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Unseen Cinema: Early American Avant-Garde Film (1894-1941)EE.UU.. Experimental/Cortometraje. 1140 minutosTítulo Original: Unseen Cinema: Early American Avant-Garde Film Director: Edwin S. Porter, James Cruze, Joseph Cornell, David W. Griffith, Douglas Fairbanks, Victor Fleming, Man Ray, Fernand Léger, Charles Vidor, Mary Ellen Bute, Robert K. Bonine, Leo Hurwitz, Jay Leyda, Lewis Jacobs, Rudy Burckhardt, Frederick Armitage, Dudley Murphy, Wallace McCutcheon, Busby Berkeley, Douglass Crockwell, Norman McLaren, J.S. Watson Jr., Melville Webber, Ernst Lubitsch, Slavko Vorkapich, Ralph Steiner, James White, Elia Kazan, Ralph Steiner, Irving Lerner, Walker Evans, M.G. MacPherson, Jean Michelson, Frederick Armitage, A.E. Weed, Emlen Etting, Paul Burnford, Henwar Rodakiewicz, Robert Florey, Slavko Vorkapich, Robert Florey, William Cameron Menzies, Charles Klein, J.S. Watson, Jr., Alec Wilder, William Vance, Orson Welles, Theodore Case, Earl Sponable, Elizabeth Woodman Wright, Lynn Riggs, James Hughes, Archie Stewart, Rudy Burckhardt, Frank Stauffacher, W.K.L. Dickson, Frederick Armitage, Charles Allen, Francis Trevelyan Miller, Dudley Murphy, Al Brick, Stella Simon, Miklos Bandy, Sergei Eisenstein, Norman Bel Geddes, Ted Nemeth, Oskar Fischinger, Sara Kathryn Arledge Formato: DVD [7 discos] Calidad: DVD Idioma: Silente Subtítulos: No necesita Link: https://www.amazon.com/Unseen-Cinema-Early-American-1894-1941/dp/B000AYEIJA Subgénero: found footage, LGBT, New York, Surrealismo |
Esta colección, curada por Bruce Posner del Anthology Film Archive, nos presenta una gran cantidad de películas experimentales del período 1894-1941, y la gran mayoría de ellas nunca antes estuvieron disponibles en formato digital. Si bien estas películas difieren enormemente entre sí, tienen una cosa en común: todas son experimentos de una forma u otra, destinadas a ampliar la concepción de lo que el cine puede ser o hacer. Unseen Cinema contiene un asombroso total de más de 155 películas (y una duración total de casi 19 horas) que se distribuyen en 7 discos. Anthology Film Archives, en colaboración con 60 de las colecciones de archivos cinematográficos más importantes del mundo, incluido el British Film Institute, George Eastman House, The Library of Congress y The Museum of Modern Art, entre muchos otros, preparó masters de conservación y restauración de estas raras películas artísticas. Muchas de las películas no han estado disponibles desde su creación hace más de un siglo, algunas nunca se han proyectado en público y casi todas no han estado disponibles en copias restauradas hasta ahora. Contenido: Disk 1: THE MECHANIZED EYE The dynamic qualities of motion pictures are explored by cameramen and filmmakers through novel experiments in technique and form. Early cinematographers James White, "Billy" Bitzer, and Frederick Armitage display experimental shooting styles that wowed audiences. Other independent companies further image manipulation through creative staging, editing, and printing, such as a stunning three-screen film that predates Gance's Napoleon. Experiments by photographer Walker Evans, painter Emlen Etting, musician Jerome Hill, and the film collectives Nykino and Artkino record the world in a continual process of flux. A most extreme approach is realized by Henwar Rodakiewicz with Portrait of a Young Man (1925-31), a monumental study of natural and abstract motions. 18 FILMS:
Disk 2: THE DEVIL'S PLAYTHING Edwin S. Porter and other early filmmakers used bizarre sets, fantastic costumes, and magic lantern tricks to illuminate their fantasy films. American parody supplied Douglas Fairbanks with enough unusual material to produce the truly surreal When the Clouds Roll By (1919). The expressionistic Cabinet of Dr. Calagari (1919) influenced American sensibilities throughout the 1920s as seen in Beggar of Horseback (1925), The Life and Death of 9413-A Hollywood Extra (1927) and The Telltale Heart (1928). The emphasis shifted when amateurs J.S. Watson, Jr., Joseph Cornell, and Orson Welles crafted a unique variety of American surrealism on film unfettered by European concerns. 17 FILMS:
