214 results for your search
That Night (1957): Continuity script
All Mine to Give (1957): Shooting script
Edge of the City (1957): Continuity script
The Wings of Eagles (1957): Shooting script
Designing Woman (1957): Shooting script
Barnacle Bill (1957): Continuity script
La grande strada azzurra
Source: www.imdb.com
Source: www.imdb.com
Lectures Pour Tous: July 3, 1957
Masterworks of American Avant-garde Experimental Films 1920-1970, Hurry! Hurry!
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.
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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.
Show more Show lessMasterworks of American Avant-garde Experimental Films 1920-1970, N.Y., N.Y.
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...
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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