TYPES OF FILM TO BUY

buy REVERSAL film stock - 100' spools then you only have to process the film once! You will have to pay for two developing steps with NEGATIVE film. Black and white is also cheaper to buy but not to process. B&H is the most expensive place to buy film get it at PAC LAB or KODAK!

PLAN AHEAD!

HAVE FUN :)

HOW TO SET YOUR LIGHT METER

1) Look at the box of your film. There are little icons for light bulb and the sun, then there is a number near one of those symbols. The symbol without a little number directly following it is the light your film is balanced for. (Tungsten -inside, light bulb OR Daylight - outside, sun) your film will be called 100D for example this means that its ISO/ASA is 100 in daylight. Only pay attention to the symbol without a number directly following it. The number directly following it is the filter you could use to balance your film for a light it was not rated for.

Basically follow the symbol without a number directly to the right of it over to the number that is further to the right without any letters in it, usually 100, or 250 etc. That is the speed of your film.

Make sure you punch in the speed of your film into your light meter so that your light meter reads the light correctly for you particular film.

I know this is confusing. I tried to find an image online of the camera box but could not -

just know that for color reversal it can only be 100D which means that you should shoot in daylight unless you want it to look brown inside and set meter to 100ISO/ASA

-For B&W it is around 200 and it doesnt matter if it is inside or outside. The light will look relatively the same - because your are not dealing with outright color.

UPCOMING SHOWS

Participant GALLERY

f.p. boué, infinite instant
March 6 – April 10, 2011

Opening reception, Sunday, March 6, 7-9pm

Performance with Ben Boatright,
Sunday, April 10, 7pm

From March 6 – April 10, 2011, PARTICIPANT INC is pleased to present the first New York solo exhibition of f.p. boué, infinite instant. Known for his time-based work, particularly in small gauge film, Boué incorporates the element of time into his manifold constructions of architectural experience in infinite instant. This site-specific installation includes sculptural elements, films, drawings and, as noted by Dan Sherer, essayist for a companion publication, “is motivated by a concern with the reciprocal translation between the two-dimensional representation of architecture and its three-dimensional reality….”

Boué’s focus on the intersection of art and architecture takes a variety of overlapping forms in which specific architectural shapes or engineering feats, both mundane and monumental, are deprived of their mass, volume, function and/or rendered at scales uncommon to the original. In this particular economy of representation, both the aesthetic domain and that of architecture undergo a transformation. This change finds its point of unstable equilibrium in Boué’s working methods, which separate buildings from their sites and reconstructs them as detached artifacts that simultaneously recall and negate their original characteristics.

In addition to structures scaled to the exhibition space itself, in particular under-utilized vertical space, Boué produces model-like constructs resembling known or obscure buildings in Switzerland and Northern Italy, rendered in common materials such as cardboard, cinderblocks, and homasote panels. “In simultaneous reference to two and three dimensions, his work assumes the role of analogue of any possible form of constructed space, thereby introducing forms unanchored to any specific medium. Boué thus creates a world of architectural semblances that capture the quality of the neutral as pure exteriority, realizing a built form that is all ‘outside’.” (Sherer, “infinite instant,” forthcoming 2011)

F.P. Boué was born in Marburg, Germany and studied linguistics, the history of art, architecture, and film in London and Paris. He lives and works in New York and has been exhibiting three-dimensional works involving architecture, landscape, and urban situations since 1981. His work has been exhibited at Galleria Luigi Deambrogi, Milan; Galerie Chantal Crousel, Paris; Galerie Corinne Hummel, Basel; ARC, Paris; and Markus Winter, Berlin. He began showing films in 1999. His films have been exhibited at the Museum of Modern Art, New York; Kunstmuseum, Bern; Künstlerhaus, Stuttgart; the Museum für Moderne Kunst, Frankfurt; New Museum, New York; and Tate Modern, London, among others.

MICROSCOPE Gallery

THIS WEEK: Thursday 3/10 to Monday 3/14

EVENTS

SAT March 12, 7pm

image courtesy of Tenzin Phuntsog

FOUR RIVERS, by Tenzin Phuntsog (artist in person)

video, color, sound, 2010

67 minutes

Admission $6

We are very pleased to welcome Brooklyn artist Tenzin Phuntsog for a special screening of his most recent feature "Four Rivers", shot in Tibet in 2010. Phuntsog – a Tibetan born and raised in India – spent over 2 years researching and preparing to make the film, which was inspired by a 1940s book by an Indian Swami involving journeys to the source of Tibet’s four rivers. When he was ready to begin work on the video, however, Phuntsog found himself denied an entry visa. Refusing to abandon his project, he sent a cameraman into Tibet with detailed instructions on where and how to shoot a landscape he had never before seen. "Four Rivers" is a remarkable work of inspiration and perseverance and of beauty. The film has two versions: with voiceover & with natural sound. We are showing the one featuring natural sound.

