Dragonfly
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Obmaru(en)
"Marx was born in Queensland, Australia, and was a landscape painter and model there before moving to San Francisco. However, when she arrived, she found herself in the midst of fascinating non-objective painting and filmmaking activity. She was greatly influenced by the work of Harry Smith and Jordan Belson, and changed her own style to non-objective, receiving graphic inspiration from Jungian brain drawings, symbols in the occult sciences, and the design used by Eastern cultures, all of which being important elements in the San Francisco school mystical school of non-objective art." -Robert Pike, A Critical Study of the West Coast Experimental Film Movement. Preserved by the Academy Film Archive in 2000.
A Fugue(en)
A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.
No. 11: Mirror Animations(en)
Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.
High Voltage(en)
High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.
Candle(en)
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.
Bug Therapy(en)
Citronella, a mosquito who faints at the sight of blood, nervously waits outside her first group therapy session, while the Pill Bug therapist, Dr. Pill tries to calm a neurotic group of bugs, each suffering from a mental-health issue: An OCD germaphobic Fly freaks when he runs out of hand sanitizer. A Dragonfly couple struggle with co-dependency; she's literally on top of him. A Grasshopper, addicted to coffee, is so jumpy, he launches himself in mid-sentence. A Praying Mantis who doesn't pray because she thinks she is God. A terrified Spider is deathly afraid of -- spiders. And, a perfectly-camouflaged Stick Bug complains that no one ever "sees" him. Throughout all this, Citronella battles her urge to flee - while Dr. Pill implores her to share her "embarrassing" problem.
The Stroke(en)
The Stroke is a hand-drawn animation film that reverses the roles of audio and visuals for a music video. Improvised on its very first viewing, the music for The Stroke was the immediate response of the musicians to the artistic and emotional visual journey.
Sketch Film #3(en)
Sketch Film #3 (Tomonari Nishikawa, 2006, 3 min., super 8, silent, 18/24fps, b&w, USA/Japan) The third film in the series, which starts with a sequence of paired images: a focused image and a blurred image of the same subject, which was caused by a diagonal camera movement. Later, it shows an experiment to produce an apparent depth by rotating an apparent shape. It was edited in camera and hand-processed afterwards.
Perspectrum(en)
In this animated short, simple geometric forms as thin and flat as playing cards constantly form and re-form to the sound of the koto, a 13-stringed Japanese instrument.
Trans/Figure/Ground(en)
A film about uncanny valleys and the space between. Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital.
Not Even Nothing Can Be Free of Ghosts(de)
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow that pulsates off the screen into our physical space with blinding intensity. The presence of light is almost felt as we are sucked into the image to become its ghostly accomplice. As we leave the theatre, the optical vibrations continue to haunt us.
Enigma: Nazo(ja)
Enigma 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.
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