June 1993
B&T's Little Film Notebook #10
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GOOD NEWS AT LAST???
Recent developments might give you cheer. ON THE RECORD
DlRJ:;CT SALES / KODAK
Eastman Ima&es, the official newsletter of Kodak's Worldwide Student Program, published this statement about Super 8 film: "Recent customer inquiries have indicated concern about future availability of Super 8 mm movie films from Eastman Kodak Company. Kodak is committed to providing amateur and professional film makers with the highest quality Super 8mm movie films in the world. "Kodak will continue its support of its existing Super 8mm Kodachrome, Kodak Ektachrome, Tri X and Plus-X movie film products through its manufacturing an:! marketing organizations. At present, this support is planned to continue for the foreseeable future. For the more distant future it will, in part, be determined by the level of demand and availability of equipment and processing. "
Kodak: seems aware that Super 8 filmmakers have trouble finding film, so they've added a direct sales option for the color stocks. Call the helpful people at KODAK's INFORMATION CENTER, tel: 800-242-2424. First, they will search their database to suggest cooperative dealers nearby or mail order companies. Then, their direct sales option works with a Visa card by phone or a check or money orderby mail. We don't yet know the tum-around time on orders but notice they plan to charge list price (steep) so the discounters are still your best bet. But, this is good news for stranded filmmakers. You can continue to order Black & White Super 8 stocks and all the 16mm and 35mm stocks through Kodak's Cash&Carry order line, tel: 800-621-3456. Unlike color's steep prices, B&W was $7.61.Great.
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REGULAR 8mm RENAISSANCE? HEY, REGULAR 8 FANS ... ACE, that cheery newsletter from England, reports that two outfits are offering Standard 8mm (Regular 8). Starting with a 50 ASA Black & White stock made by Orwo, a division of Agfa, Tony Shapps will begin filling orders in June. Then, if sales are good, he'll begin to offer color film. We plan to test this stock; let us know your results if you do! Contact Tony Shapps at The Widescreen Centre, 48 Dorset St, London WIH 3FH England. Tel: 44 71-935-2580 or FAX: 44-71-486 1272. Or try Larry Pearce at L.G.P. Cine, tel: 44-81-868-0206. Fax: 44 81-866-8789. He's been reperfing 16mm to 8mm for years. Remember, when calling or faxing, England's on GMT, 5-8 hours ahead of us.
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OVERHEARD at a media arts conference in Chicago, June 1993.
Filmmaker: "So, how much longer do you think Kodak will keep making Super 8?"
Kodak rep: "Oh, until the year 2000."
••• Our question: What will be the archival recording system(s) for moving images in the year 2000?
We bet Kodachrome or B&W film!
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OPPORTUNITIES ALIVE TV Neil Seiling is now producing this series and he is open to looking at all kinds of work. Take a gander at the show this summer on PBS ·to get an idea of the range of artists, forms and ideas. Call him or send a video. Tel: 612-229-1358. Fax: 612-229-1283. Minneapolis. Lyon Blumenthal Mem. Fund for Ind. Video looking for innovative work (both production and criticism) in the winter of 1993. Write
FILM STOCK? for guidelines: P.O. Box 3514, Church Street Station, NY NY 10007. XTV: The Independent Programming Network announces a new cable TV channel "XTV" primarily for filmmakers age 18-29. Info: 602-948 0381. 21st Cent. Vaudeville, a live, late night interactive variety show looking for new talent. Contact Lisa Rein, Telemorphix, tel: 415-587-2296. Fax: 415-587-2295.
HUNT's, Melrose, Mass. Call Jeff Newman's voice mail, 617-662 6364 x 2314, listen to instructions, leave order, 24 hour. Film and reels fast at good prices. Jesse & Theda CHAMBLESS, Atlanta. tel: 404-767-5210. Everything in stock, always. UNIQUE PHOTO, NJ. tel: 800 631-0300. Good prices, esp. on PK-59 mailers. Kodak See above. Order with Kodak catalogue numbers: Plus-X = # 502-9087; Tri-X =# 502-9046.
