| Achooo Mr. Kerrooschev : By Stan Vanderbeek - 111 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
 | | Deathbreath : By Stan Vanderbeek : Part 2 - 420 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | Deathbreath : By Stan Vanderbeek : Part 1 - 459 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | Le Chat Cameleon : By Ernest Ansorge : Part 2 - 325 sec
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Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi french ernest ansorge animation trnka Walerian Borowczyk jiri rauol servais stop motion 2d 3d
| | Le Chat Cameleon : By Ernest Ansorge : Part 1 - 366 sec
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Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi french ernest ansorge animation trnka Walerian Borowczyk jiri rauol servais stop motion 2d 3d
| | A la mode : By Stan Vanderbeek - 591 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | Science Friction : By Stan Vanderbeek - 594 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
—Edward S. Small
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | Le canard á l'orange : By Patrick Bokanowski - 499 sec
"Patrick Bokanowski, French filmmaker and artist born in 1943, has developed a manner of treating filmic material that crosses over traditional boundaries of film genre: short film, experimental cinema and animation. His work lies on the edge between optical and plastic art, in a 'gap' of constant reinvention. Patrick Bokanowski challenges the idea that cinema must, essentially, reproduce reality, our everyday thoughts and feelings. His films contradict the photographic 'objectivity' that is firmly tied to the essence of film production the world over. Bokanowski's experiments attempt to open the art of film up to other possibilities of expression, for example by 'warping' his camera lens (he prefers the term 'subjective' to 'objective' - the French word for 'lens'), thus testifying to a purely mental vision, unconcerned with film's conventional representations, affecting and metamorphosing reality, and thereby offering to the viewer of his films new adventures in perception." - Pierre Coulibeuf
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stop motion 2d
| | I Will... I Shant : By Cioni Carpi - 248 sec
Cioni Carpi, one of the most important artists of the twentieth century, used film like a canvas he could paint, producing cinematographic work akin to precious pieces of art. He is considered highly experimental and places particular emphasis on the relationship between sound and images. Recently Carpi's work was digitally restored by Cineteca Italiana, which is also the only place where this precious work is kept.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi french 2d animation trnka Walerian Borowczyk jiri rauol servais stop motion 3d
| | Cierne Dni (Black Days) : by The Motion Brigades - 276 sec
Cierne Dni
Featuring the song "Struggle for Pleasure" by Glenn Branca and Wim Mertens.
On the night of August 20, 1968, an invasion of 200,000 Warsaw Pact troops turned Czechoslovakia into an armed camp, shattering overnight the democratic hopes aroused by that country's Prague Spring. Massive resistance broke out immediately, as blue-jeaned youth, workers, and intellectuals spilled into the streets, confronting Soviet soldiers and tanks at every turn.
Czechoslovak cameramen, shooting undercover and on the run, captured these events on whatever 16mm film they could lay their hands on; their raw footage was subsequently smuggled out of the country by sympathetic tourists, journalists, and diplomats, and assembled by a production team in Paris.
The resulting film, combining this guerilla footage with Czechoslovak radio and television broadcasts from the same fateful hours, offers a remarkable cinematic record of the invasion and its aftermath: the spontaneous mobilizations at Wenceslaus Square, street skirmishes in Bratislava, Soviet raids on Czech radio stations, the eerie quiet of a massive general strike, and much more.
All copies of the film were inexplicably lost in the early 1970s, however, and it was a faded memory by 1987, when a Philadelphia antique salvager stumbled onto two 16mm film cases at a neighborhood junk mart.
The full length film can be purchased at:
www.IHFfilms.com
International Historic Films, Inc.
P.O. Box 5796, Chicago, IL 60680
Phone: 773-927-2900
Fax: 773-927-9211
E-mail: info@ihffilm.com
Auteur : TheMotionBrigades
Tags: dubcek prague soviet invasion spring 1968 '68 czechoslovakia czech republic wim mertens glenn branca svankmajer trnka
| | Sophie's Place : By Larry Jordan - 601 sec
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Auteur : TheMotionBrigades
Tags: stop motion 2d
| | Tundra Beside You : By The Motion Brigades - 104 sec
music and film : The Motion Brigades
sample from Iron and Wine
Auteur : TheMotionBrigades
Tags: iron and wine saddle creek bright eyes alder elius skam
| | How to Catch a Tiger : By Bretislav Pojar : PT 2/2 - 462 sec
The third episode "How to Catch a TIger"of the "Garden" series based on the book of the same name by Jiri Trnka features four boys would like to hide from the sunshine in a shadowy garden but they are afraid of the bad tomcat they ran away from when they last visited the garden. They decide to organise a hunt in which, however, they themselves are almost chased down. They are saved from the furious tomcat by their friends, the elephants, that can even fly.
