VFX educator Pam Hogarth and Pixar’s Pete Docter were among the honorees at this year’s Visual Effects Society Honors Celebration.
The in-person ceremony took place on Oct. 14 at the Skirball Cultural Center in Los Angeles, Calif., where Ves members celebrated their colleagues’ achievements and the organization’s 25th anniversary.
Docter, Pixar’s chief creative officer best known for directing “Monsters, Inc.,” “Up,” “Inside Out” and “Soul,” received this year’s Honorary Membership.
“It’s been a dream of mine to join Ves without having to pay,” Docter said jokingly in his acceptance speech. “I had one overriding obsession: to sell insurance. But instead, I got a job in animation … To everyone at Pixar, who would’ve dreamt that someday I would be lucky enough to work alongside hundreds of amazingly talented people using the latest cutting-edge technology — all to avoid dealing with real life.”
Docter also acknowledged Pixar president Jim Morris,...
The in-person ceremony took place on Oct. 14 at the Skirball Cultural Center in Los Angeles, Calif., where Ves members celebrated their colleagues’ achievements and the organization’s 25th anniversary.
Docter, Pixar’s chief creative officer best known for directing “Monsters, Inc.,” “Up,” “Inside Out” and “Soul,” received this year’s Honorary Membership.
“It’s been a dream of mine to join Ves without having to pay,” Docter said jokingly in his acceptance speech. “I had one overriding obsession: to sell insurance. But instead, I got a job in animation … To everyone at Pixar, who would’ve dreamt that someday I would be lucky enough to work alongside hundreds of amazingly talented people using the latest cutting-edge technology — all to avoid dealing with real life.”
Docter also acknowledged Pixar president Jim Morris,...
- 10/18/2022
- by Michaela Zee
- Variety Film + TV
Click here to read the full article.
As the Visual Effects Society marks the occasion of its 25th anniversary, the annual Ves Honors ceremony on Friday included celebration along with a call for more diversity and inclusion, as well as a greater effort to achieve a work-life balance amid industry-wide attention on the long work hours kept by many VFX artists under current business models.
Friday evening at the Skirball Cultural Center in Los Angeles, honorees included three-time Oscar winner and Pixar chief creative officer Pete Docter and VFX vet and educator Pam Hogarth.
Hogarth received the Ves Founders Award as well as life Ves membership, and sent a message of community while urging more work toward diversity and inclusion. “The reason we are here is for the community,” she said. “We do this because we love the people around us and the Society. We are so lucky to work with smart,...
As the Visual Effects Society marks the occasion of its 25th anniversary, the annual Ves Honors ceremony on Friday included celebration along with a call for more diversity and inclusion, as well as a greater effort to achieve a work-life balance amid industry-wide attention on the long work hours kept by many VFX artists under current business models.
Friday evening at the Skirball Cultural Center in Los Angeles, honorees included three-time Oscar winner and Pixar chief creative officer Pete Docter and VFX vet and educator Pam Hogarth.
Hogarth received the Ves Founders Award as well as life Ves membership, and sent a message of community while urging more work toward diversity and inclusion. “The reason we are here is for the community,” she said. “We do this because we love the people around us and the Society. We are so lucky to work with smart,...
- 10/15/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
The Visual Effects Society today announced the newest inductees into the Ves Hall of Fame, including pioneering animator, producer and director Mary Ellen Bute; the first woman to ever direct a film, Alice Guy-Blaché; American computer scientist Grace Hopper; commercial computer animation visionary Bill Kovacs and Hungarian-American animator, film director and producer George Pal. The Hall of Fame inductees – and other special honorees – will be celebrated at a special event this Fall.
“Our Ves honorees represent a group of exceptional artists, innovators and professionals who have had a profound impact on the field of visual effects,” said Ves Board Chair Lisa Cooke in a statement. “We are proud to recognize those who helped shape our shared legacy and continue to inspire future generations of VFX practitioners.”
As previously announced, educator and industry leader Pam Hogarth was named recipient of the 2022 Ves Founders Awards. The Society designated Jeff Barnes, Patricia “Rose” Duignan,...