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SERVICES
FYI. Inclusion in SERVICES does not constitute an endorsement We try to reflect recent reports from filmmakers who use these services. Please share your experiences with us. GOOD KODACHROME & EKTACHROME PROCESSING KODALUX, Dallas. The most consistent color we see. K-14 and EM 26 Kodachrome and Ektachrome every day. 24 hr. turn-around service available (w/surcharge) Contact Ken Ratliff, the new Super 8 customer service person. Tel: 214-352-5900. Best price by PK-59 prepaid mailers. Lab: 3131 Manor Way, Dallas TX 75235. Since no lab is perfect, not even Kodalux (but close!) please check your film upon receipt. If you see random blue marks in Kodachrome or blue fogging or flashing in Ektachrome please call the lab fast and send us a postcard with date, problem, your name and who contacted . Very responsive staff in Dallas. _ GOOD EKTACHROME YALE LAB (Los Angeles) B&W and Ekta daily, can push if you must. Money order or now accepting credit card. tel: 800-955-YALE.
BEST B&W LAB P.A.C. Lab, N. Y.C. B&W 16mm and Super 8 processing daily. Consistent, best gamma (good grey scale.) Mail/drop off: Suite 111,4 W. 4th St. NYC 10012. Special arrangements? Call Peter Couloumbus first, (early eve) 212-674-8958.
CONSISTENTLY GOOD B&W Alphacine, Seattle 16mm daily, S8 on M-W-F. Quick turnaround. tel: 800-426-7016. Lab: 1001 Lenora St. Seattle, WA 98121. Yale, Los Angeles B&Wani Ekta daily, can push, money order or credit card. tel: 800-955-YALE.
June 1993
tel: 508-948-7985
B&T's Little Film Notebook
YEAH! Cin~ 64, Boston has started to process Super 8 B&W again daily. Bob Hum is the craft person, his good gamma well known from the old FilmService/Boston days. tel: 617 254-7882. Lab: 278 Babcock St. Boston, MA 02215.
ARGH Bay area filmmakers are seeing Berkeley B&W processing that varies in black density in different processing runs on the same filmstock. Film Service/Burbank's processing tended to be a little on the contrasty side this winter and filmmakers are experiencing confusion from Super8 Sound's shipping people there. Variable reports from SE filmmakers on Bono Lab's (Arlington, VA) processing and it's pricey. Variable reports on Minn. Gary Rasmussen's processing but he's committed to holding his price low. Call Film in the Cities to verify. The only other lab we've heard of for Kodachrome process is DEAN'S GRAND CANYON LAB (aka FUJI True Color) tel: 602-266-5671, but filmmakers report uneven quality. No Ekta. They- do not accept prepaid mailers for Kodak or Fuji film . Lab: 4117 N. 7th Ave. Phoenix AZ 85103. Filmmakers please loop back to labs with quality reports.
PRINTS, BLOW-UPS Alphacine can do contact as welI as optical prints S8 to 16mm. 800-426 7016. Optimage S8, 8mm or 9.5m blow ups to 16mm. Michael Saunders, tel: 514-683-5033 Roxboro, Quebec. BB Optics, S8 or 8mm to 16mm optical blOW-Ups by filmmaker BiIl Brand, tel: 413-253-0448, W.Mass. Yale offers 88 to 16mm; Interformat in SF has made a speciality of blow-ups to 35mm for years. P.S. Anyone have recent experience with master printer Manfred Jelinski in Berlin?
