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   movies: AESTHETICS
   movies: NEWS & REVIEWS
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   random art notes
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   research: AVANT-GARDE MOVIES
   research: MOTION GRAPHICS
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   theory: CRITICAL OBSERVATIONS
   theory: DIGITAL CAPITALISM
   theory: GLITCH & POSTDIGITAL
   theory: working notes

 

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SEARCH ARCHIVES

archives begin in 1996

  

The 3 Periods of Abstract Film & Video in the US

story © Michael Betancourt | published August 7, 2011 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



research: AVANT-GARDE MOVIES

Because understanding the present requires an awareness of the past, this discussion considers the broad development of abstract motion pictures over the course of the twentieth century. Within this larger history, it is possible to identify three distinct phases to the emergence and consolidation of abstraction as a specific genre of animation.




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Harry Smith, Alchemist & Professional "Bum"

story © Michael Betancourt | published June 24, 2011 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



research: AVANT-GARDE MOVIES

Harry Everett Smith (1923 1991) was a film maker who, like Len Lye, had other interests than film.




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'Video Art' - A Definition

story © Michael Betancourt | published June 19, 2011 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



research: AVANT-GARDE MOVIES

The definition of video art as a distinct medium, apart from both experimental film and television was a central topic of theoretical and critical concern during the early years of video arts existence; of greatest importance to these first writers on video was the ways it differed from televisionmuch more than the relationship it had with the avant-garde film community, many of whom had shifted from film to video as lower cost cameras and video tape recorders became readily available.




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Why It's Called 'Experimental' Film

story © Michael Betancourt | published June 5, 2011 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



research: AVANT-GARDE MOVIES

The origins of the idea that films made by artists are "experimental" can be traced to a magazine from the 1930s, and an exhibition in the 1940s.




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On Len Lye's Kinetic Film Theory

story © Michael Betancourt | published May 1, 2011 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



research: AVANT-GARDE MOVIES

Len Lye (1901 1980) worked as an animator, then as a director of newsreels for the March of Time from 1946 to 51, and finally as a kinetic artist; within the history of motion graphics he occupies an unusual position: even though he had informal training as a painter and worked with various types of sound-image synchronization in abstract film, these works exhibit a distinct conception of abstraction as a kinetic art, rather than an art constructed upon a musical analogy as was typical for the other artists drawn to create abstract motion pictures during the first phase of their history. This emphasis appears in his theorizing shortly after his first hand painted film had achieved a wide-spread critical success in Europe. Writing with a collaborator, Laura Riding, in 1935 for the essay Film-making, Lye proposes a tentative framework to think about motion as form:




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