[Frameworks] films using the optical printer

Elena Duque elenaduque at gmail.com
Thu Aug 7 11:03:00 UTC 2014


Daïchi Saïto's films, specially Trees of Syntax: Leaves of Axis, Never a
Foot Too Far, Even and All That Rises. He has written about his processes
in his book Moving the Sleeping Images of Things Towards the Light.
El 07/08/2014 04:40, "Beebe, Roger W." <beebe.77 at osu.edu> escribió:

>  In the same spirit as Mark's post, I wanted to note that Peter
> Tscherkassky's "Cinemascope trilogy" is actually contact printed in short
> stretches (much of it using a laser pointer) rather than optically
> printed.  He must surely have used an optical printer in some of his films
> (maybe "Happy End," for ex.), but since the previous poster only dropped
> his name without specific films, I thought it was a point worth
> clarifying...
>
> R.
>
>  ------------------------------
> *From:* FrameWorks [frameworks-bounces at jonasmekasfilms.com] on behalf of
> Mark Toscano [fiddybop at gmail.com]
> *Sent:* Wednesday, August 06, 2014 8:04 PM
> *To:* Experimental Film Discussion List
> *Subject:* Re: [Frameworks] films using the optical printer
>
>   Baillie's CASTRO STREET has no optical printing in it.  It's all
> in-camera matting or A/B/C lab printing.
>
>  Also, it periodically needs to be said that Pat O'Neill's 7362 has NO
> optical printing in it whatsoever.  It's all contact printing and
> hand-processing.  A lot of people tend to talk about Pat's optical work,
> then show 7362 as an example in both public screenings and classes (sorry
> Jason!).  Pat's first foray into optical printing came approximately two
> years later in his installation piece SCREEN (1969), and then with RUNS
> GOOD, etc. after that.
>
>  That said, Pat is, as has already been said, an unparalleled artist in
> the medium, and though optical printing was for him merely a technological
> tool for achieving quite advanced aesthetic ideals, he is unsurpassed in
> his artful and visionary use of the thing.  Probably the most convenient
> and exemplary short film of his for explaining, demonstrating, or teaching
> optical printing work is SAUGUS SERIES, which in some ways functions as
> both a notebook of incredible visual ideas pretty much without precedent,
> and an unintentional compendium of highly diverse suggestive uses for the
> optical printer.  But you pretty much can't go wrong with ANYTHING Pat's
> made.
>
>  Mark Toscano
>
>
>
> On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski <stefan at radonlake.com>
> wrote:
>
>>  Bruce Baillie's 'Castro Street' has some really beautiful optical
>> printing work.
>>
>>  ------------------------------
>> From: bigmuddy2005 at hotmail.com
>> Date: Wed, 6 Aug 2014 13:32:24 -0600
>> To: frameworks at jonasmekasfilms.com
>>
>> Subject: Re: [Frameworks] films using the optical printer
>>
>> This is a great list! Barbara Hammer would be a good addition
>>
>> Sent from my iPhone
>>
>> On Aug 6, 2014, at 1:29 PM, "Jason Halprin" <jihalprin at gmail.com> wrote:
>>
>>    Hi Carolyn,
>>
>>  Below is the screening list from the last time I taught Optical Printing
>> at Columbia College. I agree that Pat O'Neill is probably the greatest
>> example of Optical Printing artistry, and include much of his work is
>> available for purchase in DVD form. However, I would also stress that it
>> was amazing to take the prints of his work and view them on rewinds with a
>> light table so that students could really study how he created his "looks".
>> I love Water and Power too, and usually saved it until the last class in
>> the semester.
>>  -Jason Halprin
>>
>> *DAILY SCHEDULE*
>>
>>
>>
>> *Class 01 – January 25th *
>>
>> Screening:       *Pas de deux* (Norman McLaren, 13 min, 1968)
>>
>>
>>
>> *Class 02- February 1st*
>> Screening:       *Passage à l'acte* (Martin Arnold, 15 min., 1993)
>>
>>
>>
>> *Class 03- February 8th*
>> Screening:       *Piece Touche *(Martin Arnold, 15 min., 1989)
>>                         *Zocalo* (Richard Myers, 15 min, 1972)
>>                         *Spitting Image* (Paula Froehle, 3 min., 1992)
