[Frameworks] films using the optical printer

nicky.hamlyn at talktalk.net nicky.hamlyn at talktalk.net
Thu Aug 7 16:36:59 UTC 2014


that´s correct. she used the lfmc Debrie machine that is still in use at No.w.here. Nicky. 



-----Original Message-----
From: director at lift.on.ca
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Sent: Thu, 7 Aug 2014 17:02
Subject: Re: [Frameworks] films using the optical printer



And while we're at it... my understanding was that Annabel Nicholson's
Slides (also mentioned in this series of posts) was actually made on a
contact printer, sliding pieces of film along at different speeds. I think
her piece would be particularly hard to do in an optical printer, because
its so fluid.

Chris

> 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<mailto:stefan at radonlake.com>> wrote:
> Bruce Baillie's 'Castro Street' has some really beautiful optical printing
> work.
>
> ________________________________
> From: bigmuddy2005 at hotmail.com<mailto:bigmuddy2005 at hotmail.com>
> Date: Wed, 6 Aug 2014 13:32:24 -0600
> To: frameworks at jonasmekasfilms.com<mailto: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<mailto: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<mailto:jihalprin at gmail.com>
>
>
> On Wed, Aug 6, 2014 at 12:10 PM, Gene Youngblood
> <atopia at comcast.net<mailto: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<mailto:adam at lafilmforum.org>
> Sent: Wednesday, August 06, 2014 10:57 AM
> To: Experimental Film Discussion
> List<mailto: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<mailto: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<mailto:carynycline at gmail.com>>
> Reply-To: Experimental Film Discussion List
> <frameworks at jonasmekasfilms.com<mailto:frameworks at jonasmekasfilms.com>>
> Date: Wed, 6 Aug 2014 09:06:12 -0700
> To: Experimental Film Discussion List
> <FrameWorks at jonasmekasfilms.com<mailto: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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