Tenzin Phuntsog (b. New Delhi, India 1982) is a Tibetan filmmaker and artist who graduated with an MFA from Columbia University. His films explore fundamental and provocative aspects of time and space, contrasting the esoteric and the modern. Phuntsog founded the Tibet Film Archive in 2005 to restore and preserve films from Tibet's bygone era for future generations. By restoring and preserving these cultural relics to archival standards and digitizing them to modern media formats, Tibet Film Archive hopes to bring together the qualities of archival preservation and philanthropic service.

MON March 14, 7pm

image courtesy of Michael Snow

PUCCINI X 4

4 films on Puccini by Steve Dwoskin, Michael Snow, Anthea Kennedy & Ian Wiblin, Tsai Ming-Liang

color, sound, DVD, 56 minutes

Admission $6

We are showing 4 of the works from Twenty Puccini, a project in which fifteen filmmakers from around the world, united by their free and fiercely individualistic approaches to cinema, contributed to a series of short films honoring the 150 year anniversary of the birth of Giacomo Puccini in 2008. Each film provides a unique and personal take on the music of a master composer, equally loathed and revered for his grandiloquence and lyricism. These re-interpretations of Turandot, La Fanciulla del West (The Girl from the West), La Bohème, & Madame Butterfly were created with no inhibitions, no budget and no limits, giving free reign to the poetic and independently minded sensibilities of the participating artists. Twenty Puccini is a project by Paris-based film production project House On Fire, in collaboration with the Lucca Film Festival.

EXHIBITION

TAKAHIKO IIMURA: BETWEEN THE FRAMES opens Saturday March 19, 6-9PM and runs through April 11th.

more info on Events & Exhibitions at www.microscopegallery.com

MICROSCOPE Gallery

4 Charles Place

Brooklyn, NY 11221

info@microscopegallery.com

347.925.1433

AT ANTHOLOGY FILM ARCHIVES::

see website for more info, other times and more good movies!!

Thursday, March 10

7:30 PM

F.P. BOUÉ: SITE SHORTCUTS

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This screening is part of: NEW/IMPROVED/INSTITUTIONAL/QUALITY

Film Notes

After a long absence from our screens, one of Anthology’s favorite filmmakers, F.P. Boué, returns to the Maya Deren Theater with an all-new found sound and moving image presentation.

Boué, who studied linguistics, as well as the history of art, architecture, and film in London and Paris, has been showing three-dimensional works focusing on structures or phenomena in the natural and urban landscape since 1981, and began presenting films in 1999. His work has been exhibited at the Museum of Modern Art, New York; Kunstmuseum, Bern; Künstlerhaus, Stuttgart; the Museum für Moderne Kunst, Frankfurt; Tate Modern, London; and the New Museum, New York, among others.

SITE SHORTCUTS is a program of alternating elements. Short Super-8mm film and sound components captured at different sites have been collected and arranged for this time-specific presentation. The screening is scheduled to coincide with Boué’s first-ever multimedia solo exhibition in New York, opening at Participant Inc. on Sunday, February 27 and running through Sunday, April 3, 2011.

For detailed program info, please visit Anthology’s website in mid-February: www.anthologyfilmarchives.org

Total running time: ca. 55 minutes.

Thursday, March 10

7:00 PM

HERSCHELL GORDON LEWIS: THE GODFATHER OF GORE

by Frank Henenlotter & Jimmy Maslon

2010, 106 minutes, video

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This screening is part of: HERSCHELL GORDON LEWIS: THE GODFATHER OF GORE

Film Notes

Filmmaker Frank Henenlotter (BASKET CASE, FRANKENHOOKER), co-director Jimmy Maslon, and Something Weird Video have joined forces to chronicle the amazing exploits of H.G. Lewis from the 50s to the present day. Featuring John Waters, Joe Bob Briggs, and a variety of cast and crew members from many of Lewis’s films, it’s a documentary as mad and unique as the story it tells. As someone who not only lived through 42nd Street’s sleazy reign as ‘the Duece’ but who enjoyed wallowing in it, Henenlotter learned a lot from the cheap gore and twisted sex films that painted the walls of 42nd Street’s grindhouses, and it’s that sensibility that shines in this cinematic exploration of H.G. Lewis’s outrageous career.

