From: JEFFREY PAULL (email suppressed)
Date: Thu Dec 04 2008 - 15:38:01 PST
All Natural cine-film making, eh?
some basic suggestions:
1} use super-8 cameras you buy at Valu Village or yard sales.
When they break, you're out only maybe 20 bucks.
Go buy another.
2} See the films from the '30s of Len Lye
and the films of Norman Maclaren (National film Board of Canada)
They both drew on film, and McLaren (spelling?) scratched indivdual images on each frame of black leader.
He also drew and painted on the film directly. MacLzaren even synthisized the soundtrack to "Rhythmetic".
3} Man Ray initiated the process of laying items which cast shadows directly on enlarging paper. "Ray-o-grams".
Lay out strips of film (in dark or if applicable, proper safelight, put various probably transparent stuff on it,
Use a low angle light to cast shadows across many frames.
4. Cine film can be developed in buckets - even dried in the family clothes dryer as Toronto's Steve Sanguedolce does.
5.} Toronto's Carl Brown takes stuff he's shot, develops it, and, among other things, may let it soak in various chems
for months. These days "found" footage, or "outs" are really hard to come by, but you can use other people's
tossed footage.
6} A Toronto photography student once developed a roll of film in "plain" polluted river water.
No developer chems to get rid of!
6} Reconstruct family movies you can buy on the cheap at garage sales and flea markets.
Do like Woody Allen did for "What's up Tiger Lilly?", or as demanded change required, "What's up, Tiger Lilly?"
He took an existing movie and added his own voice-over to interpret a new story.
(In early silent days still useable footage from used-up projection prints was sometimes synthasized in to a "new" movie."
Intertitles explained away any changes.
7} Perform the film, live.
8} Many years ago I taught in the Art department of a university.
As part of an experimental film festival, we heavily advertised the showing of a "sensational!" hot film
In additon to the time and date, also, in quite noticeable text, we also put the line,
"NOBODY WILL BE ADMITTED TO THE AUDITORIUM!" At the "screening" we played some enticing audio
that came throught the locked doors of the auditorium. The very large crowd didn't think it funny and got unruly.
We were in the (locked) projection booth having a good laugh. Of course, on the locked auditorium door we had
a copy of the promo poster on the door so eveybody could see "NOBODY WILL BE ADMITTED TO THE AUDITORIUM!"
On Thu 04/12/08 15:40 , Carl E Bogner email suppressed sent:
> A friend is surveying a number of us on the following topic/query. Asked me
> to post to you all. Thanks for whatever time you have for this query -
> which may not, or may, be related to current considerations of the facility
> of academia and economies:
>
>
> --------------------
>
>
>
> A question just came to me while I was reading. Maybe you could post
>
> it to Frameworks?
>
>
>
> Let's say one wanted to make work without use of any video
>
> technologies. Let's also say that one did not have the ability to
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> afford repairs of specialized film equipment, nor the ability to
>
> perform such repairs oneself. Finally, let's say one wanted to engage
>
> in a filmmaking practice that was portable, efficient, sustainable.
>
>
>
> How would one do this--and what is the cheapest way?
>
>
>
> Answer in practical terms: assuming one has no equipment or materials, what
>
> would one need to acquire, and how would the use of these materials be
>
> portable and sustainable? How would the images get recorded? How would
>
> the maker assemble images into sequences? How would the sequences be
>
> projected for groups? If it's not obvious, the challenge of this
>
> question--what might be fun about trying to answer it--has to do in
>
> part with how it's a puzzle, but also with the kinds of philosophical
>
> musings it might inevitably give rise to (for example, is there now,
>
> and irrevocably, no real answer to this question?).
>
>
>
>
>
> __________________________________________________________________
>
> For info on FrameWorks, contact Pip Chodorov at (address suppressed)
> om>.
>
>
>
>
>
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.