>>
>>
>>
>> *Class 04- February 15th*
>> Screeing:         *7362* (Pat O’Neill, 10 min, 1967)
>>                         *Roseblood* (Sharon Couzin, 7 min., 1974)
>>
>>
>>
>> *Class 05- February 22nd*
>>
>> Screening:       *Watersmith *(Will Hindle, 25 min, 1969)
>>
>>                         *Film Wipe Film* (Paul Glabicki, 32 min, 1984)
>>
>>
>>
>> *Class 06 *
>>
>> Screening:       *Wild Gunman* (Craig Baldwin, 20 min, 1978)
>>                         *Television Assassination* (Bruce Conner, 14
>> min, 1964/95)
>>                         *Cosmic Ray* (Bruce Conner, 4 min, 1961)
>>
>>
>>
>> *Class 07- March 8th*
>> Screening:       *Alone, Life Wastes Andy Hardy* (Martin Arnold, 15 min,
>> 1998)
>>                         *Flicker: Unsteady Motion* (Paula Frohele, 7
>> min, 1995)
>>
>>
>>
>>
>>
>> *Class 08- March 15th*
>> Screening:       *Frame* (Ken Kobland, 10 min, 1976)
>>                         *Vestibule* (Ken Kobland, 24 min, 1979)
>>
>>
>>
>> *Class 09- March 29th*
>> Screening:       *Chinese Fire Drill* (Will Hindle, 25 min, 1968)
>>                         *Runs Good* (Pat O’Neill, 15 min, 1970)
>>
>>
>>
>>
>>
>> *Class 10- April 5th*
>> Screening:       *Elasticity* (Chick Strand, 25 min, 1976)
>>                         *Babobilicons* (Dana Krummins, 18 min, 1982)
>>
>>
>>
>> *Class 11- April 12th*
>> Screening:       *Nocturne (*Phil Solomon, 10 min, 1980)
>>                         *Remains to be Seen* (Phil Solomon, 17 min, 1989)
>>
>>
>> *Class 12- April 19th*
>>
>> Screening:       *The Idea* (Bill Knowland, 20 min, 1990)
>>
>>
>>
>> *Class 13- April 26th *
>>
>> Screening:       *Milk and Honey* (Kate McCabe, 17 min, 2004)
>>
>>                         *Montessori Sword Fight *(Mary Beth Reed, 7 min,
>> 2002)
>>
>>
>>
>> *Class 14- May 3rd*
>>
>> Screening:       *Water and Power* (Pat O’Neill, 54 min, 1989)
>>
>>
>>  Jason Halprin
>> jihalprin at gmail.com
>>
>>
>> On Wed, Aug 6, 2014 at 12:10 PM, Gene Youngblood <atopia at comcast.net>
>> wrote:
>>
>>   I join Marcos and Adam in stressing the importance of Pat O’Neill
>> here. Optical printing doesn’t get any better if by that term we mean an
>> art form, an aesthetic practice, not a technique.  Another artist from
>> Pat’s generation known for his optical printing is Will Hindle
>>
>>  *From:* Adam Hyman <adam at lafilmforum.org>
>> *Sent:* Wednesday, August 06, 2014 10:57 AM
>>  *To:* Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
>>  *Subject:* Re: [Frameworks] films using the optical printer
>>
>>   The entire oeuvre of Pat O’Neill is essential, and very influential.
>>
>> We did a screening with a various of interesting optically printed films
>> as part of Alternative Projections.
>>
>> http://www.alternativeprojections.com/screening-series/visions-memory-and-a-machine-optical-manipulations/
>>
>>
>> On 8/6/14 9:22 AM, "Gawthrop, Rob" <Rob.Gawthrop at falmouth.ac.uk> wrote:
>>
>>  Monkey's Birthday, David Larcher; - colour separation, superimposition,
>> bi-packing etc.
>>
>> Slides, Annabel Nicholson; pulling film through the gate etc
>>
>> Film Sound, Andy Moss; short edits/loops (sound and picture),
>> superimpositions
>>
>> (all at LUX, London.)
>>
>> Rob
>>
>> From: Caryn Cline <carynycline at gmail.com>
>> Reply-To: Experimental Film Discussion List <
>> frameworks at jonasmekasfilms.com>
>> Date: Wed, 6 Aug 2014 09:06:12 -0700
>> To: Experimental Film Discussion List <FrameWorks at jonasmekasfilms.com>
>> Subject: [Frameworks] films using the optical printer
>>
>> Dear Frameworkers,
>>
>> If I were going to undertake a series of screenings showcasing optical
>> printer techniques, what work would you recommend?  What is the best work
>> for understanding the cinematic potential in optical printing?  Are there
>> any texts that could be included?  I'm asking for my own enlightenment and
>> to take my own OP work to another level, but I might also try to put
>> together a public screening at some point.
>>
>> Many thanks, as always, for your thoughts and advice.
>>
>> CC
>>
>>
>>
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