OLD CHEMISTRY periodic processing at ROCKY MOUNT AIN FILM LAB, tel: 303-399-6444. Lab: 145 Madison St. Denver, CO 80206
SHRUNKEN FILM? Get help from Restoration House Film Group (Arnold Schieman) .tel: 613-966-4076, Box 298, Belleville, Ontario K8N 5A4, Canada
SOUND
STRIPING by Aaron Tardos tel: 415-668-4121, stripes original 8mm, S8 or 16mm film, wlone or two tracks; reasonable rates and turnaround time. Drop film off at Camerabug, SF or call Aaron to arrange shipping or rush service. FULL S8 SERVICES by Bill Creston, 727 Av. of Americas, NYC 10010. Most prod. & post services, including stills, sound and pix editing, transfers of sound to print, etc. CalI 212-924-4893. Feedback from filmmakers with actual experience ts requested. -send postcard please. Ed.
REPAIRS David Ryan at Pittsburgh Filmmakers tells us of good repair service from Irv Higdon on Elmo cameras and projectors. Calif. tel: 818-831-6769. Kevin Thayer at RISD reports good work on Nizos and on a Canon 814 with variable shutter problems from David Cockerline, RI: 401-397 3857. Yea! A Goko Authorized Service Center!? called to say they have plenty of parts and can repair editors and many makes of cameras. They also seem to have a humane policy about estimates. Call service manager Jay, tel: 914-738-6500. Or write 620-5th Ave. Pelham, NY 10803.
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PROCESSING OVERSEAS Kodak Helpline tel: 800-242-2424, knows current lab addresses & tel.
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N . B. Kodak Helpline logs your questions and requests. Call 800-242 2424 and prove that 8mm lives!
B&T's Little Film Notebook EDITORIAL
tel: SOS-94S-79SS
.June 1993
HONOR THE ANCESTORS
When historic moving images appear on television, I often see them presented at the wrong speed. Think about the WWII footage you've seen showing soldiers in action. Did they really move that like that? What were they feeding them? Cheerios? Written records indicated the food wasn't that great, but the soldiers are shown moving fast. Why bother to sleuth the correct frame rate of an old film? Could a technical choice have ari impact on our collective memory? As an consumer of documentary information I worry about these things, and I share these thoughts after a dozen years of wearing my other hat as "Brodsky & Treadway," talking with independent producers who need us to transfer old reversal film. I work to help media artists who take aesthetic or poetic license with their footage. But I get concerned to find TV producers who are nonchalant about the frame rates of archival images intended for a non-fiction documentary. Old movies which record actual events can allow a viewer to see something across decades as close to "first hand" as we can get. Movies have a great deal more information in them than stills. If the producer and technician don't strive for a faithful reproduction when they are supposedly presenting a document, they are guilty of manipulating history like a propagandist. With maximum "transparency" a viewer is given the opportunity to reach back and watch the visual document with little impairment. The viewer can weigh what he or she sees against other reports of the event without depending solely on expert testimony or idiosyncratic eyewitness accounts that proliferate in documentary films today. How can you reproduce motion in old films with historic accuracy? Begin by learning about the film technology of that time. Until the 24fps frame rate was established for (35mm) sound film, frame rates varied a great deal. In 16mm and 8mm, for instance, the standard for silent film was 16fps (the old 35mm silent rate, endurable for hand-cranking) or 12fps (to extend the recording length of the load.) In Super 8mm, both 18 and 24fps are standard frame rates for both silent and sound recording. Recently, we transferred regular 8mm sync sound footage that varied between 19 and 24 fps! With found footage, be very exact about matching cans or notes to reels of film. Ask the lab about their technical ability to give you original frame rates. In the early days of film transfer to videotape, most hardware was set up for 24fps and much of that hardware remains in use. If a lab offers to transfer