From: ADAM ABRAMS (email suppressed)
Date: Tue Oct 16 2007 - 06:24:23 PDT
Hey everybody,
When is it showing at the eastman house? maybe we could slide it in to our series.
thanks,
adam
> Date: Tue, 16 Oct 2007 02:39:59 -0700
> From: email suppressed
> Subject: Shoot Shoot Shoot - Scholarship
> To: email suppressed
>
> With regard to Scholarship on the subject, there is
> the new book: "A History of Artists' Film and Video in
> Britain, 1897-2004 by David Curtis", which I suspect
> might be worth checking out.
>
> From what I can tell, this seems to cover both the
> history of avant garde film, and the history of more
> mainstream artists film and video ending in the
> merging of the two. However I don't have a copy yet so
> I might be misrepresenting it based on what I have
> heard. Anyone here read it yet? I'd love to hear a bit
> more about the book as things are bad and so I'm going
> to be in a preety severe economic situation this year
> I suspect and if I can save money anywhere it will
> probably help a lot. Not sure whether to buy it or not
> basically! :)
>
> I should probably also note that the book was
> criticized here for basically being about the London
> scene and stuff and ignoring the rest of the u.k.
> There was also some indication of conspiracy (which I
> liked, although I'd be keen to get some aliens in
> there personally :) ) but I suspect it's much more to
> do with the history of the u.k. generally. In addition
> there was mention of how the u.k. scene is
> exclusionary and stuff hence the term "the cinema of
> exclusion", which I think the majority of people would
> agree with here to some extent, however having not
> actually read the book I'm not sure how this would
> apply to the book or whether it was just a comment on
> the way things are here.
>
> (here being the u.k. not frameworks BTW! ;) )
>
> Anyway, regardless of bias etc, it looks like a
> significant text if you are intrested in learning more
> about the whole thing.
>
> Also someone mentioned a forthcoming Re-voir DVD and
> there is already a William Raban DVD from the BFI
> which is definitely worth checking out! This DVD and
> Decasia are the best DVD's I've seen from the BFI so
> far in this vein in fact.
>
> It was intresting to note the discussion of trying to
> screen the prints while they are still in the country
> and circulating about. I guess this is why the history
> of Avant Garde film is different in the u.k. to the
> united states. They have evolved largely seperately it
> would seem and perhaps this is due in part to the
> difficulties of transporting prints.
>
> Anyone else have texts etc to recommend on the whole
> u.k. history/ "cinema of exclusion" stuff? I'd be
> intrested myself too. :) Please do provide your own
> recommendations.
>
> BTW Jonathon, you mention a new wave, does that imply
> there was an old wave, and if so can you recommend any
> texts etc?
>
> love
>
> Freya
>
> --- Jonathan Walley <email suppressed> wrote:
>
> > Hello everyone,
> >
> > I can't recommend this program enough. I saw it at
> > Anthology a few
> > years ago - came out with a completely different
> > view of 60s-70s
> > British avant-garde film than I went in with. I
> > would love to see it
> > tour the U.S. It would start a much needed new wave
> > of scholarship on
> > the subject.
> >
> > Jonathan
> >
> > Jonathan Walley
> > Assistant Professor
> > Cinema Department
> > Denison University
> > Granville, Ohio 43023
> > email suppressed
> >
> > On Oct 15, 2007, at 4:07 PM, ADAM ABRAMS wrote:
> >
> > > Hey,
> > >
> > > Is this program touring around the states? Can
> > you mix and match?
> > > We've shown a number of these films from the new
> > york co-op. Any info
> > > would be appreciated.
> > >
> > > Thanks,
> > > Adam
> > > jefferson presents...
> > > pittsburgh
> > >
> > >
> > > > Date: Mon, 15 Oct 2007 12:07:03 -0700
> > > > From: email suppressed
> > > > Subject: Cinema Project Presents -- Shoot Shoot
> > Shoot
> > > > To: email suppressed
> > > >
> > > > Hello Frameworkers,
> > > >
> > > > We wanted to remind you all about a very
> > important upcoming
> > > screening this Tuesday October 16th and Wednesday
> > October 17th. Cinema
> > > Project will be having the North American Premiere
> > of Shoot Shoot
> > > Shoot -- a selection of 16mm films from the London
> > Filmmakers
> > > Co-Operative circa 1960's--1970's. This program
> > was curated by Mark
> > > Webber and distributed by LUX UK [see description
> > below]. It is a rare
> > > chance to see groundbreaking work by filmmakers
> > including John Smith,
> > > Malcom Le Grice, and Guy Sherwin among many
> > others.
