13.2.12
The Imprint
---
(What the Water Said, Nos. 1-3 by David Gatten)
---
---
(What the Water Said Nos. 1-3, Nos. 4-6 by David Gatten)
---
---
(What the Water Said, Nos. 4-6 by David Gatten)
---
10.2.12
Balançoires
---
The following stills are from Noël Renard's twirling 1928 short Balançoires. A graphically adventurous and thoroughly somatic attraction...
---
---
8.2.12
Millennium Film Workshop Meeting
Millennium Film Workshop invites YOU – Help keep our rare filmmaking tools available to all !
Open Planning Meetings starting Thursday, Feb 9, at 7:30-10:00 PM.
We support emulsion-based filmmaking as a medium for artists within the larger palette of moving image media, whether digital, electronic or other.
We are affordable and accessible, offering Equipment, Workshops and both Curated and Open Screenings, with filmmaker talks dialogues.
We want to offer Film to Digital transfer equipment in the near future.
16mm and 8mm filmmaking requires equipment that is increasingly hard to find: Highly Affordable Access to 16mm and 8mm editing equipment, cameras and projectors, Steenbeck consoles and the J-K Optical Printer have long been our specialty.
WE NEED YOUR HELP at a time of passionate rebirth and growth -- and struggle.
Friends, Audience, Users, Fans old and new, moving image artists of all ages !
please consider these actions to support millennium film workshop,
[ ] Come to this Thursday Feb 9 7:30-10:00pm meeting or next meeting !
[ ] Learn about opportunities to contribute your skills, volunteer, help ! **
[ ] Begin or Renew your Membership, online or in person, or make a donation ! *
[ ] Send your contact info, express your concern to cinema@millenniumfilm.org,
Millennium has signed a new lease for the space at 66 East 4th Street, for the workshop and editing spaces. Millennium is no longer leasing the large film screening theater; we do want the theater to be renovated, and want to collaborate in making this happen, for the benefit of all. Our landlord, La Mama, Inc., wants to renovate the theater, with the goal of having it be highly active and generate more revenue. Potentially several kindred film screening entities can share the theater.
Going forward, YOUR HELP is NEEDED in a collective effort
n to renew and extend filmmaking practices at Millennium,
n embracing the full palette of moving image tools, including digital,
n reflecting the needs of our users for access to specialized film and transfer equipment, workshops and skill sharing, and including digital methods and technology as appropriate.
What forms of digital and analog support do you want and need?
HISTORY! Our equipment access, workshop training, filmmaker dialogs and screening series, have furthered the work of a pantheon of filmmakers and students since our beginnings in the heyday of the East Village, when Ken Jacobs and others filled a void by creating Millennium in 1965. We became a seminal and integral part of downtown and international film culture because of our presentation and support for artists’ work and the congenial exchange of skills and ideas.
A series of Open Information and Planning Meetings at Millennium
will start on
Thursday, February 9, at 7:30pm.
66 East 4th Street, NYC 10003
Please come if you can, AND/OR send us a short email expressing interest in further news (with your contact info and your ideas).
The date for the March 2012 MEMBERS MEETING and Board Elections will be announced soon, for the last week in March.
We are working hard to set up communication with all interested Friends and Members. To do this we need your up-to-date contact information. Later this month we will be using a survey tool but right now please write to cinema@millenniumfilm.org to express interest or ask questions.
Be part of articulating our mission and making it happen in 2012.
Please post widely - send this announcement on to your film-loving friends.
For Facebook users, you can also "Share" the meeting announcement on our page, or our share our "Event" https://www.facebook.com/
HELP SUSTAIN and CREATE vibrant programs, seminars, lectures and screenings.
COME TO THE reBIRTH OF THE NEW MILLENNIUM!
BE A PART OF THE EXTENDED AND RISING COMMUNITY OF FILM AND DIGITAL ARTISTS!!
BE HEARD, MAKE A DIFFERENCE !
MEMBERSHIP: Supporting Membership is $30/year, Workshop Membership is $30/year or $20/six months. Renew at https://www.justgive.org/
*JOBS: Millennium seeks professional BOOKKEEPER with reasonable rates, referrals are welcome.
**OPPORTUNITIES: Efforts are underway ... our collective efforts will be instrumental to MFW's success. A spectrum of opportunities to help: communication and outreach, advocacy, beautification/remodeling/
Millennium has a small budget but this can grow. Our one staff person cannot do everything. In-kind support is the key to growth, vibrancy and a sure path through the months ahead.
30.1.12
The Machine
---
---
---
(texts from Theories of Modern Art by Herschel B. Chipp)
---
(stills from Ballet Mécanique by Fernand Léger & Dudley Murphy via Anthology Archives)
27.1.12
Cracking Up
(The Girl's Nervy by Jennifer Reeves)
(Light Work Mood Disorder [left side] by Jennifer Reeves)
---
"For instance, Mary Beth and I as we worked together on the Persians, are often speaking of Jenn Reeves's hand-painted films. And wondering, just to be specific, how does she get the paint to crack like that- we've tried burning a match over it, match under it, setting it in the sun, using India ink and so on, but she produces a distinctive cracking in her painting that's absolutely hers and of course we're not really supposed to have it, we're playing in a way, but in the mean time we're discovering other ways of creating that organic cracking of the paint or the substance of the paint."
-Stan Brakhage
---
(He Walked Away by Jennifer Reeves)
(When It Was Blue by Jennifer Reeves)
20.1.12
Regrets
"I used the word 'structural' to describe a tendency in certain films. I never spoke of structuralism. I never spole of structural film-makers, but of particular tendencies in particular films. The use of the word meant to have nothing to do with anything in Levi-Strauss, or French structuralism. I had no notion, at all, that this article would catch fire, more than anything else I had ever written; that it would become a disease; that it would come back to haunt me. It was hopeless. But it's a word that has stuck, and I'm stuck with it. You're right, I wish I had thought of a different word at the time. I want to state my total agreement with you on this thing- that that was a mistake. I am sorry about it, but the mistake of associating structuralism with structural film was not in the text of mine."
-P. Adams Sitney in a 1977 debate with Malcom Le Grice
Subscribe to:
Posts (Atom)