Disk 3: LIGHT RHYTHMS The rhythmic elements of cinema are explored by artists and filmmakers fascinated by the abstract qualities of light. The American authors of avant-garde classics Le Retour á la raison (1923), Ballet mécanique (1923-24), Anémic cinéma (1926), and Une Nuit sur le Mont Chauve (1934), are finally acknowledged for their seminal artistic achievements made in Europe. Pioneer abstract films by Ralph Steiner, Mary Ellen Bute, Douglass Crockwell, Dwinnell Grant, and George Morris are compared and contrasted with Hollywood montages created by Ernst Lubitsch, Slavko Vorkapich, and Busby Berkeley. For the first time on video, composer George Antheil's original 1924 score accompanies Fernand Léger and Dudley Murphy's film Ballet mécanique, a truly avant-garde cacophony of image and sound. 29 FILMS:
Disk 4: INVERTED NARRATIVES Early directors D.W. Griffith and Lois Weber develop the radical language of cinema narrative through audience-friendly melodramas made for nickelodeon theaters. Experimental fantasies are depicted in such independent productions as Moonland (c. 1926), Lullaby (1929), and The Bridge (1929-30). Depression era films by socially-conscious filmmakers reshape drama as demonstrated in Josef Berne's brooding Black Dawn (1933) and Strand and Hurwitz's biting Native Land (1937-41): each pictures a raw reality. Parody and satire find their mark in Theodore Huff's Little Geezer (1932) and Barlow, Hay and Le Roy's Even as You and I (1937). David Bradley's Sredni Vashtar by Saki (1940-43) boasts an inadvertent post-modern attitude. 12 FILMS:
Disk 5: PICTURING A METROPOLIS The DVD depicts dynamic images of New York City and scenes of New Yorkers among the skyscrapers, streets, and night life of America's greatest city during a half century of progress, while at the same time showing changes in film style and the history of cinema experiments. Avant-garde moments pop up in the most unlikely of places including turn-of-the-twentieth-century actualities, commercial and radical newsreels, and Busby Berkeley's "Lullaby of Broadway" from Gold Diggers of 1935. Included are spectacular prints of Charles Sheeler and Paul Strand's Manhatta (1921), Robert Flaherty's Twenty-four-Dollar Island (c. 1926), Robert Florey's Skyscraper Symphony (1929), Jay Leyda's A Bronx Morning (1931), and Rudy Burckhardt's Pursuit of Happiness (1940). 26 FILMS:
Disk 6: THE AMATEUR AS AUTEUR These home-made films incorporate avant-garde strategies and techniques to achieve a true sense of cinematic intimacy. Glimpses of life caught unawares are found in the home movies of Elizabeth Woodman Wright, Archie Stewart, Frank Stauffacher, and John C. Hecker. Poetic lyricism finds a voice in city symphonies: Lynn Riggs and James Hughes' A Day in Santa Fe (1931) and Rudy Burckhardt's Haiti (1938). Professionally minded films, like Theodore Case's sound tests (c. 1925) and Lewis Jacobs' Tree Trunk to Head (1938), operate from a similar home-spun perspective of sincerity. Joseph Cornell offers an enigmatic but lovely homage to childhood with Children's Trilogy (c. 1938). 20 FILMS:
Disk 7: VIVA LA DANCE Dance and film have shared the aspiration to creatively sculpt motion and time. Some of the first films ever made featured Annabelle's skirt dance, hand-painted in glowing colors. Isadora Duncan and Ruth St. Denis' innovations found their way into Diana the Huntress (1916) and The Soul of the Cypress (1920). Highly cinematic renditions of dance evolved in Stella Simon's Hände (1928), Hector Hoppin's Joie de vivre (1934), and Busby Berkeley's "Don't Say Goodnight" from Wonder Bar (1934). In counterpoint, ciné-dances by Mary Ellen Bute, Douglass Crockwell, Oskar Fischinger, Norman McLaren, Ralph Steiner, and Slavko Vorkapich dispensed with actual dancers in favor of color, shape, line, and form choreographed into abstract light-play. 33 FILMS:
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