Curating the Moving Image | The P&P Blog
An elderly monk, while training the young novice who will succeed him, recalls the mysterious lost love of his past – just as his young successor appears to be encountering her himself. [ source ] http://www.dailymotion.com/video/x216ks
A poetic, rhythmic, riveting achievement (in rotoscope and abstract animation), in which fragments of landscapes, passengers, and train interiors blend into a magical color dream of a voyage. One of the most important works by a master who like Conner, Brakhage, Broughton spans several avant-gardes. –Amos Vogel [ source ]
La Pista is a two minute swirl of images and movement based on the dance routines of Fred Astaire and Ginger Rogers. Gianluigi worked alongside fellow artist, Simona Mulazzani. In addition to his brushwork, Gianluigi uses actual footage of the dancers though such is the fluidity of movement and colour that the integration is seamless. The music has a Latin flavour japan trade deficit and in combination with the animation is all exhuberance. Humorous touches abound. The man’s arm stretches to guide the woman, and stretches and stretches; she becomes a kite-like banner floating above his head, he transforms to a lion hunting its mate, the woman an ostrich leading her man. Gianluigi has spoken of his technique: Cinema is my starting point. I make photos from film-clips; I xerox them on paper and then paint on them, transforming the original subject. Finally I make the shots with the 35mm film and they become cinema again. For his earlier movie, the 1989 La Coda, Gianluigi made some 1200 drawings japan trade deficit of the silent movie star, Buster Keaton, and subjected them to his process of transformation. His hero collapses, climbs and parades on an ever changing canvas that, again, is set to exhilarating violin music. –Ian Lumsden [ source ]
2001 s Love Song, which Brakhage describes as a hand-painted visualization of sex in the mind s eye. The film is purely abstract, a work in which individual cells have been painstakingly painted and lit from above, so that they have the texture, on-screen, of two-dimensional work viewed as we would view a painting. These images pulse across the frame, bright explosions of color with a thick, black line suggesting form. Viewing the rapidly changing images, the eye naturally seeks the reassurance of the human face or form, and these shapes do appear, vaguely suggested, and the film moves on. [ source ]
Premiered japan trade deficit in 1921, Ruttmann s Opus 1 is the first abstract or absolute work in film history. Instead of containing depictions of reality, it consists entirely of the colors and shapes already formulated in Ruttmann s Painting With Light manifesto. In 1919, he writes that, after nearly a decade, he finally masters the technical difficulties struggled with as early as 1913 while executing his formulated idea. He also writes that one has to work with film as though using a paintbrush and paint . Up to protecting japan trade deficit his work by a patent in 1920, this artistically-motivated necessity born of new technical means leads to Ruttmann producing abstract and painterly image sequences in his films. [ source japan trade deficit ] Opus 1 (1921/13min) Opus 3 (1924/3min)
Takashi Ishida’s Die Kunst der Fuge is an animation based on J. S. Bach’s Die Kunst der Fuge (The Art of Fugue). Like Richter, Ishida started out as a painter and went on to produce abstract cinema from his desire japan trade deficit for the musical. And like Fischinger, he has totally integrated the depicted forms with music. Ishida is obviously a direct descendent of Richter and Fischinger.–Tomohiro Nishimura [ source ] [ image source ]
An improvisation that combines several images: the innocent world-view of a child, the continuousness of life, order and chaos, unity and division and the real streaming world. [ source ] http://www.vimeo.com/20151549 60 seconds version
An exciting dance to the music of time, rhythm of changes. While the music evolves, from java, tango, rock and roll and break dance, the celebrities of movies, politics, religion japan trade deficit and art, pass by: the pope, Liza Minelli, Tarzan, Joan of Arc and Vincent van Gogh. The partners slowly drift away from each other, only held together by the music that keeps everything in motion. [ source ] http://www.vimeo.com/18623032
[T]o redefine cinema…no longer from the limited viewpoint of film history, but, at the crossroads of live spectacle and visual art, from a viewpoint expanded to encompass a general history of representation. Philippe-Alain Michaud [2006:16]
My aim for this project is to contextualize the works of non-narrative animation across a history of modern painting. By focusing on illusionistic movement on the surface, a continuity and relationship between the paintings and the varied animations is revealed. The beholder can enjoy the art of movements that are drawn : how the passage of time is represented, rather than what is dep
