Social & External
A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.
The screen is divided again and again until the picture arranged in ever changing strips bursts into whirring dynamic.
Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.
In the darkness of a cave, one man who had never seen even his own figure found a hollow flooded with light. An expression of a chaotic world. This experimental graduation film is a mixture of different animation techniques
Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.
A unique journey across a topography created entirely from a form of digital light and shadow—a bristling terrain of poles bending the light in every direction. This film is the remake of Barcode, an abstract road-movie about light and shadows.
“[T]he sense of moving forward [in space or time] alternates with a sense of expansion and contraction, as the finished cycle [of movement] returns to itself and rushes to catch up with its successor.” (Gadassik) Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.
This visual poetry is a celebration of the full spectrum of womanhood, from the complex vulnerability to the hidden power.
This is no animation, it's one picture. Short experimental film by Mirai Mizue
A surreal short animation by Mirai Mizue.
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.
"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
The film was produced applying mixed techniques on Super 8 film support.
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.
A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.
These are work-in-progress elements of some commercial projects and a film to be titled, Knotte Grosse. Beckett received an AFI Independent Filmmakers grant to produce Knotte Grosse but it was unfinished at the time of his death. The images allude to computer-generated graphics (but are not) and foreshadow an interesting direction in his work. - Pamela Turner
A classic of abstract animation that follows a tiny red arrow's journey through a multitude of spirals of white and waterfalls of color. Directed by Caroline and Frank Mouris, preserved in 2020 thanks to a collaborative effort between the Academy Film Archive and the Yale Film Archive.
High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.