at its "standard" frame rate and then tells you to slow down your images in video post-production, this will not be as satisfactory as if the film is transferred at the correct rate (and it will cost you more in editing time). Undesirable video artifacts may also occur. If slo-mo is desired for a specific reason, be aware that video slo-mo has a very different quality ("look") than slowing the film during transfer. Strive for "transparency" which means that a good studio monitor should show the video version of the film looking like it's the film itself, not like a mediated version of it. My concern about manipulating history is doubled for amateur footage which can be very raw and unique inits natural state. Amateur filmmakers made movies of things which interested them: families, gatherings, social and political events in their direct realm of experience. Unlike professional media, amateurs were not beholden to corporate investors; that's why I consider amateur film so valuable to the culture. Amateurs made movies to suit their own inner urges for visual expression or their desire to record for posterity. I find the best amateur images were filmed with a passionate eye for details of the day. To honor our ancestors (both the filmmaker and those filmed) I believe we must try to replicate their natural rhythm, their own pace. Toni Treadway
HELP! I need specific demographics on y' all to meet requests from the state and federal arts agencies that support IC8. The more answers I get, the better. Tear off the bottom of this page or send a self-defining profile on a postcard to Treadway, PO Box 335, Rowley, MA 01969. Happy Summer. Thanks. TT I. PROFILE Do you identify yourself as belonging to any of the groups designated as "underserved" by our state? Low Income/ /Rural (which state please)/ /ElderJy (65 or older)/ !Youth (18 or younger)/ /African Americans/ /Asian Americans/ /Latin Americans/ /Native Americans/ /White/ !Vietnam Veterans/ /Persons with Differing Abilities: (Physically or Mentally Challenged, Special Education)/ /
II. CONSCIOUSNESS RAISING • SPECIAL AUDIENCES Do you show your films to any of the above special groups? / /Have you ever thought about how to access film/video to people who are specially challenged? (deaf, blind, other?/ IDa you show your work in English only, in other languages, in places which are wheelchair accessible, in unique or other challenging situations? / which? what? I Do you know where to get help planning presentations with ASL interpretation (signing), Closed Captions or DVS (Descriptive Video Service)? / I Do you want info on these or other issues? Your comments are welcome.
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B&T's Little Film Notebook
PUBLICATIONS
PITTSBURGH FILMMAKERS is publishing an new basic filmmaking book, avail. in July. We saw the galleys of "Shot by Shot" and suggest it for beginning classes. Bravo to the team John Can tine, Susan Howard and Brady Lewis. Call 412 681-5449 to order. Super 8 in the Video Age, Brodsky & Treadway's book, is still available, too. For those who want to share our enthusiasm for Super 8 and get tech tips like when to use that toothbrush! ~948-7985. Back issues of this newsletter. #9 about storage; #8 hardware, etc. Send address and $1 postage, more if you can help out someone else. Thanks. Future Safe, a basic primer about safeguarding your art from the Estate Project for Artists with AIDS. Copies: Alliance for the Arts, 212-947-6340. MAIN c~.n help tour your films. Write Editor Norman Jayo: - 1212 B'way, s. 816, Oakland, CA 94612. Tel: 510-451-2717. . .Support ~IVF ~ith a membership and get their great monthly magazine The INDEPENDENT for necessary film/video news. 625 Broadway, 9th n, NYC 10012. Tel: 212-473-3400. Amateur Cine Enthusiast from England, helpful for people interested in Standard 8mm and 9.5mm and even Super 8mm. ACE, Porthallow End Talland, Looe, Cornwall, PLl3 218: U.K. 88888888888888888888888888
FESTIVALS
The Art & Experiment Section of the British Film Institute's London Film · Festival is again bemg programmed by Cordelia Swann. Deadline for submissions August 1st. Tel 4471 815 1324 Fax 44 71 633 0786. London Film Festival, South Bank, London, SEI 8XT UK.
