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poster

67

52

6.7

/3494/

68

/74/

65

/110/

3.6

/9042/

A pulsing, kaleidoscope of images set to an energetic soundtrack. This is a world in motion, dominated by mechanical and repetitive images, with a few moments of solitude in a garden.

poster

72

50

7.3

/1819/

69

/71/

69

/67/

4.0

/5289/

In this extraordinary short animation, Evelyn Lambart and Norman McLaren painted colours, shapes, and transformations directly onto their filmstrip. The result is a vivid interpretation, in fluid lines and colour, of jazz music played by the Oscar Peterson Trio.

poster

61

47

6.2

/3011/

55

/79/

57

/97/

3.6

/11351/

Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.

poster

64

46

6.4

/2377/

57

/57/

62

/108/

3.5

/6694/

Experimental film, white specks and shapes gyrating over a black background, the light-striped torso of Kiki of Montparnasse (Alice Prin), a gyrating eggcrate. One of the first Dadaist films.

poster

71

45

6.3

/1536/

56

/37/

61

/50/

3.6

/1905/

100

/9/

78

/3/

A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion of color and squiggles and happenstance. Next, images of small circles emerge then of the Sun. Images of our Earth appear, woods, a part of a body, a nude woman perhaps giving birth. Imagery evokes movement across time. Part of the Dog Star Man series of experimental films.

poster

70

43

6.0

/1613/

50

/50/

62

/48/

3.5

/1523/

100

/9/

78

/3/

From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, and he's accompanied by a dog. His labors continue. There is no soundtrack. Images rush past - water, trees, and surfaces too close up to distinguish. He struggles. A fire burns. Nature, in long shots and magnified, is formidable and silent. It's tough going; he carries on. In a capillary, blood flows.

poster

71

41

6.3

/1231/

52

/31/

65

/42/

3.6

/1231/

100

/9/

78

/3/

A man, accompanied by a dog, struggles through snow on a mountain side. We see film stock blister; drawn square shapes appear. Then, we see an infant's face. The images of struggling climber, baby, blurred film stock, large snow flakes, and what may be microscopic details of matter are superimposed on each other, one dominating the frame briefly to be replaced by another. As the man falls in the snow and tries to regain his feet, the baby continues to appear, first with eyes closed. Alternately, images rush by - montages of paper cutouts and life under a microscope.

poster

57

41

6.0

/1557/

52

/35/

55

/60/

3.2

/2363/

56

/99/

A tilted figure, consisting largely of right angles at the beginning, grows by accretion, with the addition of short straight lines and curves which sprout from the existing design. The figure vanishes and the process begins again with a new pattern, each cycle lasting one or two seconds. The complete figures are drawn in a vaguely Art Deco style and could be said to resemble any number of things, an ear, a harp, panpipes, a grand piano with trombones, and so on, only highly stylized. The tone is playful and hypnotic.

poster

70

40

6.3

/1215/

50

/30/

61

/40/

3.6

/1300/

100

/9/

78

/3/

A man is supine on a mountain side. Images rush past of nature and a stained glass saint. An infant is born. We see a lactating nipple. Images include a mountain peak, farm buildings, a tree stump, a fire, a crawling baby, and the sun. The man falls and rolls. Then, later, he swings his ax.

poster

70

40

6.3

/1196/

46

/30/

61

/41/

3.6

/1184/

100

/9/

78

/3/

Sexual intimacy. Three kinds of images race past, superimposed on each other sometimes: two bodies, a man and a woman's, close up, nude - patches of skin, wisps of hair, glimpses of a face and genitalia; strips of celluloid with lines and squiggles scratched on them; and, close-up shots of what appear to be the insides of living bodies - a heart beating, muscle and sinew and tissue wet with fluids. The exterior and interior of desire.

poster

63

39

6.2

/1049/

58

/41/

60

/52/

3.6

/2858/

Animated shapes dance to Cuban music. This was one of the first animations to be painted directly onto the film.

poster

54

39

5.7

/1542/

48

/36/

55

/59/

3.2

/3361/

46

/194/

Abstract animated short film. Grey and white squares change size and shape on a black background.

poster

64

39

6.4

/1118/

59

/40/

60

/45/

3.6

/3626/

An experimental film in which both sound and visuals were created entirely by Norman McLaren drawing directly upon the film with ordinary pen and ink. The main title is in eight languages. Rereleased with multilingual titles in 1949.

poster

63

36

6.2

/1050/

63

/33/

59

/46/

3.4

/1713/

Against a dark background, several bright, curved or rounded shapes pulse towards the center of the screen, one at a time. They are followed by many other shapes, some irregular, some pointed, others rounded. The abstract shapes move into or across the screen in harmony with the musical score.