“Our Ves honorees represent a group of exceptional artists, innovators and professionals who have had a profound impact on the field of visual effects,” said Ves Board Chair Lisa Cooke in a statement. “We are proud to recognize those who helped shape our shared legacy and continue to inspire future generations of VFX practitioners.”
As previously announced, educator and industry leader Pam Hogarth was named recipient of the 2022 Ves Founders Awards. The Society designated Jeff Barnes, Patricia “Rose” Duignan,...
- 8/23/2022
- by Tom Tapp
- Deadline Film + TV
While the summer movie season will kick off shortly––and we’ll be sharing a comprehensive preview on the arthouse, foreign, indie, and (few) studio films worth checking out––on the streaming side, The Criterion Channel and Mubi have unveiled their May 2021 lineups and there’s a treasure trove of highlights to dive into.
Timed with Satyajit Ray’s centenary, The Criterion Channel will have a retrospective of the Indian master, along with series on Gena Rowlands, Robert Ryan, Mitchell Leisen, Michael Almereyda, Josephine Decker, and more. In terms of recent releases, they’ll also feature Fire Will Come, The Booksellers, and the new restoration of Tom Noonan’s directorial debut What Happened Was….
On Mubi, in anticipation of Undine, they’ll feature two essential early features by Christian Petzold, Jerichow and The State That I Am In, along with his 1990 short documentary Süden. Also amongst the lineup is Sophy Romvari’s Still Processing,...
Timed with Satyajit Ray’s centenary, The Criterion Channel will have a retrospective of the Indian master, along with series on Gena Rowlands, Robert Ryan, Mitchell Leisen, Michael Almereyda, Josephine Decker, and more. In terms of recent releases, they’ll also feature Fire Will Come, The Booksellers, and the new restoration of Tom Noonan’s directorial debut What Happened Was….
On Mubi, in anticipation of Undine, they’ll feature two essential early features by Christian Petzold, Jerichow and The State That I Am In, along with his 1990 short documentary Süden. Also amongst the lineup is Sophy Romvari’s Still Processing,...
- 4/26/2021
- by Jordan Raup
- The Film Stage
Swinging The Lambeth Walk by Len Lye (1939).
In 1939, as Britain waged war with Germany, filmmaker Len Lye stayed in London to work; and visited his pregnant wife Jane and their son Bix, who had evacuated the city to stay at a friend’s farm in Scotland, on the weekends. According to Len Lye: A Biography by Roger Horrocks, Lye was too old (38) and recovering from an appendectomy to fight in the war. Struggling for money, Lye found a financial respite when the British Council for the Travel and Industrial Development Association agreed to sponsor a new film.
“The Lambeth Walk” was a dance that had become popular in England in 1937; and Lye’s visualization of the song links “the drums with bouncing circles, the piano with a sprinkling of coloured dots and rectangles, and the string instruments with vibrating lines,” as noted by Horrocks. The two thumbs-up images that bookend...
In 1939, as Britain waged war with Germany, filmmaker Len Lye stayed in London to work; and visited his pregnant wife Jane and their son Bix, who had evacuated the city to stay at a friend’s farm in Scotland, on the weekends. According to Len Lye: A Biography by Roger Horrocks, Lye was too old (38) and recovering from an appendectomy to fight in the war. Struggling for money, Lye found a financial respite when the British Council for the Travel and Industrial Development Association agreed to sponsor a new film.
“The Lambeth Walk” was a dance that had become popular in England in 1937; and Lye’s visualization of the song links “the drums with bouncing circles, the piano with a sprinkling of coloured dots and rectangles, and the string instruments with vibrating lines,” as noted by Horrocks. The two thumbs-up images that bookend...
- 4/14/2019
- by Mike Everleth
- Underground Film Journal
This is Part Two in a series of articles on the Robert Beck Memorial Cinema (Rbmc). As detailed in Part One, the Rbmc was an experimental film screening series in New York City, started by filmmaker Brian L. Frye.