tel: 508-948-7985
FESTIVALS, cont'd. Independent Feature Project (the marketplace for features and shorts) has a deadline July 20 for market in NYC Sept. 20-27. Contact: 132 W. 21st St. 6th floor, NYC 10011. Tel: 212-243 7777. TUNISIA: Festival International dJ Film Amateur de Kelibia. This very large biannual festival of independent filmmakers from all over the Arab ~orld is seeking films appropriate for Its large public screenings, July 31 to August 7. Query to fest. dir. Taoufik ABID immediately for consideration. Fax: 216-1-336-207. Deadline for films: June 30th. European Media Art Festival, OsnabrOck, attend 2-6 September (deadline prior to our pub.) Postfach 1861, D-4500 Osnabrock. Tel 0541 21658, Fax 0541 28327. 7th New York Lesbian and Gay Experimental Film /Video Festival, deadline June 15th or sooner. Tel: 212-925-5883. 18th Poetry Film Festival, always first weekend of December. They have a video sampler and 17th winners video for sale. Contact Nat'1. Poetry Assoc. Fort Mason, Bldg D. SF CA 94123. 1994 United States Super 8 Film & Video Festival. Deadline Jan. 21. Fest: Feb. 11 at Rutgers Univ. in N.J. For entry form call 908-932-8482. The 1993 fest was a smash with great films and press coverage. 14th International Super 8 Fil m & Video Festival November 1993 ' in Brussels. Deadline approx. October 15. Contact Centre Multi-Media, 12 rue P-E. Janson, 1050 Bruxelles, Belgium. Fax: For next year, check out our friends from overseas early: Atelier Super 8 de Tours Universite Fran~is Rabelais, 3 rue d; Tanneurs, 37000 Tours, France. Looking for work; Fest in April. Melbourne Super 8' Film Festival , Box 12502, A'Beckett St. 4
.June 1993
P.O. Melbourne, VIC 3000 Australia. (Fest probably in March 1994, with deadline in late Jan?) Steven Ball, Fax: 03-417-3804. Sydney Intermedia Network P.O. Box 424 Kings Cross, NSW: 2011, Australia. Fest. probably in May with deadline in Feb? Write. Int'l. Short Film Festival of Montreal Colleagues at the Association pour Ie Jeune Cinema have renamed their 14 year old festival. They say the focus is essentially the same but only 16, 35, videos in the guidelines? Before January, contact for clarification: tel: 514-252-3024, fax: 514-254-1617. 888888888888888888888888888888888888888
SUBSCRIPTION POLICY B&T's Little Film Notebook is published at least biannually to reflect changes in the environment of 8mm filmmaking. Donations make it possible; there is no subscription fee as that would tie us to a fixed schedule. The Notebook i s disseminated by The International Center for 8mm _--Film _& _ Video .to sev.er.aLthousand. filmmakers, video artists, TV producers, exhibitors & media centers. I C8 receives recognition and support for Its advocacy and education work from two government agencies: the National Endowment for the Arts and the Massach~setts Cultural Council. To match this public arts support, your donations (in heu of subscription) are welcome, payable to IC8FV, a non-profit education center. NEA, MCC and agencies like them need your help. We encourage you to let elected officials and fellow citizens know the positive effects that government funding of the arts has on you and your community. Tell them how alternative media helps expand the culture. Please participate as advocates for freedom of speech and cultural diversity in image !Jlaking. 888888888888888888888888888888888888888
If you'd like to see cartoons or jokes reprinted in this newsletter, you have to send me things with permission to use them. Humor is helpful in these limes.
B&T's Little Film Notebook
tel: 508-948-7985
CONGRATULATIONS FILMMAKERS!
social satire film The Genius. at the Brattle Theatre.
Yvette Torell showed us Y Na Na: Woman of a Thousand Places which premiered at the 8th Annual Film Arts Foundation Festival in SF. Lovely.
2A Movie Night, at the bar on the corner of 2nd St and Ave. A, NY C has been serving up tasty films by the likes of Saunders, Nausbaum, Fealey & Harrison. Must go ...
