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UNSEEN CINEMA 2: The Devil's Playground: American Surrealism, Jack and the Beanstalk (1902)
directed by George S. Fleming, fl. 1901-1903 and Edwin S. Porter, 1870-1941; produced by Edison Studios and Edison Manufacturing Company; performed by Thomas White, fl. 1902, in UNSEEN CINEMA 2: The Devil's Playground: American Surrealism (United States: Filmmakers Showcase, 1902), 9 mins,
Source: www.imdb.com
Source: www.imdb.com
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Edwin S. Porter’s narrative films demonstrate a mastery of experimental image-making techniques. He embellishes their fantasies through a strategic use of dissolves, multiple expos...
Sample
directed by George S. Fleming, fl. 1901-1903 and Edwin S. Porter, 1870-1941; produced by Edison Studios and Edison Manufacturing Company; performed by Thomas White, fl. 1902, in UNSEEN CINEMA 2: The Devil's Playground: American Surrealism (United States: Filmmakers Showcase, 1902), 9 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Edwin S. Porter’s narrative films demonstrate a mastery of experimental image-making techniques. He embellishes their fantasies through a strategic use of dissolves, multiple exposures, matte shots, and other “trick” effects. As with pioneer filmmakers, the visual pleasures derived from these cinematic manipul...
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Edwin S. Porter’s narrative films demonstrate a mastery of experimental image-making techniques. He embellishes their fantasies through a strategic use of dissolves, multiple exposures, matte shots, and other “trick” effects. As with pioneer filmmakers, the visual pleasures derived from these cinematic manipulations have sadly been unacknowledged by previous histories of avant-garde film. —BRUCE POSNER One of the most influential American film pioneers, Edwin S. Porter is remembered primarily for his groundbreaking story films “The Life of an American Fireman” (1903) and “The Great Train Robbery” (1903). He had an important career as a producer-director for Rex Motion Picture Company (1911-1913) and Famous Players Film Company (1913-1915). —PAUL SPEHR 35mm 1.33:1 black and white silent with music, 18fps 8:46 minutes. Production: Edison Manufacturing Co.
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Field of Study
Film
Content Type
Performance
Performer / Ensemble
Thomas White, fl. 1902
Contributor
Edison Studios, Edison Manufacturing Company
Author / Creator
George S. Fleming, fl. 1901-1903, Edwin S. Porter, 1870-1941, Thomas White, fl. 1902
Date Published / Released
1902
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 2: The Devil's Playground: American Surrealism
Topic / Theme
Commodities, Trade and commerce, Family, Beans, Magic, Jack
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UNSEEN CINEMA 2: The Devil's Playground: American Surrealism, Tomato Is Another Day (1930)
directed by James Sibley Watson, 1894-1982, in UNSEEN CINEMA 2: The Devil's Playground: American Surrealism (United States: Filmmakers Showcase, 1930), 8 mins,
Source: www.imdb.com
Source: www.imdb.com
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A film designed to show the absurdity of talkies that recorded action in pictures with unnecessary explanations of the action recorded in sound. Film was shown for one night in a Bos...
Sample
directed by James Sibley Watson, 1894-1982, in UNSEEN CINEMA 2: The Devil's Playground: American Surrealism (United States: Filmmakers Showcase, 1930), 8 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A film designed to show the absurdity of talkies that recorded action in pictures with unnecessary explanations of the action recorded in sound. Film was shown for one night in a Boston theater but not appreciated by the audience. Harold Lloyd, directed by Sennett, might have brought it off. —J.S. WATSON, JR.Watso...
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A film designed to show the absurdity of talkies that recorded action in pictures with unnecessary explanations of the action recorded in sound. Film was shown for one night in a Boston theater but not appreciated by the audience. Harold Lloyd, directed by Sennett, might have brought it off. —J.S. WATSON, JR.Watson’s 1930/1933 avant-garde film is a unique example of Dadaist aesthetics in early sound cinema. A minimalist and virtually expressionless acting style on a claustrophobic set characterizes the melodramatic love triangle. Watson considered the film a failure, though it appears extremely modern today, and suppressed its existence. —JAN-CHRISTOPHER HORAK Born to wealth, James Sibley “J.S.” Watson, Jr. was considered a Renaissance man in each of his chosen fields: medical doctor and researcher, man of letters, preservationist, philanthropist, and filmmaker. After graduating medical school, Watson bought and published “The Dial” between 1920-29, a literary journal founded by Ralph Waldo Emerson in 1840. By the mid-1920s, he became fascinated with motion pictures and produced a striking series of films, “The Fall of the House of Usher “(1927), “Tomatos Another Day” (1930) and “The Eyes of Science” (1931) among others. —JAN-CHRISTOPHER HORAK / BRUCE POSNER Alternate title: “Tomatos Another Day”, “It Never Happened”. 35mm 1.20:1 black and white sound 6:43 minutes. Courtesy: James Sibley Watson Jr., Nancy Watson Dean.
