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After some delay (with no good excuse), I present here a list of films I've been working on preserving/restoring over the past year or two. A lot of these are finished, but a number of them are still in progress, some further along than others. Feel free to make requests on any specific film you'd like me to write about, and I'll do my best to do so. In the interests of me not being overwhelmed, please limit your requests to no more than, say, two titles. Some projects can be summarized really easily and briefly, some are a lot more involved. And although I did go over this list pretty closely to make sure they're all things I would/can write about, I reserve the right to change my mind about writing on certain films. Just leave your requests in the comments!
THE ACT OF SEEING WITH ONE’S OWN EYES (Stan Brakhage,
1971)
ANGIE (ADAM BECKETT FX ROLL) (Adam Beckett/Deirdre
Cowden, 1976)
ANSELMO (Chick Strand, 1967)
ANTICIPATION OF THE NIGHT (Stan Brakhage, 1958)
ASPARAGUS (Suzan Pitt, 1979)
THE ASSIGNATION (Curtis Harrington, 1953)
BABOBILICONS (Daina Krumins, 1982)
BACK IN THE SADDLE AGAIN (Scott Stark, 1997)
BACKGROUND (Carmen D’Avino, 1973)
BATH (Penelope Spheeris, 1969)
THE BEARD (Robert Nelson, 1967)
BOOK OF DEAD (Victor Faccinto, 1978)
BY THE LAKE (Chick Strand, 1986)
CATFILM FOR KATY & CYNNIE (Standish Lawder, 1973)
CHOPPERS (Chris Langdon, ca.1976)
COLOR FRAGMENTS (Elwood Decker, 1948)
COLORFILM (Ben Van Meter, 1965)
CRYSTALS (Elwood Decker, 1951)
CUE ROLLS (Morgan Fisher, 1974)
THE DEAD (Stan Brakhage, 1960)
DEUS EX (Stan Brakhage, 1971)
THE DIVINE MIRACLE (Daina Krumins, 1973)
THE DOODLERS (Kathy Rose, 1975)
ECLIPSE PREDICTIONS (Diana Wilson, 1982)
EXPERIMENTS IN MOTION GRAPHICS (John Whitney, 1967-68)
EYES (Stan Brakhage, 1971)
THE FIVE BAD ELEMENTS (Mark LaPore, 1997)
FURIES (Sara Petty, 1977)
GRATUITOUS FACTS (Tom Leeser, 1981)
THE GREAT SADNESS OF ZOHARA (Nina Menkes, 1983)
HATS OFF TO HOLLYWOOD (Penelope Spheeris, 1972)
THE HOG FARM MOVIE (David Lebrun, 1970)
I DON’T KNOW (Penelope Spheeris, 1970)
INTEGRATOR (Richard Taylor, 1966)
INTERVIEW WITH AN ARTIST (Chris Langdon, 1975)
LATER THAT SAME NIGHT (Will Hindle, 1971)
LIGHT MODULATORS (Elwood Decker, 1948)
LOUD VISUAL NOISES (silent version) (Stan Brakhage, 1987)
LOUD VISUAL NOISES (sound version) (Stan Brakhage, 1987)
LOVING (Stan Brakhage, 1957)
MADAME MAO’S LOST LOVE LETTERS (Tom Leeser & Diana
Wilson, 1983)
MAGDALENA VIRAGA (Nina Menkes, 1986)
MANZANAR (Robert Nakamura, 1971)
ME & BRUCE & ART (Ben Van Meter, 1968)
MICRO 2 (Elwood Decker, 1952)
MOVIE STILLS (J.J. Murphy, 1978)
NEURON (Robert Russett, 1972)
NOW PLAYING (Susan Rosenfeld, 1983)
NOW THAT THE BUFFALO’S GONE (Burton C. Gershfield, 1967)
OLDS-MO-BILE (Ben Van Meter, 1965)
OMEGA (Donald Fox, 1970)
OPPOSING VIEWS (Tom Leeser, 1980)
OUR LADY OF THE ANGELS PART I: ENTRANCE ENTRANCE (Chris
Regan, 1976)
OUR LADY OF THE ANGELS PART IV: EXIT (Chris Regan,
ca.1980)
PASSAGE THROUGH: A RITUAL (Stan Brakhage, 1990)
PASTORALE D’ÉTÉ (Will Hindle, 1959)
PENCIL BOOKLINGS (Kathy Rose, 1978)
PHOTOGRAMMETRY SERIES (Louis Hock, 1977)
PICTURE AND SOUND RUSHES (Morgan Fisher, 1973)
PICTURE WITHOUT SOUND (Susan Rosenfeld, 1976)
PRELUDE (Curtis Opliger, 1950)
PRINT GENERATION (J.J. Murphy, 1974)
PROGETTI (Paul Bartel, 1962)
REFLECTIONS ON BLACK (Stan Brakhage, 1955)
RENEE WALKING/TV TALKING (Tom Leeser, 1980)
