A 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.
A 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.
1913-01-01
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A horse goddess gives birth to three powerful brothers who set out into the Underworld to save three princesses from three evil dragons and reclaim their ancestors' lost kingdom.
Three 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.
High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.
Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle.
Animation using cutout animation to craft a bizarre science fiction experiment. Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery.
16mm color work by Stan Vanderbeek that takes his work away from the cutups and the commentary and lands him in the psychedelic and abstract. Opticals, repetitions, camera moves and zooms are what make up the bulk of this exploration into fluids. The results bridge that realm between hangout art piece and intersteller stoner trip.
A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s and the 1950s. Set to classical music by the likes of Bach, Saint-Saëns, and Shoshtakovich, and replete with rapidly mutating geometries, Bute’s filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute’s films were “composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.” Bute herself wrote that she sought to “bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.”
Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.
An exploration of the relationship between sound and picture inspired by the two lights (twi-light) found inside film projectors.
A tale about a kid, a samurai mime, and a stripper who all try to defeat a warlord and an evil clown who have successfully turned a countryside into a never ending nightmare filled with horrible monsters.
Alex, a young woman bored with modern life, is lured by Bacchus into a colorful and mysterious world to explore her deepest desires.
Confined 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.
From Malkuth to Kether and back, the whole spin of the wheel. A retelling of a series of dreams and visions experienced by the director in her Great Quest.
In this powerful abstract film with a soundtrack of African drum music, Lye scratched "white ziggle-zag-splutter scratches" on to black leader, using a variety of tools from saw teeth to arrow heads. The first version of the film won a major award at the International Experimental Film Festival Held in Brussels in 1958 in association with the World's Fair. Stan Brakhage described the film as "an almost unbelievably immense masterpiece".
A meditation on the inevitable deterioration of certain traditional values that have been established (or destroyed) throughout civilization. This elegiac account uses symbolic representation from natural elements in order to convey the inevitability of remembering the social and cultural erosion, and places a layer of texture in front of the elliptical glimpses of imagery, separating the viewer from the past. The re-occurring image of flames remains untouched by the erosion aspects of reticulation, ultimately alluding to nature's powerful quality.
Burr creates a slow, liminal illusion in black-and-white, switching perspectives and matrices and crescendo-ing in time with Christopher Doulgeris’ portentously pulsating soundtrack.
Rhythm and repetition plays an important role in the animated film Allahu Akbar by Usama Alshaibi. With this film, Alshaibi questions the confrontation between tradition and modernity by drawing inspiration from geometric motives of Islamic art. The artist offers a re-interpretation of these motifs through computer animation. By turning the shapes in different direction, new images are generated, freeing them from their fixed state. Traditional spiritual values feed the present and open up to a modern perspective.