Social & External
Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.
This is a story of love seen from a square, in which a couple gets united, separated and rearranged again. A special kind of puzzle.
La Maison en Petits Cubes tells the story of a grandfather's memories as he adds more blocks to his house to stem the flooding waters.
An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.
Be better and more beautiful than you were before.
Bill struggles to put together his shattered psyche.
"Leiberg embarks on a search for the interaction between painting and improvised music, tinkering with sound collages sets language and sounds against each other (...) Leiberg works with real-movie sequences and uses his pictorial color and form vocabulary as a design element in the film. He primarily uses the resulting films in their capacity as a depot of moving light images in order to project them onto the bodies of dancers in the performances. (Christoph Tannert in "Gegenbilder", p. 39f;)
The sad and happy times of a young girl and her bear doll, a young mouse and his family, a sycamore tree, an old lamp post, a hoodlum moth and an alleyway full of posters coming to life.
Cuba programmed solid areas and volumes instead of the vector dots of the previous two films. It also in four "colors": black, white, light grey and dark grey. In five episodes, he alternates single events involving ribbon-like figures following intricate trajectories, with more complex episodes consisting of up to 40 individual events that appear and disappear at irregular intervals. Electronic sound scores accompany.
An experimental film in which both sound and visuals were created entirely by Norman McLaren drawing directly upon the film with ordinary pen and ink. The main title is in eight languages. Rereleased with multilingual titles in 1949.
Images of two women, two men, and a gray cat form a montage of rapid bits of movement. A woman is in a bedroom, another wears an apron: they work with their hands, occasionally looking up. A man enters a room, a woman smiles. He sits, another man sits and smokes. The cat stretches. There are close-ups of each. The light is dim; a filter accentuates red. A bare foot stands on a satin sheet. A woman disrobes. She pets the cat. Preserved by the Academy Film Archive in 2006.
Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.
After the title, a white screen gives way to a series of frames suggestive of abstract art, usually with one or two colors dominating and rapid change in the images. Two figures emerge from this jungle of color: the first, a shirtless man, appears twice, coming into focus, then disappearing behind the bursts and patterns of color, then reappearing; the second figure appears later, in the right foreground. This figure suggests someone older, someone of substance. The myth? Preserved by the Academy Film Archive in 2012.
A surrealistic fantasy based on the 15th century woodcuts of the dance of the dead. A film experiment that deals with the photoreality and the surrealism of life. A collage-animation that cuts up photos and newsreel film and reassembles them, producing an image that is a mixture of unexplainable fact (Why is Harpo Marx playing a harp in the middle of a battlefield?) with inexplicable act (Why is there a battlefield?). It is a black comedy, a fantasy that mocks death ... a parabolic parable.
Jankovics's adaptation of the eponymous play is divided into multiple parts, and depicts the creation and fall of Man throughout history.
The experimental animated short is a collaborative work between Keiichi Tanaami and Nobuhiro Aihara.
Toroid is an experimental audio-reactive animation work that demonstrates the possibilities of harnessing digital waveforms of electronic origin into a continual source of power. By making the invisible visible, the work bears similarity and inspiration from the extensive quantum energy research at CERN which seeks to uncover and control the particles in and around us. In this era of over-production and over-algorithmic data illusion of choices, Toroid inserts itself in the digital narrative as a power source simulation showing a possibility for ensuring a positive flow of eternal (renewable) energy working in parallel with the natural order.
One of two animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage (1876-1954). Based on Lesage's painting A Symbolic Composition of the Spiritual World from 1923.
In this extraordinary short animation, Evelyn Lambart and Norman McLaren painted colours, shapes, and transformations directly onto their filmstrip. The result is a vivid interpretation, in fluid lines and colour, of jazz music played by the Oscar Peterson Trio.
A boxing ring turns into a stage for abstract animation where the punches thrown in the match and the halftone dots in reprographics gradually become indistinguishable. Tanaami shot a boxing match on a Motordrive camera, made two thousand offset prints, and rephotographed each of them. He explains his inspiration for the work being the experience of watching a boxing match on television but finding the newspaper print the next morning better capturing the exhilaration of the sport.
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