THE ROCKING CHAIR FILM (Mike Henderson, ca.1972)
SELECTIVE SERVICE SYSTEM (Warren Haack, 1970)
SEÑORA CON FLORES / WOMAN WITH FLOWERS (Chick Strand,
1995/2011)
SHIT (Penelope Spheeris, 1969)
SHOPPERS MARKET (John Vicario, 1963)
SILENT REVERSAL (Louis Hock, 1972)
SIRIUS REMEMBERED (Stan Brakhage, 1959)
SOFT FICTION (Chick Strand, 1979)
SOME DON’T (Ben Van Meter, 1964)
SOPHISTICATED VAMP (Lynn Fayman, 1958)
STILL LIVES (Louis Hock, 1975)
STUDIES IN CHRONOVISION (Louis Hock, 1975)
SYNTHESIS (Penelope Spheeris, 1968)
THIS IS THE BRAIN OF OTIS CRAWFIELD (Chris Langdon, 1973)
UNDER THE JUGGERNAUT (Robert Russett, 1969)
VERY & NIGHT MULCH (Stan Brakhage, 2001)
WAR IS HELL (Robert Nelson & William Allan, 1968)
WAR ZONE (Neon Park, 1971)
WHITNEY BROTHERS – 1ST HOME MOVIE / THREE UNTITLED FILMS
(John & James Whitney, 1941)
WHY MAN CREATES (Saul Bass, 1968)
WILDWOOD FLOWER (A.K. Dewdney, 1971)
WINDOW WATER BABY MOVING (Stan Brakhage, 1959)
WONG SINSAANG (Eddie Wong, 1971)
YIN HSIEN (Michael Whitney, 1976)
14 comments:
Awesome that you are preserving NEURON! What is the status on that?
hey mark... how about shopper's market and studies in chronovision?
Print Generation and Catfilm for Katy & Cynnie. Thanks!
Love to hear what is going on with WHY MAN CREATES?
Thanks, Mark.
--Mark Q.
Anyone ever tell you you're crazy? Well, I'm doing it now. Keep it up!
Mark, I'm so happy you are working on WHY MAN CREATES, since the viewing print I saw at the Academy looked pretty awful in terms of color fading. As you know, Bass was a maniac about color and drove labs to distraction by rejecting prints on color issues. Will you be showing the new preservation at Cinefamily in June?
Best,
CHRIS
How is progress on the very first in your list - THE ACT OF SEEING WITH ONE’S OWN EYES? I remember the experience of seeing it in the early 70s at Sydney University; most of the audience left when the saw came out and the skull was opened! At the time this was very confrontational - as the title suggests.
Please write about Murphy's Print Generation.
I'd also like to read about Will Hindle, whom doesn't get much written about, and the films of Paul Bartel, Penelope Spheeris and Curtis Harrington.
Can you talk about The Divine Miracle sometime? And Silent Reversal? And I know you said pick only two, but this one was probably pretty easy (maybe not) but is also one of my favorite movies, so if you want to write about Soft Fiction sometime that would be awesome.
I'd love to hear about Ellwood Decker's COLOR FRAGMENTS. Saw it at the Egyptian last fall, and hope to write about it. -- Jennifer P.
I have such a fondness for the Saul Bass film because we'd periodically watch it in art class when I was a kid.I doubt I have even seen it since then. I would also be interested in hearing about some of the technical challenges of restoring Chick Strand's films. (But to be honest, I enjoying reading your postings so much, regardless of whether I have seen the films or not, so keep em coming!)---Christian
Heck yeah, animating ladies - my votes are for Daina Krumins' "Babobilicons" and Diana Wilson's "Eclipse Predictions".
Thanks for writing such an awesome blog! I love the unexpected opportunities your posts give me to nerd out on experimental film preservation.
I would enjoy your input on "The Beard" by Robert Nelson
I'm curious to hear more about The Five Bad Elements
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