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Field of Study
Film
Content Type
Performance
Author / Creator
James Sibley Watson, 1894-1982
Date Published / Released
1930
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 2: The Devil's Playground: American Surrealism
Copyright Message
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UNSEEN CINEMA 2: The Devil's Playground: American Surrealism, The Hearts of Age
directed by Orson Welles, 1915-1985 and William Vance; produced by William Vance; performed by Orson Welles, 1915-1985, Virginia Nicolson, 1916-1996 and William Vance, in UNSEEN CINEMA 2: The Devil's Playground: American Surrealism (Filmmakers Showcase, 1934), 9 mins,
Source: www.imdb.com
Source: www.imdb.com
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. It’s nothing at all. Absolutely nothing. It was a joke. I wanted to make a parody of Jean Cocteau’s first film [“The Blood of a Poet,” 1930]. That’s all. We shot it in two...
Sample
directed by Orson Welles, 1915-1985 and William Vance; produced by William Vance; performed by Orson Welles, 1915-1985, Virginia Nicolson, 1916-1996 and William Vance, in UNSEEN CINEMA 2: The Devil's Playground: American Surrealism (Filmmakers Showcase, 1934), 9 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. It’s nothing at all. Absolutely nothing. It was a joke. I wanted to make a parody of Jean Cocteau’s first film [“The Blood of a Poet,” 1930]. That’s all. We shot it in two hours, for fun, one Sunday afternoon. It has no sort of meaning. —ORSON WELLESProduced as a component of a live summer theatre produc...
THE DEVIL’S PLAYGROUND is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. It’s nothing at all. Absolutely nothing. It was a joke. I wanted to make a parody of Jean Cocteau’s first film [“The Blood of a Poet,” 1930]. That’s all. We shot it in two hours, for fun, one Sunday afternoon. It has no sort of meaning. —ORSON WELLESProduced as a component of a live summer theatre production, no other exhibition was intended for this film. It is of interest today as the first screen appearance of Orson Welles, aged twenty, with his first wife Virginia Nicholson. —DAVID SHEPARDHis little-known first film, made seven years earlier, gives the lie to the legend. While indisputably technically crude and a bit sophomoric, “The Hearts of Age” reveals both a keen eye for composition and montage, and substantial familiarity with film art. Ultimately, “The Hearts of Age”, like so many of Welles’ films, is a parable of mortality… it introduces a theme that resonates throughout all of his work. —BRIAN L. FRYE 16mm 1.37:1 black and white silent with music 8:20 minutes. New music by Donald Sosin
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Field of Study
Film
Content Type
Performance
Performer / Ensemble
Orson Welles, 1915-1985, Virginia Nicolson, 1916-1996, William Vance
Contributor
William Vance
Author / Creator
Orson Welles, 1915-1985, William Vance, Virginia Nicolson, 1916-1996
Date Published / Released
1934
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 2: The Devil's Playground: American Surrealism
Topic / Theme
Death, Old woman / Keystone Kop, Indian in blanket
Copyright Message
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UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction, Ballet Mechanique
directed by Fernand Léger, 1881-1955 and Dudley Murphy, 1897-1968; produced by Synchro-Ciné, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (United States: Filmmakers Showcase, 1924), 17 mins,
Source: www.imdb.com
Source: www.imdb.com
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. music originally composed for it, the film’s aggressive Dada spirit also becomes clear. The original score, full of player pianos and mechanical sounds, was so radical it could not be perform...
Sample
directed by Fernand Léger, 1881-1955 and Dudley Murphy, 1897-1968; produced by Synchro-Ciné, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (United States: Filmmakers Showcase, 1924), 17 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. music originally composed for it, the film’s aggressive Dada spirit also becomes clear. The original score, full of player pianos and mechanical sounds, was so radical it could not be performed. A later concert version was never synchronized with the film. Only modern technology and Paul Lehrman’s 1999 reconstruction of th...
