UNSEEN CINEMA

UNSEEN CINEMA

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UNSEEN CINEMA
  • ESCAPE

    Based upon mathematical calculations proposed by Joseph Schillinger and meticulously drawn-out by Mary Ellen Bute on animation cels, ESCAPE [SYNCHROMY NO.4] reveals Johann Sebastian Bach's TOCCATA (transcribed by Leopold Stokowski from the TOCCATA AND FUGUE IN D MINOR) as a series of pulsating li...

  • H2O

    "H2O depicts water under a variety of forms, increasingly focusing on its ability to create a multileveled reality of surface and reflection. Ultimately, the film reduces a phantasmagoria of light and shadow that render its simple title almost ludicrous." — Scott MacDonald

    Featuring a score comp...

  • LOOK PARK

    LOOK PARK presents close-up shots of a country stream viewed in bright sunlight. The film opens with wide shots of the park to establish the location, then focuses on the abstract selections and shadows. The music—initially a piece by Jacques Offenbach which segues midway into an electronic recor...

  • MECHANICAL PRINCIPLES

    Round-and-round go the gears in this extraordinary study. The follow-up to H2O from photographer / filmmaker Ralph Steiner is mesmerizing in its attention to concentric, repetitive mechanized motions. Far from being pedantic or boring, the movements fascinate and titillate. The comedic is equally...

  • UNE NUIT SUR LE MONT CHAUVE

    Alexandre Alexeieff and Claire Parker made UNE NUIT SUR LE MONT CHAUVE [NIGHT ON BALD MOUNTAIN] using a pinscreen animation technique, arranging and rearranging thousands of pins so that, when illuminated, they produced variations in shadow from black to white. The effect resembles a mezzotint. T...

  • PARABOLA

    "Sculptor Rutherford Boyd worked in collaboration with Mary Ellen Bute and Ted Nemeth [under the banner of Expanding Cinema], whose New York City production facilities were placed at his disposal. Filmed frame-by-frame in a sequence of stills that varied the arrangement of sculptural pieces under...

  • SPOOK SPORT

    Animated by Norman McLaren, using his adroit ink-on-film technique, Mary Ellen Bute's film visualizes Camille Saint-Saëns' DANSE MACABRE. It features colored globes, ellipses and triangles that move ghost-like over monochromatic backgrounds, communicating the notion of spirits rising from a grave...

  • SURF AND SEAWEED

    Ralph Steiner is interested in the capacity for film to invigorate everyday sight, to alert viewers to the simple, magical visual pleasures available in nearly any circumstance. The film is divided into sequences that focus on specific kinds of imagery in and around ocean surf. — Scott MacDonald
    ...

  • SYNCHROMY NO.2

    Seeing sound. Music, in addition to pleasing the ear, brings something to the eye. SYNCHROMY NO.2 was designed by a modern (circa-1930s) artist to create moods through the eye as music creates moods through the ear. A pictorial accompaniment in abstract forms to the music of THE EVENING STAR (fro...

  • UNGLASSED WINDOWS CAST A TERRIBLE REFLECTION

    "The second film by Stan Brakhage [starring Lawrence Jordan and a handful of other actors] originally featured original music composed by James Tenney. The score was never recorded. In its place, 'Mr. Tenney has selected [Béla] Bartok's SECOND PIANO CONCERTO as a suitable background for the film,...