Browse Titles - 5 results
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Carl Davis On Silent Film
directed by Frances Dickenson; presented by Melvyn Bragg; produced by Frances Dickenson; interview by Melvyn Bragg (Halle, Saxony-Anhalt: Monarda Arts, 1990), 26 mins
The composer and conductor Carl Davis is well-known for his work for television and films and, in particular, for the scores he has written to accompany silent films. He has helped breathe new life into classics such as Abel Gance's Napoleon and Chaplin's City Lights. In this film, Davis demonstrates how he create...
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directed by Frances Dickenson; presented by Melvyn Bragg; produced by Frances Dickenson; interview by Melvyn Bragg (Halle, Saxony-Anhalt: Monarda Arts, 1990), 26 mins
Description
The composer and conductor Carl Davis is well-known for his work for television and films and, in particular, for the scores he has written to accompany silent films. He has helped breathe new life into classics such as Abel Gance's Napoleon and Chaplin's City Lights. In this film, Davis demonstrates how he creates a full music score for a silent film, working on a sequence from Raymond Bernard's The Chess Player. Carl Davis, 1936-
Field of Study
Film
Content Type
Documentary
Contributor
Carl Davis, 1936-, Frances Dickenson
Author / Creator
Frances Dickenson, Melvyn Bragg
Date Published / Released
1990
Publisher
Monarda Arts
Person Discussed
Carl Davis, 1936-
Topic / Theme
Film Soundtracks
Copyright Message
Copyright © 1990 Monarda Arts
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, An Optical Poem
directed by Oskar Fischinger, 1900-1967; produced by Oskar Fischinger, 1900-1967, Metro-Goldwyn-Mayer, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1937), 8 mins
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A milestone in object animation, Fischinger manipulated hundreds of paper cutouts hung on invisible wires and shot a frame-at-a-time in close synchronization to Liszt’s rhapsody. The dance of...
Sample
directed by Oskar Fischinger, 1900-1967; produced by Oskar Fischinger, 1900-1967, Metro-Goldwyn-Mayer, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1937), 8 mins
Description
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A milestone in object animation, Fischinger manipulated hundreds of paper cutouts hung on invisible wires and shot a frame-at-a-time in close synchronization to Liszt’s rhapsody. The dance of shapes resembles a voyage through an imaginary space where “the keen sensation of depth becomes a conceptual part of the action, wit...
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A milestone in object animation, Fischinger manipulated hundreds of paper cutouts hung on invisible wires and shot a frame-at-a-time in close synchronization to Liszt’s rhapsody. The dance of shapes resembles a voyage through an imaginary space where “the keen sensation of depth becomes a conceptual part of the action, with the circles that rotate around each other revealed as cosmic figures that could be either microscopic cells or stellar configurations." (William Moritz) Sadly this was the only Fischinger film commissioned and released by a major Hollywood studio. —BRUCE POSNER Oskar Fischinger, born in Germany, was trained as a musician and engineer but became a supreme figure among artists in search of the absolute. Fischinger’s films draw parallels between music and visual movement, creating some of the most precise and beautiful amalgams of sound and image cinema has ever known. —R. BRUCE ELDER 35mm 1.37:1 color sound 7:03 minutes. Production: MGM
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Field of Study
American Film
Content Type
Animation
Contributor
Oskar Fischinger, 1900-1967, Metro-Goldwyn-Mayer
Author / Creator
Oskar Fischinger, 1900-1967
Date Published / Released
1937
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE
Topic / Theme
Animation, Stop-motion animation, Animated films
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Synchromy No. 4: Escape
directed by Mary Ellen Bute, 1906-1983 and Ted Nemeth, 1911-1986; conducted by Leopold Stokowski, 1882-1977; produced by Expanding Pictures; performed by Philadelphia Orchestra, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1937), 5 mins
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This new medium of expression is the Absolute Film. Here the artist creates a world of color, form, movement, and sound in which the elements are in a state of controllable flux, the two materi...
Sample
directed by Mary Ellen Bute, 1906-1983 and Ted Nemeth, 1911-1986; conducted by Leopold Stokowski, 1882-1977; produced by Expanding Pictures; performed by Philadelphia Orchestra, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1937), 5 mins
Description
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This new medium of expression is the Absolute Film. Here the artist creates a world of color, form, movement, and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) being subject to any conceivable interrelation and modification. —MARY ELLEN BUTEMary Ellen Bute’s first col...
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This new medium of expression is the Absolute Film. Here the artist creates a world of color, form, movement, and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) being subject to any conceivable interrelation and modification. —MARY ELLEN BUTEMary Ellen Bute’s first color film tells a story in abstraction of an orange/red triangle imprisoned behind a grid of vertical and horizontal lines under a sky-blue expanse, perhaps representing freedom. J.S. Bach’s “Toccata and Fugue in D Minor” adds dramatic tension to the visual variables in motion. —CECILE STARR By 1934, Mary Ellen Bute was purposefully engaged in making abstract films and by 1954 was exploring electronic imagery. Trained in painting and stage lighting, she continued theoretical studies with mathematician Joseph Schillinger and musician Leon Theremin. Her early collaborators in film were Schillinger, Lewis Jacobs and Melville Webber, but it was with cameraman Ted Nemeth that she realized an ongoing series of short “seeing-sound” films. She also filmed a feature-length version of James Joyce’s “Finnegan’s Wake”. —BRUCE POSNERBefore producing and filming Bute’s short abstract films (1931-1953), Ted Nemeth learned his craft creating special effects for feature film “trailers.” As head of his own New York studio, founded in 1940 (the year Bute and he were married), he made documentaries, commercials, and short subjects, two of which were Academy Award nominees. —ARAM BOYAJIAN Alternate title: “Toccata and Fugue”. 35mm 1.33:1 color sound 4:08 minutes. Production: Expanding Cinema
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Field of Study
Film
Content Type
Animation
Performer / Ensemble
Philadelphia Orchestra
Contributor
Leopold Stokowski, 1882-1977, Expanding Pictures
Author / Creator
Mary Ellen Bute, 1906-1983, Ted Nemeth, 1911-1986, Philadelphia Orchestra
Date Published / Released
1937
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Spook Sport
directed by Mary Ellen Bute, 1906-1983, Ted Nemeth, 1911-1986 and Norman McLaren, 1914-1987; produced by Ted Nemeth Studios, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1939), 9 mins,
Source: www.imdb.com
Source: www.imdb.com
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Animated by McLaren, utilizing his adroit ink-on-film technique, Bute’s film visualizes Saint Säen’s music. It features colored globes, ellipses, and triangles that move ghost-like over mo...