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. music originally composed for it, the film’s aggressive Dada spirit also becomes clear. The original score, full of player pianos and mechanical sounds, was so radical it could not be performed. A later concert version was never synchronized with the film. Only modern technology and Paul Lehrman’s 1999 reconstruction of the initial score made it possible to recapture the makers’ original intentions. —DEKE DUSINBERREThe music is scored for eight percussionists, two pianists, bells, siren, airplane propellers, and sixteen player pianos. It eschews conventional forms, instead creating a unique “soundscape.” Due to technical limitations related to synchronization, this complex composition was never played in its original instrumentation, alone or with the film. —PAUL D. LEHRMAN A pioneer of cubism and abstract art, Fernand Léger emerged from the First World War enamored of the so-called machine aesthetic wherein the visual spectacle of modern life was the essential subject for modern painting. He also wrote about cinema, and in “Ballet mécanique”, used rapid editing and the close-up to find visual drama and formal beauty in machine parts and functional objects. —MATTHEW AFFRONBoston-born Dudley Murphy was an engineering student, World War I pilot, and movie set decorator before launching his directing career with a series of evocative short films including the first American avant-garde film to be screened in New York City, “The Song of the Cypress” (1921). These musically driven experiments culminated in the jazz-infused Ballet Mecanique, and influenced his later Hollywood and independent features, including “The Emperor Jones” (1933). —SUSAN DELSONAmerican composer-performer George Antheil went to Europe from New Jersey in 1922. His outrageous piano concerts featuring his avant-garde compositions made him “the toast of Paris.” However, a failed New York performance of “Ballet mécanique” in 1927 ruined his reputation. After 1935, he emerged as a respected composer for Hollywood films. —PAUL D. LEHRMAN Alternate titles: “Ballet mécanique”, “Images Mobiles”. 35mm 1.33:1 black and white color tints silent with music 20fps 17 minutes. Camera: Dudley Murphy, Man Ray, Ezra Pound
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Field of Study
Film
Content Type
Animation
Contributor
Synchro-Ciné
Author / Creator
Fernand Léger, 1881-1955, Dudley Murphy, 1897-1968
Date Published / Released
1924-09-24
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction
Copyright Message
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UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction, Surf and Seaweed
directed by Ralph Steiner, 1899-1986, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1931), 15 mins,
Source: www.imdb.com
Source: www.imdb.com
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Steiner is interested in film’s capacity to invigorate everyday sight, to alert viewers to the simple, magical visual pleasures available in nearly any circumstance. The film is divided into...
Sample
directed by Ralph Steiner, 1899-1986, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1931), 15 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Steiner is interested in film’s capacity to invigorate everyday sight, to alert viewers to the simple, magical visual pleasures available in nearly any circumstance. The film is divided into sequences that focus on specific kinds of imagery in and around ocean surf. —SCOTT MACDONALD Educated at Dartmouth, Ralph Steiner be...
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Steiner is interested in film’s capacity to invigorate everyday sight, to alert viewers to the simple, magical visual pleasures available in nearly any circumstance. The film is divided into sequences that focus on specific kinds of imagery in and around ocean surf. —SCOTT MACDONALD Educated at Dartmouth, Ralph Steiner became a successful commercial and much honored fine art photographer. He made perhaps the first American abstract film, “H2O” (1929), following it with other experiments, some political in nature, some in Hollywood. Steiner also photographed with Paul Strand “The Plow That Broke the Plains” (1936) and co-directed and photographed “The City” (1939) with Willard Van Dyke and Henwar Rodakiewicz. —ROBERT A. HALLERIn the mid-1920s, Marc Blitzstein continued his classical music training with Schoenberg in Berlin, and in Paris with N. Boulanger. His film scores for “Hände” (1927) and “Surf and Seaweed” (1931) were composed in close collaboration with the filmmakers. He also worked on “Valley Town” (1940) and “Native Land” (1937-41). –JENNIFER WILD 35mm 1.33:1 black and white with silent with music 18fps 13:34 minutes. Music: Marc Blitzstein, realized by Eric Beheim
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Field of Study
Film
Author / Creator
Ralph Steiner, 1899-1986
Date Published / Released
1931
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction
Copyright Message
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UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction, Synchromy No. 2, O’ Evening Star
directed by Mary Ellen Bute, 1906-1983 and Ted Nemeth, 1911-1986, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1936), 12 mins,
Source: www.imdb.com
Source: www.imdb.com
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. While German absolute filmmakers often drew on J. S. Bach for their understanding of form, Bute derived hers from mathematician Joseph Schillinger, as the Synchromy series show. The visuals are...