Bretislav Pojar (1923) is a big name in Czech animated film, a modern classic. A classic because of his virtuoso command of animating the traditional three-dimensional puppets he brought to life long ago in the films of Jiri Trnka, and also because of his masterful development of the art of the perfectly illusional spectacle, emitting a tender and captivating lyrical atmosphere (The Lion and the Song, The Appletree Maiden). But Pojar has also always been one for daring to try something new, and has always sought out new themes and more and more different ways to deal with the art and animation in his projects. He came up with materials that seemingly had no place in the poetic world of animated film the way they resonated with the times and turned to the mature viewer to spur him to think about his actions and the bleakness of their consequences (A Drop too Much, Bomb-Manie, Antidarwin). And most importantly, he had the idea of animating puppets in relief, playing flexibly and captivatingly with their initial forms and frequently transforming them on-screen right before our eyes; it was a game that brought filmgoers large and small joy from unexpected creative variation and unleashed imagination. Experts appreciate not only the individual works from Pojar's rich filmography but also his "two bears" series of films (Come Sir Let Us Play) and his series of boyish adventures in an overgrown garden (The Garden); everyone simply loves it.
Auteur : TheMotionBrigades
Tags: bretislav pojar kratky film praha jiri trnka miroslav stepanek hermina tyrlova karel zeman broucci vlasta pospisilova
| | How to Catch a Tiger : By Bretislav Pojar : PT 1/2 - 524 sec
The third episode "How to Catch a TIger"of the "Garden" series based on the book of the same name by Jiri Trnka features four boys would like to hide from the sunshine in a shadowy garden but they are afraid of the bad tomcat they ran away from when they last visited the garden. They decide to organise a hunt in which, however, they themselves are almost chased down. They are saved from the furious tomcat by their friends, the elephants, that can even fly.
Bretislav Pojar (1923) is a big name in Czech animated film, a modern classic. A classic because of his virtuoso command of animating the traditional three-dimensional puppets he brought to life long ago in the films of Jiri Trnka, and also because of his masterful development of the art of the perfectly illusional spectacle, emitting a tender and captivating lyrical atmosphere (The Lion and the Song, The Appletree Maiden). But Pojar has also always been one for daring to try something new, and has always sought out new themes and more and more different ways to deal with the art and animation in his projects. He came up with materials that seemingly had no place in the poetic world of animated film the way they resonated with the times and turned to the mature viewer to spur him to think about his actions and the bleakness of their consequences (A Drop too Much, Bomb-Manie, Antidarwin). And most importantly, he had the idea of animating puppets in relief, playing flexibly and captivatingly with their initial forms and frequently transforming them on-screen right before our eyes; it was a game that brought filmgoers large and small joy from unexpected creative variation and unleashed imagination. Experts appreciate not only the individual works from Pojar's rich filmography but also his "two bears" series of films (Come Sir Let Us Play) and his series of boyish adventures in an overgrown garden (The Garden); everyone simply loves it.
Auteur : TheMotionBrigades
Tags: bretislav pojar kratky film praha jiri trnka miroslav stepanek hermina tyrlova karel zeman broucci vlasta pospisilova
| | Premammals : By Michal Zabka - 589 sec
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Auteur : TheMotionBrigades
Tags: fimfarum russian czech bretislav broucci Mikhail Kamenetsky pojar vlasta pospisilova jan werich aurel klimt prague
| | Le Petit Cordonnier : By Arnolds Burovs - 586 sec
*this video is shown here in the highest quality possible
Latvians are a peaceful nation, and we teach our children to grow up the same way ― especially since 1966 when the first stop-motion animation films were made by Arnolds Burovs and his team.
Born in 1915 in Riga, Arnolds Burovs was set designer then manager of the Doll Theatre in Riga. From 1964 on, he became director of animated dolls films. Held to be the father of Latvian animation, his work is among the most influential ones in Baltic countries.
Burovs was the founder of the puppet animation studio now known under the name of Animācijas Brigāde; cartoon animation films are made at Dauka and Rija studios.
Auteur : TheMotionBrigades
Tags: arnolds burovs stop motion karel zeman kratky garik seko aurel klimt pospisilova jan werich svankmajer quay
| | Short film by Miroslav Stepanek - 320 sec
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Auteur : TheMotionBrigades
Tags: czech fimfarum svankmajer quay bretislav pojar aurel klimt pospisilova
| | The Hunchbacks of Damascus : PT 3/3 - 388 sec
Part three of the third story from Fimfarum 2
Auteur : TheMotionBrigades
Tags: svankmajer quay fimfarum czech pojar klimt pospisilova barta
| | The Hunchbacks of Damascus : PT 2/3 - 595 sec
Part two of the third story from Fimfarum 2
Auteur : TheMotionBrigades
Tags: czech svankmajer fimfarum quay pojar klimt tyrlova pospisilova
| | The Hunchbacks of Damascus : PT 1/3 - 521 sec
Part one of the third story from Fimfarum 2
Auteur : TheMotionBrigades
Tags: fimfarum czech pojar svankmajer quay burovs tyrlova klimt
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