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“Weinberg’s second personal film is a poetic evocation of an absent lover as imagined by the central female character, whom Weinberg loved and sought to marry. Very sophisticated editing adds to the misty cinematography. Happily, actress Erna Bergman accepted Weinberg’s proposal soon after she saw the film.” – Robert A. HallerRead More »
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Light plays over the surfaces of paper cut-outs, abstract shapes with curved lines. The movement of the light (which are small spots) speeds up, following the rhythms of the piano accompaniment. A small spot opens and closes; Shadows sometimes dominate. The lights, movement, and music take on a mechanical mood. Then, the opening images return.Read More »
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Collaboration with Melville Webber and Ted Nemeth. Premiered at Radio City Music Hall, 1935. In the RHYTHM IN LIGHT, the artist uses visual materials as the musician uses sound. Mass and line an brilliant arabesques from the inexhaustible imagination of the artist perform a dance to the strains of Edvard Grieg’s music. The visual and aural materials are related both structurally and rhythmically – a mathematical system being used to combine the two means of expression. (Promotional flyer, Ted Nemeth Studios)Read More »
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“This dazzling stop-motion animation provided Vorkapich with a forum to demonstrate complex perceptual theories related to the persistence of vision and phi phenomenon. The dance of objects and their movements before the camera lens –somewhat similar to Oskar Fischinger’s abstractions – illustrate many visual sensations playfully executed by Vorkapich.” – Bruce PosnerRead More »
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“Epileptic Seizure Comparison is an attempt to orchestrate sound and light rhythms in an intimate and proportional space, an ongoing location wherein non-epileptic persons may begin to experience, under ‘controlled conditions’ the majestic potentials of convulsive seizure.”Read More »
Plot: On a 1963 visit to black sections of San Francisco ,talking to angry youth, James Baldwin demolishes the city’s image as cosmopolitan and sophisticated and argues that the place is as segregated and as racist, deep down, as Birmingham.Read More »
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In 1929, Steiner made his first film, H2O, a poetic evocation of water that captured the abstract patterns generated by waves. Although it was not the only film of its kind at the time – Joris Ivens made REGEN that same year, and Henwar Rodekiewicz worked on his similar film PORTRAIT OF A YOUNG MAN (1931) through this whole period – it made a significant impression in its day and since has become recognized as a classic: H2O was added to the National Film Registry in December 2005. Among Steiner’s other early films, SURF AND SEAWEED (1931) expands on the concept of H2O as Steiner turns his camera to the shoreline; MECHANICAL PRINCIPLES (1930) was an abstraction based on gears and machinery.Read More »
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A tone poem [in which] two woodland sprites dance about, atop power lines and among flowers and leaves, while being pursued. Everyone spends some time pulling levers to switch trains, too.
“Anthony Gross is best known as a printmaker and painter. The animated films he made with American Hector Hoppin reflect his distinctive graphic style, but add a sophisticated choreography of lines and space. The escapist theme of the film developed from an earlier suite of etchings called SORTIE D’USINE (1931).” – David CurtisRead More »
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Born and raised in the misery of Brazilian slums, Jorge becomes a luxury house burglar in São Paulo and gets nicknamed “The Red Light Bandit” by the sensationalist press. In addition to wearing a red flashlight, he talks to his hostages in an irreverent tone and makes bold breakthroughs to later spend the money extravagantly. His world is the decadent neighbourhood of Boca do Lixo.Read More »