Sample
directed by Mary Ellen Bute, 1906-1983 and Ted Nemeth, 1911-1986, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1936), 12 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. While German absolute filmmakers often drew on J. S. Bach for their understanding of form, Bute derived hers from mathematician Joseph Schillinger, as the Synchromy series show. The visuals are reflections and refractions of light from glass colanders. The music is Wagner’s “O’ Evening Star”—a Venus statue represents...
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. While German absolute filmmakers often drew on J. S. Bach for their understanding of form, Bute derived hers from mathematician Joseph Schillinger, as the Synchromy series show. The visuals are reflections and refractions of light from glass colanders. The music is Wagner’s “O’ Evening Star”—a Venus statue represents the star. —R. BRUCE ELDER 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 STARRBefore filming Mary Ellen Bute’s short abstract films (1931-53), 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: “O’ Evening Star”. 35mm 1.37:1 black and white sound 5:18 minutes. Music: Richard Wagner
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Field of Study
Film
Content Type
Animation
Author / Creator
Mary Ellen Bute, 1906-1983, Ted Nemeth, 1911-1986
Date Published / Released
1936-08
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction
Copyright Message
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UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction, Simple Destiny Abstractions (1938)
directed by Douglass Crockwell, fl. 1938, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1938), 5 mins,
Source: www.imdb.com
Source: www.imdb.com
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Douglass Crockwell, who earned his living as a noted realist illustrator, was a cinema abstractionist and inventor of animation processes. This footage, a number of silent fragments, includes u...
Sample
directed by Douglass Crockwell, fl. 1938, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1938), 5 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Douglass Crockwell, who earned his living as a noted realist illustrator, was a cinema abstractionist and inventor of animation processes. This footage, a number of silent fragments, includes unreleased experiments in abstract wax cinematography as well as a surreal clay animation made in collaboration with sculptor David Smit...
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Douglass Crockwell, who earned his living as a noted realist illustrator, was a cinema abstractionist and inventor of animation processes. This footage, a number of silent fragments, includes unreleased experiments in abstract wax cinematography as well as a surreal clay animation made in collaboration with sculptor David Smith, Crockwell’s neighbor. —BRUCE POSNER Douglass Crockwell, artist, filmmaker, and inventor, needs introduction in all three fields. His commercial illustrations compare well to those of his near namesake, Norman Rockwell. His films include paintings on glass and sliced wax abstractions. Among Crockwell’s inventions are his Pan-Stereo camera and a modified Mutoscope for displaying sequential art. —CECILE STARRDavid Smith was an acclaimed sculptor, draughtsman, and painter. From the early to mid-1930s, Smith made photographs conceived as abstract collages and after 1945 as documents of his own sculptures. His relationship with artists Douglass Crockwell and Leo Lances resulted in his collaboration on film projects during the mid to late 30s. —BRUCE POSNER 16mm on 35mm 1.37:1 color silent 16fps 3:08 minutes. Compiled by Bruce Posner
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Field of Study
Film
Content Type
Animation
Author / Creator
Douglass Crockwell, fl. 1938
Date Published / Released
1938
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction
Copyright Message
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UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction, Compostion #2 Contrathemis
directed by Dwinell Grant, fl. 1940, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1941), 9 mins
Grant continues to explore the interplay of forms against backgrounds of varying colored light. While he uses stop-animated paper figures similar to those in “Composition #1”, the flat drawings and greater use of curves make this a more organic and fluid abstract composition. —R. BRUCE ELDER 16mm 1.37:1...
Sample
directed by Dwinell Grant, fl. 1940, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1941), 9 mins
Description
Grant continues to explore the interplay of forms against backgrounds of varying colored light. While he uses stop-animated paper figures similar to those in “Composition #1”, the flat drawings and greater use of curves make this a more organic and fluid abstract composition. —R. BRUCE ELDER 16mm 1.37:1 color intentionally silent 4:23 minutes. Courtesy: Dwinell Grant.
