Avant-garde. Series 3 : experimental cinema, 1922-1954 / Kino International.



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Title from menu screen. Special features: notes for each film are available via the "Select a film" menu ; introduction to bonus films. Rein que les heures: Music by Larry Marotta. Telltale heart: Photographed by Leo Shamroy ; music composed and performed by Sue Harshe. Tarantella: Music, Edwin Gerschefski. Four in the afternoon: Music by William O. Smith. La mort du cerf: Prises de vues, Emile Houdeyer ; musique de Maurice Thiriet ; English translation, Anna-Elisa and Jerome Mackowiak. Image in the snow: Original score by Ben Weber. The voices: Original story and photography by John E. Schmitz ; music, Warren Burns. Closed vision: Text, scenario, dialogues, Marc'O ; English adaptation and translation, Matthew Carney ; montage, J.G. Albicocco ; musique originale, Roger Calmel. The spirit of the gin bottle: Music composed and performed by Paul Mercer, Bruce Bennett, Davis Petterson. Falling pink: Music composed, performed, and produced by Paul Mercer, Bruce Bennett. Danse macabre: Adolph Bolm, Ruth Page, Olin Howland. The telltale heart: Otto Matiesen. The petrified dog: Gail Randall, Marie Hirsh, Jo Landor, Ian Zellick, Leslie Turner, Carl Austen, William Heick, Charles Mather, Hal Bronstein. The lead shoes: Jeremy Anderson, Elsa Barrett, Jack Klough. Four in the afternoon: Ann Halprin, Welland Lathrop, Charmian St. John, Don Penney. Image in the snow: Narrator, Ben Moore. Closed vision: Daniele Maurel, Robert R. Guiot, Merlin Hare ; le récitant (French), Jean-Pierre Harrison ; narrator (English), Lewis Carliner. The spirit of the gin bottle: Rex Lease. Falling pink: Lynn Foulkes. Silent or with music; credits, intertitles, and some dialogue in English and French; occasional subtitles in English (on selected films).

Title
Avant-garde. Series 3 : experimental cinema, 1922-1954 / Kino International.
Artist
Murphy, Dudley, 1897-1968. Director.
Subjects
Language
Type
Video Recording
Abstract
Long before home video there flourished an alternative cinema culture on college campuses and around art theaters, where foreign film fare was often accompanied by a short subject. As reliable 16mm film equipment became available to non-professionals, artists independent of film centers began experimenting with cinema. Serious film societies sprang up in New York, San Francisco, and Los Angeles, holding semi-private screenings of non-commercial artistic films. For years, these pictures have been exhibited only in infrequent museum screenings, if at all. This collection is of mainly American pictures, principally one-man artistic endeavors made from little more than an artist's desire to express feelings with a camera.
Year
2009
Original Publisher(s)
Digital Publisher(s)
Rights Statement
For private home use only.