Frye programmed the first screening on May 12, 1998 at the Collective Unconscious theater space. The screening included the feature-length documentary Underground by Emile de Antonio about the left-wing militant group the Weather Underground, and a kinoscope of Richard M. Nixon’s infamous “Checker’s Speech.” At the screening, fellow media artist Bradley Eros introduced himself to Frye and the pair co-programmed the Rbmc together for several years.
The goal of the screenings was to present work that typically wouldn’t be projected anywhere else, such as small gauge film formats and expanded cinema performances. The Rbmc would also host filmmakers in town for larger shows elsewhere in the city and asked them to screen their older,...
Frye programmed the first screening on May 12, 1998 at the Collective Unconscious theater space. The screening included the feature-length documentary Underground by Emile de Antonio about the left-wing militant group the Weather Underground, and a kinoscope of Richard M. Nixon’s infamous “Checker’s Speech.” At the screening, fellow media artist Bradley Eros introduced himself to Frye and the pair co-programmed the Rbmc together for several years.
The goal of the screenings was to present work that typically wouldn’t be projected anywhere else, such as small gauge film formats and expanded cinema performances. The Rbmc would also host filmmakers in town for larger shows elsewhere in the city and asked them to screen their older,...
- 2/4/2018
- by Mike Everleth
- Underground Film Journal
Get your beret and warm up the espresso! Some of the most famous deep-dish art film is here -- in HD -- starting with attempts to translate various art 'isms' to the screen, to graphics-oriented abstractions, to 'city symphonies' to the dream visions of Maya Deren and beyond. The careful remasters reproduce proper projection speeds and original music. Masterworks of American Avant-Garde Experimental Film 1920-1970 Blu-ray + DVD Flicker Alley 1920-1970 / B&W and Color / 1:33 full frame / 418 min. / Street Date October 6, 2015 / 59.95 With films by James Agee, Kenneth Anger, Bruce Baillie, Stan Brakhage, James Broughton, Rudolph Burckhardt, Mary Ellen Bute, Joseph Cornell, Jim Davis, Maya Deren, Marcel Duchamp, Emien Etting, Oksar Fischinger, Robert Florey, Amy Greenfield, A. Hackenschmied, Alexander Hammid, Hillary Harris, Hy Hirsh, Ian Hugo, Lawrence Janiac, Lawrence Jordan, Owen Land, Francis Lee, Fernand Léger, Helen Levitt, Jan Leyda, Janice Loeb, Jonas Mekas, Marie Menken, Dudley Murphy, Ted Nemeth, Bernard O'Brien,...
- 10/6/2015
- by Glenn Erickson
- Trailers from Hell
The Ann Arbor Film Festival celebrates its epic 53rd annual edition on March 24-29 with a colossal selection of experimental short films and features.
Feature film highlights include the documentary Speculation Nation by regular collaborators Bill Brown and Sabine Gruffat, which examines the recent Spanish housing crisis; a new ethnographic doc by Ben Russell, Greetings to the Ancestors, which plunges deep into the culture of South Africa; and Jenni Olson’s grand California study The Royal Road.
Short film highlights include the much anticipated new film by Jennifer Reeder, Blood Below the Skin, a narrative following a week in the dramatic and romantic lives of three teenage girls; a new music video by Mike Olenick called Beautiful Things with music by The Wet Things; new animations by Don Hertzfeldt, World of Tomorrow, and Lewis Klahr, Mars Garden; plus new experimental work by Vanessa Renwick, Peggy Ahwesh and Zachary Epcar.
Special...
Feature film highlights include the documentary Speculation Nation by regular collaborators Bill Brown and Sabine Gruffat, which examines the recent Spanish housing crisis; a new ethnographic doc by Ben Russell, Greetings to the Ancestors, which plunges deep into the culture of South Africa; and Jenni Olson’s grand California study The Royal Road.
Short film highlights include the much anticipated new film by Jennifer Reeder, Blood Below the Skin, a narrative following a week in the dramatic and romantic lives of three teenage girls; a new music video by Mike Olenick called Beautiful Things with music by The Wet Things; new animations by Don Hertzfeldt, World of Tomorrow, and Lewis Klahr, Mars Garden; plus new experimental work by Vanessa Renwick, Peggy Ahwesh and Zachary Epcar.
