Black-and-white abstract animated short of light, shadows, and reflections by The Dodals (Karel Dodal (1900-1986) in collaboration with his wife, Irena Dodalová).
Head (1968)
In this surrealistic and free-form follow-up to the Monkees' television show, the band frolic their way through a series of musical set pieces and vignettes containing humor and anti-establishment social commentary.
Oh! What a Lovely War (1969)
The working-class Smiths change their initially sunny views on World War I after the three boys of the family witness the harsh reality of trench warfare.
Chanting (2019)
Channelling Lye and McLaren, de Bruyn continues his explorations of ‘direct-to-film’ inspired artwork barely contained within the frame.
Summer with Kuro (1990)
Hiroshima, summer of 1945. A young girl named Nobuko saves a starving kitten from crows. She wants to keep the kitten, but her parents dismiss the idea. Nobuko eventually convinces them to let her keep it. She and her brother Makoto name the cat Kuro. Kuro quickly brings joy and laughter to the family. As World War II takes its toll on Japan, it becomes harder for Nobuko and her family to care for Kuro. One August morning, Kuro begins acting strangely...
Drums West (1961)
This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.
You're Not Real Pretty but You're Mine... (1968)
"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
Shearing Animation (1961)
An abstract animated film inspired by the work of jazz musician Chico Hamilton.
Mamori (2010)
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.
Son of the White Mare (1981)
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.
The Boy Who Saw the Wind (2000)
Amon is a boy who can control the wind. Branik, ruler of the Empire of the Golden Snake, wants Amon's power to complete the ultimate weapon and sends his troops to capture the boy. Amon, using his talents, manages to runs away with Maria, one of the People of the Sea. Together, they try to stop the Empire of the Golden Snake from destroying and conquering everything.
Anoche (2017)
Three memories that become one. An attempt to merge heterogeneous materials: a film sequence shot in Rome, a photo from the 1930s, a noisy soundtrack. Fragmented lines, exploding bass frequencies and flickering.
Claire (2016)
Claire is composed of digital scans and blow-ups of a series of three ink-on-paper artworks created in 2012 by French-Spanish researcher, publisher and artist Claire Latxague. While collecting drawings, written documents and other printed materials for a (yet unreleased) project called Un film de papier, I’ve stumbled upon Latxague’s artwork, entitled À la renverse. The blow-ups were made in an attempt of unearthing cartographic imagery in abstract compositions.
Logos (1957)
Jane Conger Belson Shimane's first film, Logos, premiered in 1957 and was screened at festivals in North America, Europe, and Latin America. The animated film featured an electronic score by Henry Jacobs. Preserved by the Academy Film Archive in 2001.
Peace on Earth (1939)
Two baby squirrels ask grandpa to explain what "men" are when he comes in singing "peace on earth, goodwill to men". Grandpa tells the story of man's last war. This classic animation short was an Academy Award Best Short Subject, Cartoons nominee.
Good Will To Men (1955)
A group of young mice is in the ruins of a church, practicing singing for an upcoming service. After singing an adulterated version of "Hark! The Herald Angels Sing," the mice wonder about the last line, "Good will to men." One of them asks the choirmaster, an old mouse, "What are men?" The old mouse explains that they all killed each other off by building bigger and more destructive weapons, first guns, then missiles, then bombs.
Animals United (1969)
One day the animals become too colorful: war is constantly going on among the people. When Alois, the lion, learns that the 365th Peace Conference has just failed, the animals decide that it is high time to intervene: they call their own "animal" peace conference. With much courage and even more imagination, they develop a plan so that Frides can finally prevail among the people of the world ...
FTA (1972)
A documentary about a political troupe headed by actors Jane Fonda and Donald Sutherland which traveled to towns near military bases in the US in the early 1970s. The group put on shows called "F.T.A.", which stood for "F**k the Army", and was aimed at convincing soldiers to voice their opposition to the Vietnam War, which was raging at the time. Various singers, actors and other entertainers performed antiwar songs and skits during the show.
Allahu Akbar (2003)
Rhythm and repetition plays an important role in the animated film Allahu Akbar by Usama Alshaibi. With this film, Alshaibi questions the confrontation between tradition and modernity by drawing inspiration from geometric motives of Islamic art. The artist offers a re-interpretation of these motifs through computer animation. By turning the shapes in different direction, new images are generated, freeing them from their fixed state. Traditional spiritual values feed the present and open up to a modern perspective.