An elderly monk, while training the young novice who will succeed him, recalls the mysterious lost love of his past – just as his young successor appears to be encountering her himself. [ source ] http://www.dailymotion.com/video/x216ks
A poetic, rhythmic, riveting achievement (in rotoscope and abstract animation), in which fragments of landscapes, passengers, and train interiors blend into a magical color dream of a voyage. One of the most important works by a master who like Conner, Brakhage, Broughton spans several avant-gardes. –Amos Vogel [ source ]
La Pista is a two minute swirl of images and movement based on the dance routines of Fred Astaire and Ginger Rogers. Gianluigi worked alongside fellow artist, Simona Mulazzani. In addition to his brushwork, Gianluigi uses actual footage of the dancers though such is the fluidity of movement and colour that the integration is seamless. The music has a Latin flavour japan trade deficit and in combination with the animation is all exhuberance. Humorous touches abound. The man’s arm stretches to guide the woman, and stretches and stretches; she becomes a kite-like banner floating above his head, he transforms to a lion hunting its mate, the woman an ostrich leading her man. Gianluigi has spoken of his technique: Cinema is my starting point. I make photos from film-clips; I xerox them on paper and then paint on them, transforming the original subject. Finally I make the shots with the 35mm film and they become cinema again. For his earlier movie, the 1989 La Coda, Gianluigi made some 1200 drawings japan trade deficit of the silent movie star, Buster Keaton, and subjected them to his process of transformation. His hero collapses, climbs and parades on an ever changing canvas that, again, is set to exhilarating violin music. –Ian Lumsden [ source ]
2001 s Love Song, which Brakhage describes as a hand-painted visualization of sex in the mind s eye. The film is purely abstract, a work in which individual cells have been painstakingly painted and lit from above, so that they have the texture, on-screen, of two-dimensional work viewed as we would view a painting. These images pulse across the frame, bright explosions of color with a thick, black line suggesting form. Viewing the rapidly changing images, the eye naturally seeks the reassurance of the human face or form, and these shapes do appear, vaguely suggested, and the film moves on. [ source ]
Premiered japan trade deficit in 1921, Ruttmann s Opus 1 is the first abstract or absolute work in film history. Instead of containing depictions of reality, it consists entirely of the colors and shapes already formulated in Ruttmann s Painting With Light manifesto. In 1919, he writes that, after nearly a decade, he finally masters the technical difficulties struggled with as early as 1913 while executing his formulated idea. He also writes that one has to work with film as though using a paintbrush and paint . Up to protecting japan trade deficit his work by a patent in 1920, this artistically-motivated necessity born of new technical means leads to Ruttmann producing abstract and painterly image sequences in his films. [ source japan trade deficit ] Opus 1 (1921/13min) Opus 3 (1924/3min)
Takashi Ishida’s Die Kunst der Fuge is an animation based on J. S. Bach’s Die Kunst der Fuge (The Art of Fugue). Like Richter, Ishida started out as a painter and went on to produce abstract cinema from his desire japan trade deficit for the musical. And like Fischinger, he has totally integrated the depicted forms with music. Ishida is obviously a direct descendent of Richter and Fischinger.–Tomohiro Nishimura [ source ] [ image source ]
An improvisation that combines several images: the innocent world-view of a child, the continuousness of life, order and chaos, unity and division and the real streaming world. [ source ] http://www.vimeo.com/20151549 60 seconds version
An exciting dance to the music of time, rhythm of changes. While the music evolves, from java, tango, rock and roll and break dance, the celebrities of movies, politics, religion japan trade deficit and art, pass by: the pope, Liza Minelli, Tarzan, Joan of Arc and Vincent van Gogh. The partners slowly drift away from each other, only held together by the music that keeps everything in motion. [ source ] http://www.vimeo.com/18623032
[T]o redefine cinema…no longer from the limited viewpoint of film history, but, at the crossroads of live spectacle and visual art, from a viewpoint expanded to encompass a general history of representation. Philippe-Alain Michaud [2006:16]
My aim for this project is to contextualize the works of non-narrative animation across a history of modern painting. By focusing on illusionistic movement on the surface, a continuity and relationship between the paintings and the varied animations is revealed. The beholder can enjoy the art of movements that are drawn : how the passage of time is represented, rather than what is dep
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