Special...
- 3/24/2015
- by Mike Everleth
- Underground Film Journal
Film director known for Willy Wonka & the Chocolate Factory and Wattstax
Mel Stuart, who has died aged 83, became widely known for directing two radically dissimilar films, Willy Wonka & the Chocolate Factory and Wattstax. The former, which Stuart called "the most rewarding experience of my career", was a garish and joyfully warped musical adaptation of Roald Dahl's novel Charlie and the Chocolate Factory. Received without enthusiasm on its release in 1971, the movie became over the next few decades a children's favourite, though its psychedelic overtones extended its appeal beyond that core audience. "Although I have been a film-maker for over 40 years," Stuart wrote in 2001, "Willy Wonka is the one work that has reached out to and been embraced by a wide audience."
Wattstax, released two years later, also acquired a cult following, one which might have increased had music rights issues not made the film hard to see until the late 1990s.
Mel Stuart, who has died aged 83, became widely known for directing two radically dissimilar films, Willy Wonka & the Chocolate Factory and Wattstax. The former, which Stuart called "the most rewarding experience of my career", was a garish and joyfully warped musical adaptation of Roald Dahl's novel Charlie and the Chocolate Factory. Received without enthusiasm on its release in 1971, the movie became over the next few decades a children's favourite, though its psychedelic overtones extended its appeal beyond that core audience. "Although I have been a film-maker for over 40 years," Stuart wrote in 2001, "Willy Wonka is the one work that has reached out to and been embraced by a wide audience."
Wattstax, released two years later, also acquired a cult following, one which might have increased had music rights issues not made the film hard to see until the late 1990s.
- 8/13/2012
- by Ryan Gilbey
- The Guardian - Film News
Working on and scanning through Bad Lit’s Underground Film Timeline periodically, I am continually struck and impressed by the strong efforts of a certain, key few individuals who have both set down an official historical course and have charted a definitive future for avant-garde and experimental film. Without these individuals’ efforts, perhaps there would not be a history for me to attempt to chronicle on this website.
Typically, these individuals have worn multiple hats in their artistic careers, serving as filmmakers, curators, lecturers, journalists and such. While much of their work was about promoting underground film as a valid and to-be-respected art form, there is also a strong component — if not a guiding component — of self-preservation.
That is not to imply a disparagement on their accomplishments as being merely self-serving, but the survival of the one does lead to a survival of the many. That is, if one can...
Typically, these individuals have worn multiple hats in their artistic careers, serving as filmmakers, curators, lecturers, journalists and such. While much of their work was about promoting underground film as a valid and to-be-respected art form, there is also a strong component — if not a guiding component — of self-preservation.
That is not to imply a disparagement on their accomplishments as being merely self-serving, but the survival of the one does lead to a survival of the many. That is, if one can...
- 11/2/2011
- by Mike Everleth
- Underground Film Journal
As has been noted many times before, by me and others, the Wavelengths series of the Toronto International Film Festival is like a festival unto itself. So far removed from the red carpet nonsense, the deal-making, and the me-firstism of web journalists hoping to hit the Web with their initial impressions of some new Bryce Dallas Howard vehicle, Wavelengths affords breathing room to cinema and video at its most formally adventurous and, yes, uncommercial. We come here to look and listen, not to look “at” or listen “to,” and if that sounds hopelessly pretentious, come on down to the Jackman Hall and see for yourself. It’s actually quite cleansing, often funny, and a guaranteed good time, at least in part. (Short films are like the weather in my hometown of Houston, Texas. Don’t like it? Wait a moment. It’ll change.)
Sadly, Wavelengths 2011 will be the final year for series curator Andréa Picard.
Sadly, Wavelengths 2011 will be the final year for series curator Andréa Picard.
- 9/8/2011
- MUBI
The 2011 Tribeca Film Festival on Wednesday announced its lineup for the 2011 Special Events and Tribeca Talks panel series. The full press release follows.
