An abstract animation with a motif of a dragonfly, and a complex multi-exposure landscape of a field and a woman's naked body overlap.
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An exploration of the relationship between sound and picture inspired by the two lights (twi-light) found inside film projectors.
A horse goddess gives birth to three powerful brothers who set out into the Underworld to save three princesses from three evil dragons and reclaim their ancestors' lost kingdom.
"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
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.
Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle.
A hand moves gently, its presence shifts continuously.
Here the artist creates a world of color, form, movement and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) are subject to any conceivable interrelation and modification.
A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.
Citronella, a mosquito who faints at the sight of blood, nervously waits outside her first group therapy session, while the Pill Bug therapist, Dr. Pill tries to calm a neurotic group of bugs, each suffering from a mental-health issue: An OCD germaphobic Fly freaks when he runs out of hand sanitizer. A Dragonfly couple struggle with co-dependency; she's literally on top of him. A Grasshopper, addicted to coffee, is so jumpy, he launches himself in mid-sentence. A Praying Mantis who doesn't pray because she thinks she is God. A terrified Spider is deathly afraid of -- spiders. And, a perfectly-camouflaged Stick Bug complains that no one ever "sees" him. Throughout all this, Citronella battles her urge to flee - while Dr. Pill implores her to share her "embarrassing" problem.
A kappa village is devastated by a large storm during festival preparations. With no fish in the river, the village is weakened. Kawatarou and his girlfriend head the mountains to find anything to bring back.
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.
袋 Fukuro (Japanese for "bag" or "sack") is a 3-minute short film from 2001. It features Pyramid Head and a Lying Figure from Silent Hill 2, the Fukuro Lady, and many monsters from early sketches for Silent Hill 2. The film contains disturbing, surreal imagery.
Although only a couple of minutes long, this animated short makes the point that oxygen is the stuff of life whether on land, in the air or water, but that it is becoming scarcer as man-made pollutants crowd it out. This is a film without words in which plants, birds, fish and, finally, man come to the same "breathless" end
A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s and the 1950s. Set to classical music by the likes of Bach, Saint-Saëns, and Shoshtakovich, and replete with rapidly mutating geometries, Bute’s filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute’s films were “composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.” Bute herself wrote that she sought to “bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.”
The film was produced applying mixed techniques on Super 8 film support.
Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.
An abstract animated film inspired by the work of jazz musician Chico Hamilton.
Flash projection from dutch visual artist Han Hoggerbrugge
A live action footage of a smiling, bespectacled (presumably) Western tourist set against the familiar cadence of an accelerating train revving up as it leaves the station sets the mesmerizing tone for the film's abstract panoramic survey of an Ozu-esque Japanese landscape of electrical power lines, passing trains, railroad tracks, and the gentle slope of obliquely peaked, uniform rooflines as Breer distills the essential geometry of Mount Fuji into a collage of acute angles and converging (and bifurcating) lines .
An abstract pursuit that leaves you gasping for breath.
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