9:30 PM

BLOOD FEAST

by Herschell Gordon Lewis

1963, 67 minutes, 35mm

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This screening is part of: HERSCHELL GORDON LEWIS: THE GODFATHER OF GORE

Film Notes

In 1962, David F. Friedman and Herschell Gordon Lewis had tried every trick in the book when it came to exploitation filmmaking. From nudist camps to peeping toms to sex kittens gone bad, they had done it all. In a quest to broaden the definition of just what an exploitation film could be, they tried hard to invent a genre that no one had attempted before. What they stumbled upon was ‘Gore’, and movies have been a lot less wholesome ever since. With its lack of production values and real actors, the sparseness of the score, and the absolutely demented nature of the bloody gore scenes, BLOOD FEAST is a bizarre, totally unique film experience. Call it cheap, say it’s in bad taste or even disgusting, but the fact remains: there’s nothing quite like BLOOD FEAST.

---------------------------------

Millenium Film Workshop check website for more screenings

:: they show things every SATURDAY AT 8PM!!!

MARCH 12 (Sat.) COLEEN FITZGIBBON: PUBLIC RECORDS

STARTING TIME - 8pm Admission $8 / $6 members

Coleen Fitzgibbon was active as an experimental film artist under the pseudonym "Colen Fitzgibbon" between the years 1973-1980. A student at the School of the Art Institute of Chicago and the Whitney Independent Study Program, she studied with Owen Land (aka "George Landow"), Stan Brakhage, Yvonne Rainer, Carolee Schneemann, Vito Acconci, She formed the collaborative X&Y with Robin Winters in 1976, The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince and Winters in 1979, and is best known for co-founding the New York based Collaborative Projects, Inc. (Colab) Fitzgibbon came to NYC from Chicago in the 1970s and worked at Millennium where she had some of her first one-person screenings. in 1977 through 1981, along with artists Kiki Smith, Jenny Holzer, Liza Bear, Betsy Sussler, Andrea Callard, John Ahearn and Tom Otterness, among others. Fitzgibbon has screened her work at numerous international film festivals and museums, including The Toronto International Film Festival 2009, Museum of Modern Art, EXPRMNTL 5 at Knokke-Heist, Belgium, Institute of Contemporary Art, London, Anthology Film Archives and Collective For Living Cinema.

"Between 1973 and 1976, Coleen Fitzgibbon produced a series of films that stand as some of cinema's most rigorous explorations of the medium. Associated with the Structural film movement and New York's No Wave scene, Fitzgibbon's films emphasize time, duration, and their own flickering mechanics while also hinting at a deeper socio-cultural meaning" -Gene Siskel Film Center

DAILY NEWS (6 min.-1974)

DER SPIEGEL (9 min.-1976)

INTERNAL SYSTEM FOURTH PASS (15 min.-1974-2010)

DOCUMENT (PUBLIC RECORDS) (6 min.-1976-2010)

DICTIONARY (3 min.-1975-2010)

TIME (8 min.- 1975-2009)

Note - Most works shown are film to digital transfers.

On Internal System Fourth Pass:

"4 sections of the same time in the same place." - CF

"In one of her more minimalist films, the viewer is presented with nothing but a blank monochromatic frame slowly shifting through various intensities of color saturation, flickering/shuttering repeatedly from light-to-dark and back again...Technical information such as filmstock, film speed, film length, camera, lens, shutter, projector, and a host of other data appear on the screen like hieroglyphs of some secret language to be decoded...Whether we know what this cybernetic schemata means or not, Internal Systems abandons us to the pure phenomenological ecstasies of cinematic temporality - the reveries of a radical filmic monochromism. At the end of the sojourn the titles repeat but in negative, as if the experience of their effects purely visceral rather than analytical - offer no direct correlation to the mechanism they wield." -Collaborative Projects, Inc.

ANNOUNCEMENTS

--You can BUY FILM from PAC LAB and it includes processing from them

-- you can now check out light meters from the dark room on the 2nd floor - please see post on how to set your light meter! over spring break it will be in the drawer.

-- NEXT CLASS [March 22nd] meet at 9pm in 6E classroom on the 6th floor (where we worked last week)

we will not be having a gues speaker so we will meet and keep working on our films --- so we WILL have time to watch your films!!! PLEASE SHOOT and PROCESS and BRING TO CLASS your 100' rolls of FILM. If you absolutly have no interest in shooting please make a 6 second loop. But know that if you do this you are missing an opportunity to trouble shoot with the camera and it will be very difficult for you to attempt at shooting footage for your final project - you would be choosing anamation then.