poster

64

35

6.5

/895/

63

/30/

58

/30/

3.6

/3259/

Entertaining Dadaist experimental short, similar to Man Ray's work, full of shifting geometric shapes, stock footage of seagulls, flying eyeballs, and glaring floating heads.

poster

55

34

5.8

/789/

40

/36/

53

/42/

3.5

/1996/

This hand-painted work is easily the most minutely detailed ever given to me to do, for it traces (as best I'm able) the hypnagogic after-effect of psychological cathexis as designed by Freud in his first (and unfinished) book on the subject - "Toward a Scientific Psychology." (SB)

poster

62

29

6.2

/306/

60

/21/

56

/24/

3.6

/2003/

Shot over a period of three years. Marie Menken photographed New York window displays during the Christmas holiday. In order to avoid foot and street traffic interrupting the shots, Menken filmed from midnight to 1:00 in the morning, but had to keep the camera under her coat to keep it from freezing.

poster

68

28

7.1

/593/

60

/15/

67

/20/

3.7

/1457/

The film's soundtrack is an original musical composition produced with synthetic sound - through photographing unusual geometric shapes and running them through an optical sound head. The images are an artistic rendering of this soundtrack.

poster

61

27

6.3

/898/

57

/16/

60

/29/

3.3

/1104/

A man plays the Bach piece of the title on the organ, accompanied by images of stone walls with cracks and holes that grow and shrink, intercut with images of doors and wire-meshed windows.

poster

64

24

6.7

/633/

62

/15/

60

/22/

3.5

/1181/

An animation film, made without the use of a camera, in which "boogie" played by Albert Ammons and "doodle" drawn by Norman McLaren combine to make a rhythmic, brightly colored film experiment. The main title is in eight languages.

poster

67

22

6.9

/613/

66

/16/

64

/22/

3.5

/773/

In this surreal cartoon that plays with the idea of sound effects, a near-deaf old man finds one of the devil's lost horns and tries to use it as an ear trumpet.

poster

64

21

6.7

/595/

58

/19/

61

/25/

3.5

/633/

Motion Painting No. 1 is a 1947 experimental short animated film in which film artist Oskar Fischinger put images in motion to the music of Johann Sebastian Bach’s Brandenburg Concerto no. 3, BWV 1048. It is a film of a painting (oil on acrylic glass); Fischinger filmed each brushstroke over the course of 9 months. In 1997, this film was selected for inclusion in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. Preserved by the Academy Film Archive in 2000.

poster

63

20

6.6

/420/

58

/16/

59

/23/

3.5

/757/

James Whitney’s Lapis (1966) is a classic work of abstract cinema, a 10-minute animation that took three years to create using primitive computer equipment. In this piece smaller circles oscillate in and out in an array of colors resembling a kaleidoscope while being accompanied with Indian sitar music. The patterns become hypnotic and trance inducing. This work clearly correlates the auditory and the visual and is a wonderful example of the concept of synaesthesia.

poster

64

19

6.2

/484/

67

/8/

59

/16/

3.4

/915/

An abstract animation from Walter Ruttmann.

poster

58

18

5.8

/346/

55

/16/

56

/25/

3.3

/636/

An animated commercial for tire company Excelsior Reifen.

poster

59

18

6.4

/325/

44

/15/

57

/22/

3.5

/679/

With the screen split asymmetrically, one part in positive, the other negative, the film documents the evolution of simple celled organic forms into chains of cells then more complex images from tribal cultures and contemporary modernist concepts. The images react, interpenetrate, perhaps attack, absorb and separate, until a final symbiosis (or redemption?) is achieved.

poster

60

16

6.1

/343/

56

/21/

55

/16/

3.4

/755/

This film uses stop motion animation of still photographs to convey images of politics and science in the nuclear era. The advancement of science allows man to do things he never would have been able to do without, for good or bad. Politicians are either behind the scenes manipulating those scientists or are using that science for their own goals, primarily in the space race. Everyday items and people are projected upwards - many in the form of rockets - followed by iconic structures, such as the Empire State Building, the US Capitol, the Washington Monument, the Eiffel Tower and the Kremlin, being rocketed skyward as visual representations of that race into space.

poster

66

16

6.4

/458/

73

/12/

62

/14/

3.4

/722/

An abstract animation by Walter Ruttmann.

poster

64

16

6.5

/462/

64

/10/

65

/14/

3.4

/693/

An abstract animation from Walter Ruttmann.