Sample
directed by Mary Ellen Bute, 1906-1983, Ted Nemeth, 1911-1986 and Norman McLaren, 1914-1987; produced by Ted Nemeth Studios, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1939), 9 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Animated by McLaren, utilizing his adroit ink-on-film technique, Bute’s film visualizes Saint Säen’s music. It features colored globes, ellipses, and triangles that move ghost-like over monochromatic backgrounds, communicating the notion of spirits rising from a graveyard. Commercially Bute’s most successful animation,...
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Animated by McLaren, utilizing his adroit ink-on-film technique, Bute’s film visualizes Saint Säen’s music. It features colored globes, ellipses, and triangles that move ghost-like over monochromatic backgrounds, communicating the notion of spirits rising from a graveyard. Commercially Bute’s most successful animation, it ran for months at Radio City Music Hall. —JAN-CHRISTOPHER HORAK Infatuated with the new non-objective paintings of Kandinsky and others, Texas debutante Mary Ellen Bute devoted twenty years (1932-1952) to creating thirteen abstract motion pictures in black-and-white and color, with familiar classical music accompaniments. Many were shown at New York’s Radio City Music Hall. — CECILE STARRAt the outbreak of World War II, Norman McLaren left London for New York, where he remained over a year before joining the National Film Board of Canada and becoming a world leader in experimental animation. Almost destitute in New York, McLaren worked briefly for the Guggenheim Museum and for animator Mary Ellen Bute. —CECILE STARRBefore producing and filming Bute’s short abstract films (1931-1953), Ted Nemeth learned his craft creating special effects for feature film “trailers.” As head of his own New York studio, founded in 1940 (the year Bute and he were married), he made documentaries, commercials, and short subjects, two of which were Academy Award nominees. —ARAM BOYAJIAN 35mm 1.37:1 color sound 7:35 minutes. Production: Ted Nemeth Studios
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Field of Study
Film
Content Type
Animation
Contributor
Ted Nemeth Studios
Author / Creator
Mary Ellen Bute, 1906-1983, Ted Nemeth, 1911-1986, Norman McLaren, 1914-1987
Date Published / Released
1939
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Tarantella
directed by Mary Ellen Bute, 1906-1983 and Ted Nemeth, 1911-1986; produced by Ted Nemeth Studio Production; performed by Edwin Gerschefski, 1909-1992, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1940), 5 mins
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Color freed Bute’s talent – where before she had been constrained by a quasi-scientific conception of the parallels between musical and visual dynamics. In Tarantella, she takes a more intu...
Sample
directed by Mary Ellen Bute, 1906-1983 and Ted Nemeth, 1911-1986; produced by Ted Nemeth Studio Production; performed by Edwin Gerschefski, 1909-1992, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1940), 5 mins
Description
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Color freed Bute’s talent – where before she had been constrained by a quasi-scientific conception of the parallels between musical and visual dynamics. In Tarantella, she takes a more intuitive approach linked closer to Kandinsky, making it among Bute’s most avant-garde productions. The animation used drawings illuminat...
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Color freed Bute’s talent – where before she had been constrained by a quasi-scientific conception of the parallels between musical and visual dynamics. In Tarantella, she takes a more intuitive approach linked closer to Kandinsky, making it among Bute’s most avant-garde productions. The animation used drawings illuminated in various wondrous ways. —R. BRUCE ELDER At the outbreak of World War II, Norman McLaren left London for New York, where he remained over a year before joining the National Film Board of Canada and becoming a world leader in experimental animation. Almost destitute in New York, McLaren worked briefly for the Guggenheim Museum and for animator Mary Ellen Bute. —CECILE STARRBy 1940, Mary Ellen Bute’s abstractions were shown at select theaters nationwide. Her “seeing-sound” film, co-animated with Norman McLaren, demonstrates an ability to visualize music in a tradition sympathetic to modernist painting. Squiggling lines, expanding and contracting circles, and dynamic color fields frame Bute as a "designer of kinetic abstractions.” —BRUCE POSNERBefore producing and filming Bute’s short abstract films (1931-1953), Ted Nemeth learned his craft creating special effects for feature film “trailers.” As head of his own New York studio, founded in 1940 (the year Bute and he were married), he made documentaries, commercials, and short subjects, two of which were Academy Award nominees. —ARAM BOYAJIAN 35mm 1.37:1 color sound 4:24 minutes. Production: Ted Nemeth Studios
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Field of Study
Film
Content Type
Animation
Performer / Ensemble
Edwin Gerschefski, 1909-1992
Contributor
Ted Nemeth Studio Production
Author / Creator
Mary Ellen Bute, 1906-1983, Ted Nemeth, 1911-1986, Edwin Gerschefski, 1909-1992
Date Published / Released
1940
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE
Topic / Theme
Visual art, Dances, Avant-garde
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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