32 results for your search
A Camera That Goes Anywhere: The Legacy of American Documentary Cinema
Stars of the Silver Screen, Season 1, Episode 1, Marilyn Monroe
Stars of the Silver Screen, Season 1, Episode 4, Marlon Brando
Caught
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Masterworks of American Avant-garde Experimental Films 1920-1970, Hurry! Hurry!
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In this strange little film, Marie Menken photographs billowy flames superimposed over microscopic medical footage of writhing spermatozoa. Her humorous juxtaposition depicts a fiery death-dance of wily males seeking each other in wanton abandon. Ultimately the film is a poignant reminder of the brevity of life.
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Source: www.imdb.com
In this strange little film, Marie Menken photographs billowy flames superimposed over microscopic medical footage of writhing spermatozoa. Her humorous juxtaposition depicts a fiery death-dance of wily males seeking each other in wanton abandon. Ultimately the film is a poignant reminder of the brevity of life.
"Filmmaking was a natural evolution while I was engaged in painting, particularly since I was primarily concerned in capturing light, it...
In this strange little film, Marie Menken photographs billowy flames superimposed over microscopic medical footage of writhing spermatozoa. Her humorous juxtaposition depicts a fiery death-dance of wily males seeking each other in wanton abandon. Ultimately the film is a poignant reminder of the brevity of life.
"Filmmaking was a natural evolution while I was engaged in painting, particularly since I was primarily concerned in capturing light, its effect on textured surfaces, its glowing luminesence in the dark, the enhancement of juxtaposed color, persistence of vision and eye fatigue." - Marie Menken.
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Masterworks of American Avant-garde Experimental Films 1920-1970, N.Y., N.Y.
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Prismatic and distorted, Francis Thompson shot the vibrant and fractured images with a Kodak Ciné-Special camera specially rigged with "secret" mirrors, kaleidoscopes and even reflective car hubcaps. His objective was to create a "complete and carefully integrated film using precisely controlled camera distortion...
Source: www.imdb.com
Prismatic and distorted, Francis Thompson shot the vibrant and fractured images with a Kodak Ciné-Special camera specially rigged with "secret" mirrors, kaleidoscopes and even reflective car hubcaps. His objective was to create a "complete and carefully integrated film using precisely controlled camera distortion in a dramatically unfolding structure." The experience remains an exquisite time capsule that not only documents Manhattan during the...
Prismatic and distorted, Francis Thompson shot the vibrant and fractured images with a Kodak Ciné-Special camera specially rigged with "secret" mirrors, kaleidoscopes and even reflective car hubcaps. His objective was to create a "complete and carefully integrated film using precisely controlled camera distortion in a dramatically unfolding structure." The experience remains an exquisite time capsule that not only documents Manhattan during the 1950s but also, in the words of the New York Times, proffers "one of the few geniune masterpieces" of burgeoning experimental film movement in the United States.
35mm from 16mm 1.37:1 color sound; production assistance D.A. Pennebaker; music by Gene Forrell.
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Please Murder Me!
Masterworks of American Avant-garde Experimental Films 1920-1970, Evolution
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"I try to leave the imagination of the spectator as free as possible by using purely invented, abstract forms rather than representational forms. In watching these films it is not necessary to search for hidden meanings or to try to associate these invented forms with familiar objects. The spectator may simply rel...
Source: www.imdb.com
"I try to leave the imagination of the spectator as free as possible by using purely invented, abstract forms rather than representational forms. In watching these films it is not necessary to search for hidden meanings or to try to associate these invented forms with familiar objects. The spectator may simply relax and look at these films as one would listen to music in order to fully respond to them." - Jim Davis
16mm 1.37:1 color sound.
"I try to leave the imagination of the spectator as free as possible by using purely invented, abstract forms rather than representational forms. In watching these films it is not necessary to search for hidden meanings or to try to associate these invented forms with familiar objects. The spectator may simply relax and look at these films as one would listen to music in order to fully respond to them." - Jim Davis
16mm 1.37:1 color sound.
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Masterworks of American Avant-garde Experimental Films 1920-1970, Gyromorphosis
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"Gyromorphosis strives to bring into actuality the inherent kinetic qualities seen in the construction-sculpture of Constant Nieuwenhuys of Amsterdam. To realize [sic] this aim I have put into motion, one by one, pieces of this sculpture and, with colored lighting, filmed them in various detail, overlaying the ima...
Source: www.imdb.com
"Gyromorphosis strives to bring into actuality the inherent kinetic qualities seen in the construction-sculpture of Constant Nieuwenhuys of Amsterdam. To realize [sic] this aim I have put into motion, one by one, pieces of this sculpture and, with colored lighting, filmed them in various detail, overlaying the images on the film as they appear and disappear. In this way I have hoped to produce sensations of acceleration and suspension which are s...
"Gyromorphosis strives to bring into actuality the inherent kinetic qualities seen in the construction-sculpture of Constant Nieuwenhuys of Amsterdam. To realize [sic] this aim I have put into motion, one by one, pieces of this sculpture and, with colored lighting, filmed them in various detail, overlaying the images on the film as they appear and disappear. In this way I have hoped to produce sensations of acceleration and suspension which are suggested to me by the sculpture itself." - Hy Hirsh.
16mm 1.37:1 color sound; music Django by John Lewis, played by the Modern Jazz Quartet.
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The Adventures of Sam Space
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Source: www.imdb.com