Field of Study
Film
Author / Creator
Dwinell Grant, fl. 1940
Date Published / Released
1941
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction
Copyright Message
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UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction, The Long Bodies (1947)
directed by Douglass Crockwell, fl. 1938, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1947), 6 mins,
Source: www.imdb.com
Source: www.imdb.com
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Douglass Crockwell, an artist, filmmaker and inventor, needs introduction in all three fields. His commercial illustrations compare well to those of his near namesake, Norman Rockwell. His fi...
Sample
directed by Douglass Crockwell, fl. 1938, in UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction (Filmmakers Showcase, 1947), 6 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Douglass Crockwell, an artist, filmmaker and inventor, needs introduction in all three fields. His commercial illustrations compare well to those of his near namesake, Norman Rockwell. His films include paintings on glass and sliced wax abstractions. Among Crockwell’s inventions are his Pan-Stereo camera and a modified Mut...
LIGHT RHYTHMS is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Douglass Crockwell, an artist, filmmaker and inventor, needs introduction in all three fields. His commercial illustrations compare well to those of his near namesake, Norman Rockwell. His films include paintings on glass and sliced wax abstractions. Among Crockwell’s inventions are his Pan-Stereo camera and a modified Mutoscope for displaying sequential art. —CECILE STARRDavid Smith was an acclaimed sculptor, draughtsman, and painter. From the early to mid-1930s, Smith made photographs conceived as abstract collages and after 1945 as documents of his own sculptures. His relationship with artists Douglass Crockwell and Leo Lances resulted in his collaboration on film projects during the mid to late 30s. —BRUCE POSNER 16mm 1.37:1 color silent 16fps 5:29 minutes. Courtesy: Douglass Crockwell, Johanna Crockwell, Cecile Starr. SILENT.
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Field of Study
Film
Content Type
Animation
Author / Creator
Douglass Crockwell, fl. 1938
Date Published / Released
1947
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 3: Light Rhythms: Music and Abstraction
Copyright Message
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UNSEEN CINEMA 4: Inverted Narratives: New Directions in Storytelling, Lullaby (1925)
directed by Boris Deutsch, 1895-1978; performed by Riva Deutsch, fl. 1925 and Michael Visaroff, 1889-1951, in UNSEEN CINEMA 4: Inverted Narratives: New Directions in Storytelling (Filmmakers Showcase, 1925), 10 mins,
Source: www.imdb.com
Source: www.imdb.com
INVERTED NARRATIVES is part of the retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A Lithuanian-born artist, Boris Deutsch worked as an industry set designer for three years before making “Lullaby”, his single foray into filmmaking. Like his painting, it treats a Jewish...
Sample
directed by Boris Deutsch, 1895-1978; performed by Riva Deutsch, fl. 1925 and Michael Visaroff, 1889-1951, in UNSEEN CINEMA 4: Inverted Narratives: New Directions in Storytelling (Filmmakers Showcase, 1925), 10 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
INVERTED NARRATIVES is part of the retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A Lithuanian-born artist, Boris Deutsch worked as an industry set designer for three years before making “Lullaby”, his single foray into filmmaking. Like his painting, it treats a Jewish theme expressionistically, remarkably anticipating the themes and methods of Maya Deren’s seminal “Meshes of the Afternoon” (1943...
INVERTED NARRATIVES is part of the retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. A Lithuanian-born artist, Boris Deutsch worked as an industry set designer for three years before making “Lullaby”, his single foray into filmmaking. Like his painting, it treats a Jewish theme expressionistically, remarkably anticipating the themes and methods of Maya Deren’s seminal “Meshes of the Afternoon” (1943), also made in Hollywood. —DAVID JAMES Born in Riga, Boris Deutsch studied painting in Kiev and Berlin before coming to the U.S. in 1916. His studio employment in Hollywood between 1919 and 1922 was his education in filmmaking. His knowledge of Yiddish theater and related Jewish arts is reflected in his paintings and single film, “Lullaby “(1929). —BRUCE POSNER 16mm from 35mm 1.33:1 black and white silent with music 18fps 9:51 minutes. New music by Rodney Sauer
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Field of Study
Film, Literature & Language
Content Type
Documentary
Performer / Ensemble
Riva Deutsch, fl. 1925, Michael Visaroff, 1889-1951
Author / Creator
Boris Deutsch, 1895-1978, Riva Deutsch, fl. 1925, Michael Visaroff, 1889-1951
Date Published / Released
1925
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 4: Inverted Narratives: New Directions in Storytelling
Copyright Message
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