1936-01-01
0
Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.
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.
An animated short consisting of 4 segments: bowl, garden, theatre, marble game. Preserved by the Academy Film Archive in partnership with Harvard Film Archive in 2015.
Bill struggles to put together his shattered psyche.
Inspired by the Greek myth of Prometheus, a Titan who created the first mortals from clay and stole fire from the gods, Prometheus' Garden immerses viewers in a cinematic universe unlike any other. The dark and magical images of this haunting film unfold in a dreamlike stream of consciousness revealing an unlikely cast of characters engaged in a violent struggle for survival.
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.
ĀTMAN is a visual tour-de-force based on the idea of the subject at the centre of the circle created by camera positions (480 such positions). Shooting frame-by-frame the filmmaker set up an increasingly rapid circular motion. ĀTMAN is an early Buddhist deity often connected with destruction; the Japanese aspect is stressed by the devil mask of Hangan, from the Noh, and by using both Noh music and the general principle of acceleration often associated with Noh drama.
Experimental computer animation from pioneering artist Ed Emshwiller.
A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.
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.
Jankovics's adaptation of the eponymous play is divided into multiple parts, and depicts the creation and fall of Man throughout history.
The Philosophy of Horror is a seven-part abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. The film uses hand painted and decayed 35mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985).
Animated shapes dance to Cuban music. This was one of the first animations to be painted directly onto the film.
A short avant-garde film from Finnish director Eino Ruutsalo.
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.