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A film unmade-- That is, Survage's film was never realized in the traditional sense-- At the time, such a project was beyond technological possibility. His pioneering efforts to combine luminous, expressive painting and the moving picture were further curtailed by the outbreak of WWI. Some have taken it upon themselves to 'animate' his watercolor plates in attempts to set his dream into motion.
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1913-01-01
Released
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0.0
Channelling Lye and McLaren, de Bruyn continues his explorations of ‘direct-to-film’ inspired artwork barely contained within the frame.
2019-07-16 | en
7.6
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.
1981-10-22 | hu
5.0
"Mouris’s film, YOU’RE NOT REAL PRETTY BUT YOU’RE MINE…, built upon the strongest elements of QUICK DREAM, and added a pop music soundtrack. Mouris says, “I shot another 100 foot roll on classmate Jerry Strawbridge’s home animation stand, and edited that into the best sequences from QUICK DREAM. The whole film was a tongue-in-cheek series of odd couples/couplings, which the title suggested. The FRANK FILM photo collage animation evolved here.” - Yale
1968-01-01 | en
0.0
From Malkuth to Kether and back, the whole spin of the wheel. A retelling of a series of dreams and visions experienced by the director in her Great Quest.
2021-09-09 | en
7.3
This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.
1961-12-31 | en
0.0
16mm color work by Stan Vanderbeek that takes his work away from the cutups and the commentary and lands him in the psychedelic and abstract. Opticals, repetitions, camera moves and zooms are what make up the bulk of this exploration into fluids. The results bridge that realm between hangout art piece and intersteller stoner trip.
1964-01-01 | en
0.0
Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.
2021-09-30 | en
7.5
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.
2017-06-24 | es
10.0
Claire is composed of digital scans and blow-ups of a series of three ink-on-paper artworks created in 2012 by French-Spanish researcher, publisher and artist Claire Latxague. While collecting drawings, written documents and other printed materials for a (yet unreleased) project called Un film de papier, I’ve stumbled upon Latxague’s artwork, entitled À la renverse. The blow-ups were made in an attempt of unearthing cartographic imagery in abstract compositions.
2016-02-01 | xx
5.0
Jane Conger Belson Shimane's first film, Logos, premiered in 1957 and was screened at festivals in North America, Europe, and Latin America. The animated film featured an electronic score by Henry Jacobs. Preserved by the Academy Film Archive in 2001.
1957-07-07 | en
10.0
A Blue Soldier and a Yellow Soldier play a board game trying to outwit each other, struggling for control over a piece of land. The Farmer who belongs to the land is not allowed to play and must pick a side. As the fighting escalates, what side does she choose?
2024-11-15 | xx
4.8
Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.
2010-01-13 | xx
0.0
Shapes projected onto an abstract environment. The movement and scale of the forms in the film is a beautiful equivalent of the dynamics of the soundtrack
1999-01-28 | en
3.0
Rhythm and repetition plays an important role in the animated film Allahu Akbar by Usama Alshaibi. With this film, Alshaibi questions the confrontation between tradition and modernity by drawing inspiration from geometric motives of Islamic art. The artist offers a re-interpretation of these motifs through computer animation. By turning the shapes in different direction, new images are generated, freeing them from their fixed state. Traditional spiritual values feed the present and open up to a modern perspective.
2003-01-01 | ar
7.3
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.
1965-12-15 | en
5.6
The first part depicts the heroine's toothache consequent to the loss of a very valuable watermelon, her dentistry and transportation to heaven. Next follows an elaborate exposition of the heavenly land, in terms of Israel and Montreal. The second part depicts the return to Earth from being eaten by Max Müller on the day Edward VII dedicated the Great Sewer of London.
1962-01-01 | en
0.0
A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.
2019-07-04 | en
4.0
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…
2008-09-19 | en
8.0
[The] Insinuation of accidentally spilled ink that would be running across the paper in random, aleatory oozes displaces the graceful liquidity of the careful animated choreography. - William Moritz
1977-01-01 | en
6.6
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.”
1952-07-01 | en