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Salvador Dalí and Luis Buñuel , “Un Chien Andalou ,” 1929

Salvador Dalí and Luis Buñuel , “Un Chien Andalou ,” 1929. Experimental Avant-garde Modernist Underground Visionary Personal Pure. Works of moving image art that are not constrained by the conventions of commercial and industrial filmmaking

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Salvador Dalí and Luis Buñuel , “Un Chien Andalou ,” 1929

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  1. Salvador Dalíand Luis Buñuel, “Un ChienAndalou,” 1929

  2. Experimental • Avant-garde • Modernist • Underground • Visionary • Personal • Pure

  3. Works of moving image art that are not constrained by the conventions of commercial and industrial filmmaking • Who made it: amateur, unprofessional, unpaid, marginalized individuals or groups • What is shown: unconventional style + content • How it is made: production + financing • Where it is shown: unconventional distribution channels (not your local multiplex) Films that brush against the grain of Hollywood cinema, and often, mainstream social mores and “good taste.” In many cases, these films have been censored and judged obscene, pornographic, blasphemous, immoral…

  4. trance film • found footage film • diary film • essay film • landscape or travelogue film • psychedelic film • dance film • animation and abstract film • structural/materialist/formalist film

  5. Things to consider while watching • Person: first, second, third,or shifting? • Montage style: continuous or disruptive, rapid-fire or long takes? • Temporality + Movement: pace, rhythm, flow? • Sound: diegetic or extra-diegetic? • Other media: painting, literature, music, dancc, etc?

  6. Hans Richter, “Rhythmus 21,” 1921

  7. Fernand Léger and Dudley Murphy, “Ballet Mécanique,” 1924

  8. Maya Deren and Alexander Hammid, “Meshes of the Afternoon,” 1943

  9. Trance Film • “The trance film as it emerged in America has fairly strict boundaries. It deals with visionary experience. Its protagonists are somnambulists (sleepwalkers), priests, initiates of rituals, and the possessed, whose stylized movements the camera, with its slow and fast motions, can re-create so aptly. The protagonist wanders through a potent environment toward a climactic scene of self-realization. The stages of his progress are often marked by what he sees along his path rather than what he does. The landscapes, both natural and architectural, through which he passes are usually chosen with naive aesthetic considerations, and they often intensify the texture of the film to the point of emphasizing a specific line of symbolism. It is part of the nature of the trance that the protagonist remains isolated from what he confronts; no interaction of characters is possible in these films.” - P. Adams Sitney

  10. Bruce Conner, “A MOVIE,” 1958

  11. Andy Warhol, “Screen Tests” 1963-1966

  12. Bruce Conner, “BREAKAWAY,” 1966

  13. Stan Brakhage, “Window Water Baby Moving,” 1959

  14. Stan Brakhage, “Mothlight,” 1963

  15. Stan Brakhage, “Night Music,” 1986

  16. Hollis Frampton, “Zorn’s Lemma,” 1970

  17. Paul Sharits, “T,O,U,C,H,I,N,G,”1968

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