> > > >
> > > > We know the days are getting shorter and the
> > rains are on the way,
> > > but resist the urge to hibernate and join us!
> > > >
> > > > Much Love,
> > > >
> > > > Cinema Project
> > > >
> > > > Autumn Campbell & Jeremy Rossen
> > > >
> > > >
> > > > October 16 + 17 2007
> > > > New American Art Union [922 SE Ankeny]
> > > > Portland Oregon USA
> > > > 7:30pm
> > > > www.cinemaproject.org
> > > >
> > > > The 1960s and 1970s were groundbreaking decades
> > in which independent
> > > filmmakers challenged cinematic convention. In
> > England, much of the
> > > innovation took place at the London Film-Makers'
> > Co-operative, an
> > > artist-led organization that enabled filmmakers to
> > control every
> > > aspect of the creative process. LFMC members
> > conducted an
> > > investigation of celluloid that echoed
> > contemporary developments in
> > > painting and sculpture. During this same period,
> > British filmmakers
> > > also made significant innovations in the field of
> > "expanded cinema",
> > > creating multi-screen projections, film
> > environments and live
> > > performance pieces.
> > > >
> > > > The physical production of a film (its printing
> > and processing)
> > > became integral to its form and content as Malcolm
> > Le Grice, Lis
> > > Rhodes, Peter Gidal and others explored the
> > material and mechanics of
> > > cinema, making radical new works that contributed
> > to a new visual
> > > language. The London Film-Makers' Co-operative,
> > established in 1966,
> > > grew from a film society at the heart of London’s
> > sixties
> > > counterculture to become Europe's largest
> > distributor of experimental
> > > cinema and was recognized internationally as a
> > major centre for
> > > avant-garde film.
> > > >
> > > > October 16
> > > >
> > > > Slides by Annabel Nicolson [1970, 16mm, color,
> > silent, 11 min]
> > > > At the Academy by Guy Sherwin [1974, 16mm, b&w,
> > sound, 5 min]
> > > > Shepherd's Bush by Mike Leggett [1971, 16mm,
> > b&w, sound, 15 min]
> > > > Film No. 1 by David Crosswaite [1971, 16mm,
> > color, sound, 10 min]
> > > > Dresden Dynamo by Lis Rhodes [1971, 16mm, color,
> > sound, 5 min]
> > > > Versailles I & II by Chris Garratt [1976, 16mm,
> > b&w, sound, 11 min]
> > > > Silver Surfer by Mike Dunford [1972, 16mm, b&w,
> > sound, 15 min]
> > > > Footsteps by Marilyn Halford [1974, 16mm, b&w,
> > sound, 6 min]
> > > >
> > > > October 17
> > > >
> > > > Threshold by Malcolm Le Grice [1972, 16mm color,
> > sound, 10 min]
> > > > Seven Days by Chris Welsby [1974, 16mm, color,
> > sound, 20 min]
> > > > Key by Peter Gidal, [1968, 16mm, color, sound,
> > 10 min]
> > > > Moment by Stephen Dwoskin [1968, 16mm, color,
> > sound, 12 min]
> > > > Deck by Gill Eatherley [1971, 16mm, color,
> > sound, 13 min]
> > > > Colours of this Time by William Raban [1972,
> > 16mm, color, silent, 3
> > > min]
> > > > Associations by John Smith [1975, 16mm, color,
> > sound, 7 min]
> > > >
> > > >
> >
> _________________________________________________________________
> > > > Climb to the top of the charts! Play Star
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> > > >
> > > http://club.live.com/star_shuffle.aspx?
> > > icid=starshuffle_wlmailtextlink_oct
> > > >
> > > >
> > > >
> >
> __________________________________________________________________
> > > > For info on FrameWorks, contact Pip Chodorov at
> > <email suppressed>.
> > >
> > > Windows Live Hotmail and Microsoft Office Outlook
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> > > Get it now!
> > >
> >
> __________________________________________________________________
> >
> > > For info on FrameWorks, contact Pip Chodorov at
> > <email suppressed>.
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at
> > <email suppressed>.
> >
> >
>
>
>
>
>
>
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> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
_________________________________________________________________
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.