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Movies by Michael Betancourt


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   avant-garde movies, motion graphics, and theory

Polish Avant-Garde Film

story © Michael Betancourt | published December 6, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print


Marcin Gizycki has a nice history of the development of avant-garde film in Poland. "There was no organized avant-garde film movement in Poland before WW2, which does not mean that there were no avant-garde films made. This paradox is easily explained. A number of artists more or less connected with avant-garde circles worked separately on films or film-related projects...."


Larry Jordan Interview

story © Michael Betancourt | published November 30, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print


Paul Karlstrom interviews Larry Jordan for the Archives of American Art in the Smithsonian Institution. Great discussion of his relationship to other film makers and artists.


Canadian Experimental Video

story © Michael Betancourt | published November 17, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print


The Canadian Journal of Communication has an article called Magnetic North: Canadian Experimental Video, on experimental video made in Canada, "edited by American independent curator and film/video maker Jenny Lion, was conceived as a book/catalogue accompanying an exhibition screening series of the same name that Lion herself curated in association with Minneapoliss Walker Art Center. "


The Alchemy of Touch

story © Michael Betancourt | published October 21, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print


On the surface is where Rey Parla works to make his movies by hand, based on his physical, immediate response to the scratched/painted layers of his marks on that film. His haptic approach is flexible: it explores the physical character of its objects as objects, not as symbolic representations. This is a distinctly non-verbal approach to making movies. It does away with language in order to document a more immediate, direct encounter with the movie: the many tiny pictures that are the film itself.

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Duration Statement

story © Michael Betancourt | published June 13, 2003 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print


My work with movies has gradually developed towards shorter and shorter pieces, but not out of some need to purify and reduce the excess materials in my work. Instead it was the inevitable result of considering the question of duration versus the viewing habits almost all of us have when confronted by popular culture. I gradually reduced the length of my movies from a desire to explore issues closely related to duration.

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story © Michael Betancourt | published July 24, 1998 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print


Much of what follows, while directed towards Movies, is equally applicable to Statics. 'Real time' is the key to distinguishing statics (movies) which move very slowly from actual movies-as-such. Many things move/change, but not in a fashion we can actually perceive.

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Morphology and Structure

story © Michael Betancourt | published June 14, 1998 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print

	a priori expressions are limited to the physical materials*; in extreme forms it is 
	hoped to produce a phenomenological experience of the physical presence of the 
	material as a material
				(*note link to Marxist theory, Greenbergian modernism)

	technological potentials			IMAGE
	of moving images				CAMERA
	(movies) describing				BASE
	areas of technological				EDITING
	advancement					PROJECTION

		technological potentials always determine aesthetics
		in materials-oriented formalism; this is why development
		and expansion of materials is so important to that formalism
		understanding this formalism is a necessary condition for
		escaping from it

[this list of seven categories is sufficient to cover all formal
development of movies and statics in any support system, 
whether film, television, computer or any other medium as
yet undeveloped.]

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Frame Change Rate

story © Michael Betancourt | published March 15, 1998 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print


the speed at which an image changes conditions our experience of it as a temporal object: we can only see things in real time* to perceive changes happening in real time (life) we must produce movies which condense the real time into a sped-up version for gradual changes (real time) to become visible to us in real time
[* which is to say the speed at which we as humans live and interact]

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Strobe-Effect Movies

story © Michael Betancourt | published December 27, 1996 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print


while all motion is an effect of a strobing light, the strobe movie is a movie where the image is actually printed onto the screen (rather than being a separate object) and the light source is simply a strobe
physical design of image used is a significant factor in the activation through strobing [Statics Folio 3: Village to City is a collection of strobe movies]
large-scale prints lit by strobe light, tuned to the most effective frame rate (will be some variability from person to person) best effects produced when light is above rather than below the image (angle of reflection = angle of inflection)

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