
An exploration of the relationship between sound and picture inspired by the two lights (twi-light) found inside film projectors.
0.0A mathematical play on one repeated movement. It imparts a sense of possibilities: that something simple can produce complex and unexpected patterns. As with an atom, the variety of possibilities from a base movement is potentially infinite.
7.0Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.
0.0This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.
0.0A film unmade-- That is, Survage's film was never realized in the traditional sense-- At the time, such a project was beyond technological possibility. His pioneering efforts to combine luminous, expressive painting and the moving picture were further curtailed by the outbreak of WWI. Some have taken it upon themselves to 'animate' his watercolor plates in attempts to set his dream into motion.
0.0A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.
0.0Astract stop-motion short film using "lightning doodles" by Tochka.
0.0These are work-in-progress elements of some commercial projects and a film to be titled, Knotte Grosse. Beckett received an AFI Independent Filmmakers grant to produce Knotte Grosse but it was unfinished at the time of his death. The images allude to computer-generated graphics (but are not) and foreshadow an interesting direction in his work. - Pamela Turner
4.5Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.
5.0Hand painted directly onto film stock by Margaret Tait, this film features animated dancing figures, accompanied by authentic calypso music.
0.0Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.
0.0This visual poetry is a celebration of the full spectrum of womanhood, from the complex vulnerability to the hidden power.
7.2This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.
4.7Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.
2.0In the darkness of a cave, one man who had never seen even his own figure found a hollow flooded with light. An expression of a chaotic world. This experimental graduation film is a mixture of different animation techniques
6.0A unique journey across a topography created entirely from a form of digital light and shadow—a bristling terrain of poles bending the light in every direction. This film is the remake of Barcode, an abstract road-movie about light and shadows.
7.5Three memories that become one. An attempt to merge heterogeneous materials: a film sequence shot in Rome, a photo from the 1930s, a noisy soundtrack. Fragmented lines, exploding bass frequencies and flickering.
0.0The idea of JAM was conceived while I was attending the Ottawa International Animation Festival in 2008.After returning to Japan, I soon began making the film and completed it in four months.This film is based on a very simple idea: the increasingly varied the sounds, the greater is the number of creatures. I wanted to rid myself of the frustrating experience of making Devour Dinner, which was highly unsatisfactory from the viewpoint of the movement in the film. My intention in this film was to fill the screen with chaotic movements.