Free Radicals is certainly a brilliant film and was always a favorite of mine. All of Lye’s films are wonderful and full of joy, color, and rhythm.
I would say that Len Lye still holds pretty much to a figure based sensibility as almost all filmmakers had done and is why even in the early 60s, having seen a good sample of avant garde films as a student at San Francisco State (Art and Film Depts.), many of us felt there was still a wide open field to explore applying "abstract expressionist” techniques. I recall a fellow film student back then later putting some words to this notion, although in retrospect I am not sure I totally agree with some of his observations regarding the history, but he expresses what many of us felt was new territory to explore. http://www.meansart.com/abstract1.html > On Dec 3, 2017, at 7:43 AM, Ingo Petzke <[email protected]> wrote: > > Myron > That is correct – and that’s why I sent a “disclaimer” the same minute I > noticed that I hadn’t read your initial question correctly. Sorry. > What about “Free Radicals” by Len Lye? > Ingo > > Von: FrameWorks [mailto:[email protected] > <mailto:[email protected]>] Im Auftrag von Myron Ort > Gesendet: Sonntag, 3. Dezember 2017 15:15 > An: Experimental Film Discussion List <[email protected] > <mailto:[email protected]>> > Betreff: Re: [Frameworks] Painting directly to film > > I do not recall that Oscar Fischinger applied paint directly to film, can you > cite an example of his using that technique? True he is considered an > “abstract” film animator but I was hoping to make some finer distinctions > even within the area of techniques involving the appication of paint > directly to the film surface. Further, within that specialized arena, I was > making distinctions between filmmakers who do figurative animation painting > each sequential frame accordingly and those who, borrowing “art associative” > terms, paint directly onto film with an approach similar to "abstract > expressionism”, not necessarily accounting for the usual predictive movement > continuity associated with animation (or live action for that matter), and in > some cases would appear to even “ignore” (in the usual sense) the frame > lines. I sense a resistance here to the making of such distinctions, as if > using any terms of distinction would somehow rob the filmmaker of her soul, a > fear similar to those who even feel that being photographed might somehow rob > them of their very existence. Sometimes we need to invent language, > terminology, or words to point to distinctions which do actually exist. > > > > > > > > > >> On Dec 3, 2017, at 4:00 AM, Ingo Petzke <[email protected] >> <mailto:[email protected]>> wrote: >> >> Wat about some Oscar Fischinger? >> >> Cheers >> Ingo >> >> Von: FrameWorks [mailto:[email protected] >> <mailto:[email protected]>] Im Auftrag von Myron Ort >> Gesendet: Freitag, 1. Dezember 2017 21:06 >> An: Experimental Film Discussion List <[email protected] >> <mailto:[email protected]>> >> Betreff: [Frameworks] Painting directly to film >> >> Can anyone site an example of “abstract expressionist” painting onto film >> prior to 1968? (Hopefully with online viewing availability). >> >> >> https://vimeo.com/220986135 <https://vimeo.com/220986135> >> >> >> Myron Ort >> www.zeno-okeanos,com <http://www.zeno-okeanos,com/> >> >> >> >> >> _______________________________________________ >> FrameWorks mailing list >> [email protected] <mailto:[email protected]> >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > Myron Ort > www.zeno-okeanos,com <http://www.zeno-okeanos,com/> > > > > > _______________________________________________ > FrameWorks mailing list > [email protected] <mailto:[email protected]> > https://mailman-mail5.webfaction.com/listinfo/frameworks > <https://mailman-mail5.webfaction.com/listinfo/frameworks> Myron Ort www.zeno-okeanos,com
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