Stan VanDerBeek: The Computer Generation (1972, color) VDB at the then
pioneering computer at MIT talks about computers' interaction with
creativity, the potential for artists to create in the new technology, his
hope that all children will learn computing. He demonstrates new experimental
techniques. Clips from "Symmetricks", and other films.
Stan VanDerBeek: Vanderbeekiana! (1968, b/w) VDB at home, discusses work,
jokes, found images, inventions. Shows his "moviedrome" for seeing films
against a hemisphere, and reflects on film as " an experience, not an
artifact", "it is the aesthetic of anticipation, as distinct from that of
meditation." Clips from "Will", "See Saw Seams", "Image After Image After
Image," "Poemfield #1".
Hans Richter (1973, color) Profile of work and life in graphic arts and
film. Richter talks of how World War One led to Surrealist movement, the
artists of the period, his early training, Dada, Bauhaus, the antagonism of
the Third Reich toward experimentation, crossover from painting to film,
experiments with musc. Shows and explains film tricks. Clips from films
"Ghosts Before Breakfast", "Rhythm 21", "8 X 8", others.
Hilary Harris (1964, b/w) discussion between HH and film critic Amos Vogel
with clips from "Seaward the Great Ships", "Generation", "Highways", "The
Squeeze". Harris talks about why he makes films, the responsibility of the
artist to elevate the audience, his particular interest in layered sound
John Whitney, Sr. (1975, color) Pioneer computer graphics/film artist
explains his early experiments, design of his own cameras, how he strives to
create emotional response to shapes in motion like response to music. With
clips from"Matrix 3", "Catalog", "Permutations", "Lapis"
Warner Brothers Cartoon Studio 1934-1964 (1975, color) "The Boys From
Termite Terrace". Hosted by animation expert John Canemaker. Interviews and
reminscence with Friz Freleng, Mel Blanc, Chuck Jones, Bob Clampett and clips
from their works including Bugs Bunny, Road Runner, Porky Pig, Daffy Duck,
etc. Demonstrations of drawing , painting cels, voice recording. How Bugs
evolved, how voice is matched to picture, characters that didn't catch on,
adults as the audience for cartoons, Warners versus Disney, etc.
George Dunning (1973, color) Master animator explains work, techniques,
interest in Clips from ther Beatles film "Yellow Submarine", "The Flying
Man", "Damon the Mower."
Oskar Fischinger (1977, color) Profile of early animation artist with clips
from "Liebespiel", "Komposition in Blau", "Spiritual Constructions",
marching cigarette commercial, others. With his widow Elfriede, writer
William Moritz, animator John Canemaker.
Rudy Burckhardt (1974, color) Artist-film maker RB, innovator and
experimenter in time lapse photography, describes his work and techniques
over numerous clips.
Namjune Paik (1975, color) Profile of avant-garde composer/performance
artist, includes excerpts from video experiments.
Alexander Alexeieff (1966, b/w) Creator of his own film technique,
recording the shadow of a raking light across the pins of his "pin board".
He discusses his invention and its application for book illustrations as
well as art film. (With wife and colleague Claire Parker). Clips from their
work, including their film of Gogol's short story "The Nose."
Len Lye (1957, b/w) New Zealand filmmaker active 1940-1960, Lye developed
several of the montage and fast-cutting techniques later used sucessfully in
advertising. His interest in light and rhythm also led to experiments in
moving sculptures he called Tangibles. Interview, demonstrations of a few
Tangibles, clips from films.
Red Grooms (1967, b/w) At the start of his brilliant career as painter, pop
multi-media artist and film-maker talks about his films and art work. Much of
his new art is shown as well as two of his films: "Washington's Wig
Whammed!" and "Fat Feet". "Fat Feet", eight months in production, combining
animation with live film, is a humorous pop art view of life in the big city
. Three dimensional figures and real actors were shot by Grooms both on
location and within sets.