New York, NY [March 23, 2011] – The 2011 Tribeca Film Festival (Tff), presented by American Express®, today announced its lineup for the 2011 Special Events and Tribeca Talks® panel series. The component programs are “Tribeca Talks: After the Movie,” “Tribeca Talks: Industry,” “Tribeca Talks: Pen to Paper, hosted by Barnes & Noble,” the Tribeca/Espn Sports Film Festival panel, and new this year, in celebration of the tenth Festival, the “Tribeca Talks: Directors Series,” featuring one-on-one conversations with acclaimed filmmakers, plus the premiere of five new documentary films and a one-of-a-kind videogame-film event.
This year, Tribeca’s annual panel series, a collection of special events, conversations and audience Q&A’s designed to spark a richer dialogue about film, has expanded to include the “Tribeca Talks: Directors Series.” The series invites audiences to...
New York, NY [March 23, 2011] – The 2011 Tribeca Film Festival (Tff), presented by American Express®, today announced its lineup for the 2011 Special Events and Tribeca Talks® panel series. The component programs are “Tribeca Talks: After the Movie,” “Tribeca Talks: Industry,” “Tribeca Talks: Pen to Paper, hosted by Barnes & Noble,” the Tribeca/Espn Sports Film Festival panel, and new this year, in celebration of the tenth Festival, the “Tribeca Talks: Directors Series,” featuring one-on-one conversations with acclaimed filmmakers, plus the premiere of five new documentary films and a one-of-a-kind videogame-film event.
This year, Tribeca’s annual panel series, a collection of special events, conversations and audience Q&A’s designed to spark a richer dialogue about film, has expanded to include the “Tribeca Talks: Directors Series.” The series invites audiences to...
- 3/23/2011
- by admin
- Moving Pictures Network
The 2011 Tribeca Film Festival on Wednesday announced its lineup for the 2011 Special Events and Tribeca Talks panel series. The full press release follows.
New York, NY [March 23, 2011] – The 2011 Tribeca Film Festival (Tff), presented by American Express®, today announced its lineup for the 2011 Special Events and Tribeca Talks® panel series. The component programs are “Tribeca Talks: After the Movie,” “Tribeca Talks: Industry,” “Tribeca Talks: Pen to Paper, hosted by Barnes & Noble,” the Tribeca/Espn Sports Film Festival panel, and new this year, in celebration of the tenth Festival, the “Tribeca Talks: Directors Series,” featuring one-on-one conversations with acclaimed filmmakers, plus the premiere of five new documentary films and a one-of-a-kind videogame-film event.
This year, Tribeca’s annual panel series, a collection of special events, conversations and audience Q&A’s designed to spark a richer dialogue about film, has expanded to include the “Tribeca Talks: Directors Series.” The series invites audiences to...
New York, NY [March 23, 2011] – The 2011 Tribeca Film Festival (Tff), presented by American Express®, today announced its lineup for the 2011 Special Events and Tribeca Talks® panel series. The component programs are “Tribeca Talks: After the Movie,” “Tribeca Talks: Industry,” “Tribeca Talks: Pen to Paper, hosted by Barnes & Noble,” the Tribeca/Espn Sports Film Festival panel, and new this year, in celebration of the tenth Festival, the “Tribeca Talks: Directors Series,” featuring one-on-one conversations with acclaimed filmmakers, plus the premiere of five new documentary films and a one-of-a-kind videogame-film event.
This year, Tribeca’s annual panel series, a collection of special events, conversations and audience Q&A’s designed to spark a richer dialogue about film, has expanded to include the “Tribeca Talks: Directors Series.” The series invites audiences to...
- 3/23/2011
- by admin
- Moving Pictures Magazine
Adhering to its mission to include as wide a variety of films possible, the Library of Congress has included four experimental movies in this year’s list of 25 films named to the National Film Registry so that they can be preserved forever. Those four films range from as far back as 1891 and as recent as 1996.
