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Bloodlust(de)
An attempt to constitute a human / machine dialogue. It shows the filmmaker’s blood as seen / heard with the eyes / ears of the machine which is a film projector with optical sound. He affixed his blood onto clear film leader by cutting into the flesh and then pressing the film leader onto the wound. Additionally he had blood taken with a syringe and afterwards dripped it on the film leader. fresh and clotted blood was used.
No. 11: Mirror Animations(en)
Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.
Son of the White Mare(hu)
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.
Third Page from the Sun(fr)
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.
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.
Shearing Animation(xx)
An abstract animated film inspired by the work of jazz musician Chico Hamilton.
The Dot and the Line: A Romance in Lower Mathematics(en)
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.
Thine Own Self(en)
Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.
Keyhole Conversation(en)
Peter Larsson’s Keyhole Conversation draws the eye down to the small gate of the camera. From there, through quivering and percussive forms of direct and stop-motion animation, the eye begins to experience the scale of an image anew. At times segueing into a flicker, but maintaining a charmed form of attention to the marks of pencils and the channels dredged in emulsion by a paintbrush, all to a curious soundtrack of pulses and bleeps.
Anoche(es)
Three 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.
Drux Flux(en)
Partly figurative, partly abstract, Drux Flux is an animation film of fast-flowing images showing modern people crushed by industry. Inspired by One-Dimensional Man by the philosopher Herbert Marcus…
Free Radicals(en)
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".
Abstronic(en)
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.”
La Señal Cósmica(es)
The film was produced applying mixed techniques on Super 8 film support.
Our Lady of the Sphere(en)
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.
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.