»You can’t park here, Wes.«

»Oh, I think we’ll be O.K.«

She shook her head. She said that this was proof I was a movie director. No one else would think they could double-park in front of a police station.

[Wes Anderson: My Private Screening with Pauline Kael, New York Times 31. Januar 1999; hier mit Anderson vs. Edelstein als Bonustrack]

Staging the 2012 Temenos event in Greece is proving to be more of a financial challenge than in previous years. This is due in part to the economic crisis in Greece, which has made sources of funding for the arts within Greece more difficult to secure. The event itself will take place as scheduled, and it will continue to be held free of charge; however, as a way to supplement the already-strained Temenos foundation, we have decided to launch a Kickstarter campaign.

We are asking for $20,000, which is approximately half the amount needed to print cycles VII and VIII of Markopoulos’ Enaiaos. If you are familiar with the Kickstarter model, you know, we will be permitted a finite period of time (30 days) in which to raise the funds; if we fall short of this goal we will have to return all donations and won’t collect a cent. I therefore urge you who to give any amount – but more importantly, please spread the word about the campaign to those who aren’t already on the Temenos mailing list. We have assembled rewards at all donation levels that we think will appeal to film and art lovers alike, and we feel that the uniqueness of the event is in itself a compelling story that could trigger a strong response in the donor community.

In the spirit of extended community that marks this incredible vision and binds all of us, we wanted to ask if you’d be willing to take an active role in forwarding the Kickstarter call to your networks, friends, and families, and (as is often necessary) follow up to encourage donation. Since Markopoulos is not known to many outside the world of avant-garde film, we have an important role to play in catalyzing awareness, interest, and financial support.

Please forward the link to anyone you think might be interested!

http://www.kickstarter.com/projects/1525866264/towards-eniaios-and-the-temenos?ref=live

Unter den Texten, die ich von ihm kenne (über seine eigenen Filme, über Carl André), sind nur hits, no misses. Weiterhin sehenswert: Wie er über »expressivity, richness of life, abundance, film as a medium, sound, sync, time, picture, film and cinema history« spricht.

Zuletzt gefiel mir sein Vorschlag, die Medienspezifik des Films aus den Perforationslöchern herzuleiten:

»Film’s material base is inseperable from our understanding of it. That’s why sprocket holes, even more than frames, are the universal emblem of film. Before there can be frames there must be sprocket holes. We know that every film has them. And although we can’t see the sprocket holes when we watch a film, the medium is present in what we see on the screen.« (in: Tacita Dean: Film, ed. by Nicholas Cullinan, London: Tate 2011, p. 70)

HANDMADE CINEMA. A GUIDE TO THE PEOPLE, PRACTICES, AND THEMES OF ARTISANAL MOVING IMAGE PRODUCTION bringt in einem Raster von 8 X 10 Feldern Protagonistinnen und Nebenfiguren des Experimentalfilms und seiner Vorgeschichten zusammen und ordnet ihnen 6 »Themes« – Synästhesie, Rausch, Zufall etc. – und 15 »Practices« zu – Osilloskop, Light Show, biologische Prozesse, chemische Prozesse, Direct Filmmaking etc.

Von Louis Bertrand Castel (1688-1757, Synaesthesia + Science + Colour Organ) über Alexander Scriabin (Synaesthesia + Mysticism + Colour Organ) landet man z.B. bei Thomas Wilfred, von Jennifer Reeves rückwärts über Brakhage bei Isidore Isou.

Die Website ist ein sehr schönes Nebenprodukt von Zinmans Dissertation »Handmade: The Moving Image in the Artisanal Mode«, die er im November 2011 an der New York University abgeschlossen hat. Das Durchklicken durch die verschiedenen Einflussketten macht viel Spaß, selbst wenn die Auswahl für meinen Geschmack etwas viel USA und etwas wenig (nur mal als Beispiel) Österreich enthält – gut, ausgerechnet der Screenshot zeigt die Konfiguration Bärbel Neubauer – Chance – Direct Filmmaking – Digital. Lässt sich aber ja sicher erweitern.

[aus dem ersten Kapitel von Stefan Ripplingers gerade erschienenem Buch Bildzweifel, Band 5 der Reihe Kleiner Stimmungsatlas in Einzelbänden, Hamburg: textem 2011]

If you’ve grabbed The End from a popular or well-known classic, please search the pool first before adding. It’s probably already here. Duplicates will be removed in most cases.

The End.«

* Zurzeit 1707 End titles versammelt diese flickr-Gruppe. Slideshow viewing recommended.

Der Filmemacher Dave Griffiths hat diese Überblendzeichen, auch Cigarette Burns genannt, verschiedentlich zu Found-Footage-Montagen zusammengesetzt. Schönes Beispiel: OZYMANDIAS

Zurzeit im Arsenal, im Dezember etwas ausführlicher im Österreichischen Filmmuseum: Robert Mitchum.

[Abbildung: THUNDER ROAD (USA 1958, Regie: Arthur Ripley), die 38. Minute, im Arsenal nochmal am 15. November zu sehen. Mit Gruß an Matthias Wittmann]