The oldest of the films is Newark Athlete by W.K.L. Dickson and Willian Heise, which was made in 1891 at the Edison Laboratory in West Orange, N.J. While the Registry lists this as an “experimental film,” judging from a brief clip provided by the Loc (below), it’s a very different usage of the term “experimental” than is thought of today.
It appears that Newark Athlete is a true experiment, a test run by Dickson and Heise using a “horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film” of an athlete swinging a pair of Indian clubs,...
The oldest of the films is Newark Athlete by W.K.L. Dickson and Willian Heise, which was made in 1891 at the Edison Laboratory in West Orange, N.J. While the Registry lists this as an “experimental film,” judging from a brief clip provided by the Loc (below), it’s a very different usage of the term “experimental” than is thought of today.
It appears that Newark Athlete is a true experiment, a test run by Dickson and Heise using a “horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film” of an athlete swinging a pair of Indian clubs,...
- 12/28/2010
- by Mike Everleth
- Underground Film Journal
Jedi, goofy flight attendants, a possessed young girl, and two journalists on the brink of discovery are among the characters to be honored for film preservation. Librarian of Congress James H. Billington has named 25 motion pictures to the National Film Registry of the Library of Congress.
Among the films to be preserved are George Lucas' "Return of the Jedi," "Airplane," William Friedkin's "The Exorcist," and Alan J. Pakula's "All The President's Men." This year.s selections bring the number of films in the registry to 550.
Each year, the Librarian of Congress, under the terms of the National Film Preservation Act, names 25 films to the National Film Registry that are "culturally, historically or aesthetically" significant, to be preserved for all time. In other words, these films are certainly not the "best" (but we can argue that each movie truly represented high quality) but they are works of art...
Among the films to be preserved are George Lucas' "Return of the Jedi," "Airplane," William Friedkin's "The Exorcist," and Alan J. Pakula's "All The President's Men." This year.s selections bring the number of films in the registry to 550.
Each year, the Librarian of Congress, under the terms of the National Film Preservation Act, names 25 films to the National Film Registry that are "culturally, historically or aesthetically" significant, to be preserved for all time. In other words, these films are certainly not the "best" (but we can argue that each movie truly represented high quality) but they are works of art...
- 12/28/2010
- by Manny
- Manny the Movie Guy
The Hollywood Reporter has the list of this year's selections for the National Film Registry. Selected by the Library of Congress, these "culturally, historically or aesthetically" significant will be preserved forever to ensure their availability for future generations of cineastes.
The roster this year runs the gamut, from early silents (like 1906's actuality "A Trip Down Market Street") to the avant-garde (like Larry's Jordan's 1969 collage film "Our Lady of the Sphere") to mainstream blockbusters (like disco hallmark "Saturday Night Fever"). Interestingly, there's quite a few contributions this year from major filmmakers who've recently passed away, from directors Irvin Kershner ("The Empire Strikes Back") and Blake Edwards ("The Pink Panther") to actor Leslie Nielsen ("Airplane!").
Here's the full list of the newly inducted members of the National Film Registry. All links will take you to their IMDb page (if you're interested in more detailed descriptions of all the films, you...
The roster this year runs the gamut, from early silents (like 1906's actuality "A Trip Down Market Street") to the avant-garde (like Larry's Jordan's 1969 collage film "Our Lady of the Sphere") to mainstream blockbusters (like disco hallmark "Saturday Night Fever"). Interestingly, there's quite a few contributions this year from major filmmakers who've recently passed away, from directors Irvin Kershner ("The Empire Strikes Back") and Blake Edwards ("The Pink Panther") to actor Leslie Nielsen ("Airplane!").
Here's the full list of the newly inducted members of the National Film Registry. All links will take you to their IMDb page (if you're interested in more detailed descriptions of all the films, you...
- 12/28/2010
- by Matt Singer
- ifc.com
In the fall of 1946, Frank Stauffacher mounted a major, and very influential, retrospective of avant-garde film in the U.S. at the San Francisco Museum of Art. The series was called “Art in Cinema” and it featured ten different programs from filmmakers in the U.S., France, Germany and Canada.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
- 12/15/2010
- by Mike Everleth
- Underground Film Journal
September 23
7:00 p.m.
