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Which clippings match 'Surreal' keyword pg.1 of 2
19 MARCH 2010

Bruce Bickford: underground animator

"Bruce Bickford was born in 1947 in Seattle Washington. He began animating clay in the summer of 1964 at the age of 17. He graduated from high school in 1965; and engaged in military service from 1966 to 1969. Upon his return he resumed animation, and did his first line animation in 1970, then in 1973 he went looking for work in Los Angeles–where he met Frank Zappa. He worked for him from 1974 through 1980. Afterwards, he returned to Seattle and resumed animating mostly his own personal work."

(Bruce Bickford)

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animationanimator • Bruce Bickford • claymation • Frank Zappa • hand-drawn animationmotionPrometheus (mythology) • Prometheus Garden (animation) • stop framestop motionsurreal • Titan • underground

CONTRIBUTOR

Simon Perkins
19 JUNE 2007

Copy Shop: photocopying infinitum

"A man who works dedicatedly in a copy shop copies himself until he fills the whole world with his clones. This film actually consists of nearly 18,000 photocopied frames, which are animated and filmed with a 35mm camera."

(iFILM)

Writer/director/editor: Virgil Widrich; Cinematographer: Martin Putz; Music: Alexander Zlamal; Actor: Johannes Silberschneider

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2001 • Alexander Zlamal • authenticityblack and white • clone • cloningcopydoppelgangerduplicationessencefilmhigh concepthigh concept film • Johannes Silberschneider • loop • Martin Putz • photocopierphotocopyrepeatreproductionshort filmspeculative fictionsuffusionsurreal • Virgil Widrich
07 JUNE 2007

No todo es lo que parece (everything is not what it seems)

"No todo es lo que parece, y Chema Madoz (Madrid,1958) se encarga de ponerlo en evidencia. Ocultos entre la cotidianeidad surgen nuevos mundos. Nuevas dimensiones que de la mano de la metáfora alteran la percepción de la realidad más inmediata. El absurdo, la paradoja, el humor –por qué no la gregería– se dan cita en el estudio del fotógrafo. La idea inicia su proceso de superación del objeto y establece una descontextualización Dadá. La ironía con la que Madoz asalta modelos reconocibles establece una relación con el espectador que le conduce por los caminos de un universo paralelo."

(Chema Madoz)

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absurd • Chema Madoz • Dadaflamehumour • Jose Maria Rodriguez Madoz • Madoz • Madridmatchmatch flamemetaphorparadoxSpainsurrealvisual metaphorvisual punwood
25 NOVEMBER 2006

The Avant-garde Has Had A Variety Of Different Approaches To Narrative

Rob Bridgett
Rather than completely destroying narrative, the avant–garde has had a variety of different approaches, from Godard's gestures of "counter cinema"4 through the feminist perspectives of Constance Penley5 to the various forms of Dada hostility. It is into this reconsideration of narrative that the recent "structural–materialist" films of the ?50s and ?60s fit. They operate in an arena of the "independent" and harbour a concern with the connection of an avant–garde cinema with similar gestures in other areas of the arts. In the case of William Burroughs, the cut–up technique is an extension of a literary concept, and in the case of the New York–based Fluxus group, cinema represents extensions of "concept art." Throughout this history of alternative cinema there is evident this spirit of extension and collaboration, from Surrealism and Dada, which also began as literary endeavours, through to the Fluxus group and the French Situationists who work throughout various mediums in the spirit of "expanded arts.

[4]. Wollen, Peter. "Counter cinema: vent d?est, " Afterimage #4, 1972.
[5]. Penley, Constance. "The Avant–garde and Its Imaginary. " An expanded version of a paper presented during the avant–garde event at the Edinburgh Film Festival, August 1970, from Camera Obscura.

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avant-gardeconcept art • counter cinema • Dada • expanded arts • filmFluxusFluxus groupFrench New WaveindependentJean-Luc GodardnarrativeSituationists • structural-materialist • surrealWilliam Burroughs
28 AUGUST 2006

Hans Richter: Vormittagsspuk (Ghosts Before Breakfast)

"Hans Richter created the film Ghosts before Breakfast, also known as Vormittagspuk, in 1927. This was a silent experimental avant–garde film and it was the fifth film that he had made. The film itself is considered to be one of the first surrealistic films ever made. Richter's interest in Dadaism is shown directly in this work as he challenges current art standards of the time by presenting a theme of obscurity and fantasy. Clocks, legs, ladders, hats, and people undergo total irrational happenings in unusual settings. Men have beards magically appear and disappear before the viewer's eyes, hats fly around in the air, a man's head comes off and floats in the air, tea cups fill up by themselves, objects and characters move in reverse, men disappear behind a street sign, etc... . All brought together by associative logic, the flying hats perform this function by continually reappearing to the sequence of shots to tie the film together as a whole. This film digs into the viewer's mind for inner experience in thought and idea. It gives the audience a chance to release nervous tension when witnessing these abstractions shown through images. Richter tries to increase the viewer's knowledge of reality by showing them surrealistic fantasy. He accomplishes this through his use of rhythm, and his use of the camera.

Rhythm is a very important element in all of Richter's works. It can be seen in this film as well. Rhythm was shown in the use of movement in the characters. All of the characters seemed to have moved at the same spaced distance from one another and at the same speed. This clarified a sense of rhythm and intensified a sense of stability in the frame. The same number of characters or items also seemed to preserve rhythm. This may be found constantly throughout the film. If there were three hats then the next shot would contain three men. The numbers did fluctuate, but a number would remain constant throughout a couple of shots. Shapes in the film also preserved rhythm. This can be seen in Richter's bulls–eye scene. The circles of the bulls–eye fill the screen and are spaced equally apart from one another. The target then breaks up and the circles spread out in the frame to relocate in different areas continuing to preserve rhythm. Rhythm is demonstrated in the scene with the guns that form a pin wheel type image and then start to spin. The five guns are equally spaced from one another and a rhythm is present in the speed at which they turn. The reoccurring image of the flying hats forms a rhythm as it ties the film together as a whole."
(Joe Cartman, Western Connecticut State University)

[The film was created by: Hans Richter (director); Werner Graeff (writer); Paul Hindemith (music); Reimar Kuntze (cinematography). And starred: Werner Graeff; Walter Gronostay; Paul Hindemith; Darius Milhaud; Madeleine Milhaud; Jean Oser; Hans Richter.]

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1928 • Arena (TV series)avant-garde • bowler hat • DadafilmGerman cinema • Graeff • Gronostay • Hans Richter • Hindemith • Kuntze • Milhaud • Oser • rhythmsilent filmsurrealsymbolismviolencevisual metaphor • Vormittagsspuk
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