poster

65

15

6.9

/210/

57

/7/

62

/12/

3.5

/750/

For Kaleidoscope, which was sponsored by Churchman Cigarettes, Lye animated stenciled cigarette shapes and is said to have experimented by cutting out some of the shapes so that the light of the projector hit the screen directly. As in Colour Box Lye uses music by Don Baretto and his Cuban Orchestra. - Harvard Film Archive

poster

56

15

6.8

/483/

30

/3/

61

/13/

3.4

/625/

An experiment in pure design by film artists Norman McLaren and Evelyn Lambart. Lines, ruled directly on film, move with precision and grace against a background of changing colors, in response to music specially composed for the films.

poster

62

14

6.8

/241/

53

/6/

58

/19/

3.5

/486/

Len Lye’s camera-less film animates “swing” versions of the popular Lambeth Walk—featuring Django Reinhardt on guitar and Stéphane Grappelli on violin—through scratched and painted imagery directly on celluloid. Sponsored by the Tourist and Industrial Development Association after Lye and his family fell into hardship, the film blends vibrant visual rhythms with music, free of advertising slogans, and stands out as one of Lye’s most playful experiments in direct cinema.

poster

64

12

7.4

/253/

55

/6/

60

/10/

3.5

/570/

A color cocktail by Norman McLaren and Evelyn Lambart, translating into moving patterns of color and light the moods of music written for a jazz ensemble by Eldon Rathburn. Inscribed and colored directly on film.

poster

65

11

7.1

/253/

57

/7/

63

/13/

3.5

/334/

In Fischinger's study No. 7, the shapes of Study No. 6 move to the 5th Hungarian dance by Johannes Brahms.

poster

58

11

5.7

/233/

50

/10/

63

/9/

3.2

/578/

An advertisement for Kantorowicz-Liköre, wherein our protagonists suffer no ill effects whatsoever from consuming alcohol.

poster

63

10

6.4

/199/

70

/2/

51

/13/

3.4

/424/

This short film made by László Moholy-Nagy is based on the shadow patterns created by his Light-Space Modulator, an early kinetic sculpture consisting of a variety of curved objects in a carefully choreographed cycle of movements. Created in 1930, the film was originally planned as the sixth and final part of a much longer work depicting the new space-time.

poster

68

9

7.0

/170/

68

/7/

67

/11/

3.5

/233/

For the production of this film, Oskar Fischinger tinted various layers of hot wax. After cooling, the resulting lump of wax resembled a marble cake. Fischinger then began to cut off slices from the lump, photographing each step.

poster

64

8

6.4

/68/

40

/5/

80

/2/

3.7

/581/

Sand, wind, and light intermingle with the emulsions. The viewer is the star.

poster

55

7

5.4

/135/

42

/7/

48

/10/

3.3

/277/

Begins with a three beat announcement drawn out in time which thereafter serves as a figure to divide the four sections. Each return of this figure is more condensed, and finally used in reverse to conclude the film. Preserved by the Academy Film Archive in 2004.

poster

?

6.1

/12/

30

/2/

60

/1/

An expressionistic visual poem of one filmmaker's reaction to being a filmmaker.

poster

?

6.4

/28/

Inside the protective warmth of his mother's womb, a man experiences everyday life as eternal bliss.

poster

?

7.2

/35/

80

/1/

A seemingly ideal family – mum, dad, daughter, son and grandfather – lives on the 14th floor of an apartment building. One morning a cow appears in their kitchen. The cow does not seek contact, does not eat, or defecate, but simply stands between the fridge and kitchen table. Gradually, the family gets used to the cow and even starts endearingly call it Buryonka. Everything goes well, until the somewhat senile grandfather mistakes Buryonka for an enemy.

poster

?

8.4

/12/

42

/4/

A meeting of filmmakers, one idyllic country estate, a fictional optical sound lead, a documentary super-8-image-storm. Both uncut.

poster

?

6.2

/14/

In 1965, Swedish composer/musician Jan Bark proposed an experiment for a new kind of 'music for black-and-white TV'. Bark's friend Erkki Kurenniemi programmed the animations. The original version was lost: this reconstruction was made with the help of Bark's diaries, laboratory notes and reminiscences from people involved.

poster

?

7.0

/5/

35

/2/

In his first cinematic work, the painter Franz Schömbs intersperses the ever-recurring process from the nightbreak to the dawn. A short film by Franz Schömbs.

poster

?

6.2

/23/

10

/1/

Lucifer, God's most beautiful angel. Lucifer was the prince of angels, the bearer of light. He placed his own beauty and perfection above his love for God. This sin of pride caused his fall to the darkest domain where, known as Satan, he struggles as God's rival. This film poetically explores the Lucifer tale as manifested in man's realm.

poster

?

6.1

/11/

10

/1/

White Calligraphy is an abstract short made by scratching characters from 'Kojiki', an early Japanese text, into the frames of 16mm black leader.

poster

?

3.9

/10/

An unhurried film dealing with the notion of the abstract.

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