Carlyn Saltman had her interesting thesis film Kofi chez les Franc;ais chosen for showing in ethnographic and doc festivals in Ouagadougou, Paris, and Montreal. Willie Varela's A Lost Man was chosen for the 1993 Whitney Biennial and Chon Noriega at UCLA wrote a serious paper on it. Won't someone bring it and him to Boston? Carlos DeMartini spent some time hanging with the X-Men of Egleston Square, Boston and produced a half足 hour special for WGBH's La Plaza. They teamed up to work hard on a portrait of the gang that included some Super 8 the guys made. The premiere/party held at the station was .pretty_special; th.e. giye-and~take got quite hot, especially around issues like "what good is a show like this, anyway?" Ellen Piscorski of Boston won the Super 8 prize at the New England Film and Video Festival for her film The Misogynist Fishmonger featuring Charlie Airport. Diane Bonder of Northampton, MA was a double prize winner at that same festival for Dangerous When Wet and Stick Figures. The third Super 8 filmmaker to win at the NEFVF was yet another woman, Boston's own Pelle Lowe, presented a special" jury award for Earthly Possessions. She screened it as film at the MFA, double system cassette, many compliments on the great sound. It was also shown at PFA in Berkeley this spring. The same night Charlene Gilbert won a NEFVF special merit award for her video portrayal of the gutsy African-American textile worker from North Carolina Ina Mae Best. Special for NEFVF, Joe Gibbons premiered his and Emily Breer's long-awaited new art and
Tim Schwab & Christine Craton had Ghosts Along the Freeway chosen for MNTV III. Their 1990 film Ghost Dance which commemorates the Wounded Knee Massacre opened the Columbus Day program of Independent Focus. We heard at the 1993 NAMAC conference that these two were instrumental in organizing a fantastic regional conference for North and South Dakota which included a great public appearance by the legendary Ricky Leacock showing two cuts of his 30 year old film on the Aberdeenquintuplets (his own cut and the version the network aired). What a great idea! combining a sense of place, film history, a tribute to a working filmmaker with a discussion about the ever current issue of censorship. Leacock was honored equally with a retrospective this year at the American Cinemateque. His work deserves the new viewing even if we like to tease him for abandoning film for Hi8. Alan Simmons, Corinth, AL sold his film to Far West Films/Calgary. Dima Ballin organized another special program "Dr. Thang's Super 8 Dungeon of Animation" at a Boston hot spot in May. Reeve Bailey screened his new documentary Larry at Nomad Film & Video, Seattle. Matthew Harrison premiered his "bowling noir" feature film at Film Crash at Millenium, NYC and is working on another feature Rhythm Thief Bruce Wendt & Digger Kohler showed their satire "9.8" at the Minneapolis School of Art and Design in May in person along with their lead actor, Jim Turner, and musician Willie Murphy who did the original score.
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Jone 1993
SanjibaD & the Big Boys of Konkapot had Roadkill Revival chosen for the 2nd International Super 8 Festival in Tours, France in April. Parada Vida and Don't Wake the Wicked were chosen for the Brussels fest. They're working on something new "even as we speak." Many thanks to Rich Pontius, projectionist extraordinaire, for always throwing good light on experimental energy in Beantown. He and Joe Shepard put together "Tbe Pirate Sbow" held at Primal Plunge in Boston including new or rarely seen films by 13 filmmakers: Colin Barton, DMC, Joe Gibbons, Ken Jacobs, Saul Levine, Suzanne Lombardi, Pelle Lowe, Luther Price, Nancy Seymour, Patty Sunshine, Lynn Toland, Joe and Rich. Rich writes ''I'm going to put on another Super 8 drive-in once the weather gets warm ... please mention that the 2nd issue of Derelict Speedball a magazine I put out will have . a really good interview with Saul in it...it's kind of an art-rag with drawings, .articles,_conrics, photos, art, stupidity, etc ... and silkscreen cover. All this for #1.00. Such a bargain." Order it at 28 Hillside St. suite 666, Boston MA 02120. Huey, the moving force downeast for children's media production and exhibition, received the first annual Center for Children's Media Award for his continuing good work with students. We hope he'll write that book about his work in Maine so people can replicate his programs all over the country. He's released a Best of Fifteen Years video. Write Box 4320, Sta.. A. Portland ME 04101. Tim Young finished a portrait of Louisville's famed amusement park, Fountain Ferry, his sixth such video on lost parks that combines video and historic 8m~ film images. The irrepressible AI Nigrin won the experimental video award in Atlanta for his film Echololia (even with his intense advocacy work, he's a filmmaker too!) He got grants from NA:MAC/NEA and state of NJ for the next US S8 festival. He plans to
