Colored Rhythm: Study for the Film

Dragonfly

January 1988 •Japanese

An abstract animation with a motif of a dragonfly, and a complex multi-exposure landscape of a field and a woman's naked body overlap.

Speaker

March 1980 •Polish

A portrait of a speaker, engrossed in his own speech, finds the hall empty.

On Generation and Corruption

January 2017 •Japanese

Borrowing its title from a treatise by Aristotle, the latest film by Makino Takashi is an abstract work that finds its drive in the clash between light and darkness. Entirely composed of superimposed images of Tokyo’s landscape and water sites, the film takes its rhythm from the cycles of repetition that are the pillars of life and civilisation. As light emerges from the chaos, Jim O’Rourke’s ambient drone sets the tone for what is to come.

Spin

January 2002 •English

An interactive flash animation from Dutch digital artist Han Hoogerbrugge.

Mandala

January 1953 •English

Scroll paintings prepared like film strips with successive images.

Endless

January 2005 •English

A meditation on the inevitable deterioration of certain traditional values that have been established (or destroyed) throughout civilization. This elegiac account uses symbolic representation from natural elements in order to convey the inevitability of remembering the social and cultural erosion, and places a layer of texture in front of the elliptical glimpses of imagery, separating the viewer from the past. The re-occurring image of flames remains untouched by the erosion aspects of reticulation, ultimately alluding to nature's powerful quality.

Papers

January 1991 •Japanese

Abstract animation by Satoh Yoshinao

Third Interpolation

January 1999 •English

Shapes projected onto an abstract environment. The movement and scale of the forms in the film is a beautiful equivalent of the dynamics of the soundtrack

No. 11: Mirror Animations

December 1956 •English

Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.

Flow

January 2001 •English

Flash projection from dutch visual artist Han Hoggerbrugge

Son of the White Mare

October 1981 •Hungarian

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.

Sketch Film #3

January 2006 •English

Sketch Film #3 (Tomonari Nishikawa, 2006, 3 min., super 8, silent, 18/24fps, b&w, USA/Japan) The third film in the series, which starts with a sequence of paired images: a focused image and a blurred image of the same subject, which was caused by a diagonal camera movement. Later, it shows an experiment to produce an apparent depth by rotating an apparent shape. It was edited in camera and hand-processed afterwards.

Third Page from the Sun

January 2014 •French

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.

Gassy's Gas 'n Stuff

May 2023 •English

Lulu the dog gets a job at the local convenience store and stays up all night cleaning the back room. Short created for Adult Swim Smalls.

Calypso

January 1955 •English

Hand painted directly onto film stock by Margaret Tait, this film features animated dancing figures, accompanied by authentic calypso music.

Lost Utopia

January 2007 •Japanese

The story of Adam and Eve with jazzy music. Short experimental animation without words.

Chase

February 2012 •

An abstract pursuit that leaves you gasping for breath.

Impromptu

January 2017 •

Divisional Articulations

May 2017 •English

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

All Souls Carnival

March 1957 •English

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.