In this animated short, simple geometric forms as thin and flat as playing cards constantly form and re-form to the sound of the koto, a 13-stringed Japanese instrument.
Social & External
The idea of JAM was conceived while I was attending the Ottawa International Animation Festival in 2008.After returning to Japan, I soon began making the film and completed it in four months.This film is based on a very simple idea: the increasingly varied the sounds, the greater is the number of creatures. I wanted to rid myself of the frustrating experience of making Devour Dinner, which was highly unsatisfactory from the viewpoint of the movement in the film. My intention in this film was to fill the screen with chaotic movements.
After Billy finds a winning scratch ticket, the gas station gets a new lottery machine that becomes the talk of the town. Part of [adult swim] smalls and second Gassy's Gas n Stuff short
Jane Conger Belson Shimane's first film, Logos, premiered in 1957 and was screened at festivals in North America, Europe, and Latin America. The animated film featured an electronic score by Henry Jacobs. Preserved by the Academy Film Archive in 2001.
This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.
Abstract animation by Boris Labbé
In the darkness of a cave, one man who had never seen even his own figure found a hollow flooded with light. An expression of a chaotic world. This experimental graduation film is a mixture of different animation techniques
A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.
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.
Three memories that become one. An attempt to merge heterogeneous materials: a film sequence shot in Rome, a photo from the 1930s, a noisy soundtrack. Fragmented lines, exploding bass frequencies and flickering.
"Mouris’s film, YOU’RE NOT REAL PRETTY BUT YOU’RE MINE…, built upon the strongest elements of QUICK DREAM, and added a pop music soundtrack. Mouris says, “I shot another 100 foot roll on classmate Jerry Strawbridge’s home animation stand, and edited that into the best sequences from QUICK DREAM. The whole film was a tongue-in-cheek series of odd couples/couplings, which the title suggested. The FRANK FILM photo collage animation evolved here.” - Yale
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.
Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.
High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.
A unique journey across a topography created entirely from a form of digital light and shadow—a bristling terrain of poles bending the light in every direction. This film is the remake of Barcode, an abstract road-movie about light and shadows.
An abstract animated film inspired by the work of jazz musician Chico Hamilton.
This is no animation, it's one picture. Short experimental film by Mirai Mizue
This short experiments with the flow of oil ink over the surface of the water. Mizue manipulated the ink by blowing with straws or stirring with toothpicks and used stop motion animation techniques to shoot the resulting effects.
A surreal short animation by Mirai Mizue.
This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.