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B&T's Little Film Notebook infiltrate the annual UFV A meeting in Philadephia this summer, showing Ule university film /video gang a thing or two about independent Super 8 work . Way to go, Albert! The Atlanta Fest also gave a prize to Doug Loggins for best portrait of an artist, The Pasaquoyan, on the amazing visionary artist Eddie Owens Martin aka St. EOM. The 1993 US Super 8 Fest awards: 1st: Konkapot Big Boys; 2nd: Jay April, Jem Cohen; and 3rd: Robert Lawrence, Pelle Lowe, Trey Turner & Andrew Piccone; 4th: Jenny Kane & Anne McCabe, Sian Evans, David Moore; Honorable: Ricbard Clark, Diane Bonder, James Harrar, and 路Michael Mehl. Audience choice to Jem Cohen. For complete packet of info or about previewing work to have it tour, contact fest dir: AI Nigrin 908-9328482. Congrats all! Anne Robertson had a film chosen to be part of the Survivors program at Pleasuredome in Toronto and another film screened at the Kingston Gallery in Boston.
tel: 508-948-7985 C.L. Kawahara' s film Donokurai was the only 8mm film chosen for My Very Best Film and Video Festival at the Boulder Art Center in April. Yeah. SF Cinemateque showed the whole new film Kuch Nai, by the film group S i It. Images and ideas came from Christian Farrell in Northern India, Keith Evans & Jeff Warrin in SF, who joined in readings to "examine the nature of experience and re-experience." Myrel Chernick has created a new installation using evocative texts that employ multiple and sometimes conflicting female voices. The work: was part of the Under Contract exhibition at Randolph Street Gallery, Chicago, earlier this year. Steve Bull got grand prize at Bucks County Film Festival for Haikuvisions. llis coproduction with Teresa Svoboda, Margaret Sanger: A Public Nuisance, will air on PBS and was accepted at AA and Berlin festivals. Tom Ciesielka in Chicago got major NEA support for a documentary on Polka
musician Frank Yank:ovic.
June 1993 HEY TECHIES!
Special thanks to the staff at FAF for gathering together more than 130 souls for the screening of Bay Area Super 8 works after a feast of FAF-food and a tech workshop by B&T . We'll keep you posted about teh calendar for future tech workshops possibly in the Pacific Northwest, Texas and the Southeast. Keep an eye out for PBS documentaries with old moving images. Some of you write you're interested in hearing about our work. Historic 8mm and 16mm reversal films transferred by Brodsky & Treadway will be used in many independent productions which air this fall. Some are mentioned in the Congratulations section. Be on the lookout for images of the Great Depression, early tobacco farming, UNC campus life in the late 1940s, great footage of famous people like WEB. DuBois, Paul Robeson, and Malcolm X, or events Ii ke the 1948 Wallace presidential campaign and the 1949 Paris Peace Conference among others. Thanks for your interest.
88888888888888888. Special thanks to these people for recent donations to IC8FV: Luciana Frigerio, Terry Podnar, Saint Anne's School, Renee Tajima, Tim Young, Jean-Louis Seguin, Magilla Schaus, ~sher Siegal, Heather McAdams, Richard Pendleton, Paul Beck and Dennis Duggan. All donations help IC8FV do advocacy and outreach and match public support to the IC8FV from the National Endowment for the Arts, a federal agency and the Massachusetts Cultural Council, a state agency.
"8mm FILM lives!" Please spread the word, shoot lots of Kodachrome, and credit this newsletter if you reproduce anything we've written here. Thank you. B&T's Little Film Notebook #10 漏 1993 Brodsky & Treadway
Toni Treadway, edIpub IDt'L Center for 8mm Film & Video P.O. Box 115 Rowley, MA 01969 U.S.A.
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