007, at 3:21 PM, Vera Brunner-Sung wrote:
>>
>>> As for your question, Bill, these are relevant, but my interest is
>>> more specifically in what happens in the creative process when we
>>> set out with one particular plan, but then circumstances force us to
>>> adapt or radically change our projects... instead of giving up.
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.