Goethe-Institut
5750 Wilshire Blvd.
Los Angeles, CA 90036
Hosted by: Center for Visual Music
The Center for Visual Music — the Los Angeles-based archive dedicated to the preservation and promotion of both classic and modern avant-garde and experimental media — is holding a special benefit to raise money for their Fischinger Preservation and Conservation Project. Tickets can be purchased directly from Event Brite. (To be clear: This event is Not a screening, so don’t go expecting to see a screening of Fischinger’s films. This is simply a benefit.)
The event is being held on the occasion of the 100th birthday of Elfriede Fischinger (1910 — 1999), the widow of experimental animation pioneer Oskar Fischinger (1900 — 1967). There will be paintings and unshot animation drawings by Oskar, but half of the exhibition will be about the life and work of Elfriede. Also, there will be a wine reception and a silent auction.
Oskar Fischinger...
7:00 p.m.
Goethe-Institut
5750 Wilshire Blvd.
Los Angeles, CA 90036
Hosted by: Center for Visual Music
The Center for Visual Music — the Los Angeles-based archive dedicated to the preservation and promotion of both classic and modern avant-garde and experimental media — is holding a special benefit to raise money for their Fischinger Preservation and Conservation Project. Tickets can be purchased directly from Event Brite. (To be clear: This event is Not a screening, so don’t go expecting to see a screening of Fischinger’s films. This is simply a benefit.)
The event is being held on the occasion of the 100th birthday of Elfriede Fischinger (1910 — 1999), the widow of experimental animation pioneer Oskar Fischinger (1900 — 1967). There will be paintings and unshot animation drawings by Oskar, but half of the exhibition will be about the life and work of Elfriede. Also, there will be a wine reception and a silent auction.
Oskar Fischinger...
- 9/20/2010
- by screenings
- Underground Film Journal
Embedded above is a brief segment from the 1999 British TV show Dope Sheet on Mary Ellen Bute, the experimental animation pioneer who produced over a dozen abstract animated films between the 1930s and ’50s. While her contribution to experimental film has largely been overlooked except by hardcore animation buffs, there’s been a slow resurgence in interest in her work.
Her name crossed my path in a significant way this past week or so while I was building the beginning stages of my underground film timeline. The timeline currently credits her with just 11 films, 10 of which are abstract animations and one, The Boy Who Saw Through, is a live action short film that, according to the above documentary, stars an extremely young Christopher Walken. The documentary also credits Bute for having made 15 animated films between 1935 and 1956.
However, there’s some dispute between the information I currently have. For example, the timeline says her first film,...
Her name crossed my path in a significant way this past week or so while I was building the beginning stages of my underground film timeline. The timeline currently credits her with just 11 films, 10 of which are abstract animations and one, The Boy Who Saw Through, is a live action short film that, according to the above documentary, stars an extremely young Christopher Walken. The documentary also credits Bute for having made 15 animated films between 1935 and 1956.
However, there’s some dispute between the information I currently have. For example, the timeline says her first film,...
- 7/19/2010
- by Mike Everleth
- Underground Film Journal
Bob Moricz beats me to it and does a post on anti-underground film conditioning. Don’t resist the resistance! Plus, Bob reports on a what sounds like a fun event to be held in Portland, Or: The Video Gong Show. Cut & Paste has an interview with Rachel Bernsousa of the Revelation Perth International Film Festival. So, how’s the fest going this year? Great! Also, Cut & Paste has several reviews of films at Revelation. Can’t get to Washington, D.C. to see Phil Solomon’s film retrospective and American Falls installation? Genevieve Yue tells us what we’re missing on Moving Image Source. File this one under unique screening locations: It’s London’s new Portobello Pop Up Cinema microplex located under a freeway . (Via APEngine.) Frank’s Wild Lunch reviews the long-lost but recently unearthed The Sorrows of Dolores by Charles Ludlam, which just screened at Outfest. Making...
- 7/18/2010
- by Mike Everleth
- Underground Film Journal
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