ALSO - next class if you were absent for the camera instructions it is up to you to get together with someone who was in class - or make an appointment with me on Thursday to go over the camera with you. I am only free this Thursday evening after 7pm. The last time to drop off film for it to be ready for class time is Monday at 10am at PAC LAB.

Email me with questions.

-- I posted the readings on Goole Docs. Email me if you have a problem looking at them. They are bunched together articles from the sources I mentioned in the READINGS post.

-- I put in the bottom drawer unlocked the hand making film supplies we worked with. You may also want to get - sizzors, a strait edge rasor blade, different color markers.

--If you really want to have your film cleaned you need to purchase your own compressed air can or use your fingers or blow on it.

--if you want to check out projector email me with the times you would like to use it.

READINGS/RESOURCES for VIEWING

Readings are posted on our Google account under google docs. They are from two great books for moving image art and film taken from the books Expanded Cinema by Gene Youngblood and Cultural Film Reader ed by P. Adams Sitney. This is a collection of articles that used to appear in the publication/journal Cultural Film Reader. It no longer comes out but key articles were compiled in this book. P. Adams Sitney teaches film theory at NYU. A forerunning important thinker on all things avant-garde or cinema in general.

-I also put up some more readings by and about Bradley Eros, Psychic Cinema, Cinema of Transgression, Erotic Cinema

- and another Bolex Manual.

For other great readings on experimental/avant-garde/underground cinema check out

The Millennium Film Journal

http://mfj-online.org/

Also there is an article by Hans Richter on film

and an article that appeared in the Chicago Reader about Stan Brackage by Jennifer Reeves.

check out Jen Reeves blog http://16mmlover.blogspot.com/

where I got our password inspiration from.

also Joel Schlemowitz home page which leads to his excellent blog and resources for HOW TO USE A SEKONIC ANALOGUE LIGHT METER and other film terms and infoI

http://homepage.newschool.edu/~schlemoj/index.html

Other artists websites of interest

Mary Magdeline Serra---works a lot with the "body" and super 8

http://www.mmserra.com/

Donna Cameron -- works a lot with "cameraless filmmaking"

http://www.donnacameron.info/

OTHER RESOURCES FOR VIEWING FILMS IN NYC

Antholoy Film Archives

http://anthologyfilmarchives.org/

millenium film workshop

http://www.millenniumfilm.org/

Film-Makers Cooperative

http://www.film-makerscoop.com/

Microscope Gallery

http://www.microscopegallery.com/

Light Insdustry

http://www.lightindustry.org/

Participant Inc Gallery

http://www.participantinc.org/

http://www.mononoawarefilm.com/

http://cinemasixteen.com/

http://www.filmlinc.com/

http://www.ifccenter.com/

http://www.filmforum.org/

http://www.bam.org/view.aspx?pid=6&g=82

FIlm Class Spring 2011 - INFO

Checking Out Equipment

Before and after spring break tri-pods and light meters are available from the Dark Room in the Barney Building on the 2nd floor for two days at a time.

Contact me if you can not check out equipment with them for whatever reason asap!

Over spring break there will be a light meter available for you through the drawer and a tri-pod available for you through me in my studio. So let me know in advance if you need the tripod. I will not be around all break.

When taking equipment out of drawer:

- Leave a note in the drawer with:

1.your name

2.the equipment you checked out

3.the time you plan on returning it

4.your contact information

-Write your check out times on the calender on the drawer (even if it is also online)

-Return everything with camera, all excessories~

For Bolex : rewind crank and take up spool (daylight spool)

For K-3: handle and filters

- Call me if you have any questions 347 - 564 - 4598

ASSIGNMENTS

Shoot 1 roll of reversal black and white or color 16mm film and develop it by March 22nd we will watch and discuss before or after the artist lecture.

Edit together a finished film either with footage shot, with camera less film making, or found footage by April 5th

we will watch them and discuss the work before heading to the Film-Makers Cooperative to watch some some projected 16mm films. (There is a possibility this field trip may be canceled - we will then have more time to talk about our work - I am trying to secure the spot for us through the NYU budget department - please do not be disappointed if this does not happen.)

Work on your final projects in April if you choose to make your final project in Film you may want to meet with me. I can also help you with Digital video transfers.

We will workshop/trouble shoot your works in progress on April 19th so you must bring your projects in whatever form to class.