{"id":856,"date":"2009-02-10T12:09:09","date_gmt":"2009-02-10T10:09:09","guid":{"rendered":"https:\/\/mekocentras.wordpress.com\/?p=856"},"modified":"2009-02-10T12:09:09","modified_gmt":"2009-02-10T10:09:09","slug":"2009-02-10-projektoriaus-vasario-kovo-filmu-programa","status":"publish","type":"post","link":"https:\/\/mekas.lt\/lt\/2009\/02\/2009-02-10-projektoriaus-vasario-kovo-filmu-programa\/","title":{"rendered":"2009 02 10. “Projektoriaus” vasario – kovo film\u0173 programa"},"content":{"rendered":"
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2009 vasario 7d. – kovo 7d. 19val. “Projektoriaus” film\u0173 per\u017ei\u016brose matysite:<\/div>\n
\nPrograma: Early American Avant
\n– Garde Film 1894-1941 \u00a0Part 2.<\/p>\n

vasario 7d. 19val.<\/p>\n

Viva la dance
\nThe beginnings of cine-dance<\/strong><\/p>\n

Dance and film have shared the aspiration to creatively sculpt motion and
\ntime. Some of the first films ever made featured Annabelles skirt dance,
\nhand-painted in glowing colors. Isadora Duncan and Ruth St. Denis
\ninnovations found their way into Diana the Huntress (1916) and The Soul of
\nthe Cypress (1920). Highly cinematic renditions of dance evolved in Stella
\nSimons Hande (1928), Hector Hoppins La Joie de vivre (1934) and Busby
\nBerkeleys “Dont Say Goodnight” from Wonder Bar (1934). In conterpoint,
\ncine-dance experiments by Ralph Steiner, Mary Ellen Bute, Oskar
\nFischinger, Douglass Crockwell, Slavko Vorkapich and Norman McLaren
\ndispensed with actual dancers in favor of color, shape, line and form
\nchoreographed into abstract light-play.<\/p>\n

Vasario 21d. 19val.<\/p>\n

The devils plaything
\nAmerican surrealism<\/strong><\/p>\n

Edwin S.Porter and other early filmakers used bizarre sets, fantastic
\ncostumes and magic lantern tricks to illuminate their fantasy films.
\nAmerican parody supplied Douglas Fairbanks with enough unusual material to
\nproduce the truly surreal When the Clouds Roll By (1919). The
\nexpresionistic Cabinet of Dr. Caligari (1919) influenced American
\nsensibilities throughout the 20s as seen in Beggar on Horseback (1925),
\nThe Life and Death of 9413 – A Hollywood Extra (1927) and The Telltale
\nHeart (1928). The emphasis shifted when amateurs J.S. Watson, Jr., Joseph
\nCarnell and Orson Welles crafted a unique variety of American surrealism
\non film unfettered by European concerns.<\/p>\n

Vasario 28d. 19val.<\/p>\n

The amateur as auteur
\nDiscovering paradise in pictures<\/strong><\/p>\n

These homemade films incorporate avant-garde strategies and techniques to
\nachieve a true sense of cinematic intimacy. Glimpses of life caught
\nunawares are found in the home movies of Elizabeth Woodman Wright, Archie
\nStewart, Frank Stauffacher and John C. Hecker. Poetic lyricism finds a
\nvoice in city symphonies: Lynn Riggs and Hames Hughes A day in Santa Fe
\n(1931) and Rudy Burckhardts Haiti (1938). Professionally minded films,
\nTheodore Cases sound tests (c.1925) and Lewis Jacobs Tree Trunk to Head
\n(1938) operate from a similar homespun perspective of sincerity. Joseph
\nCornell offers an enigmatic but lovely homage to childhood with Children
\nTrilogy (c.1938).<\/p>\n

Kovo 7d. 19val.<\/p>\n

Light rhythms
\nMusic and abstraction<\/strong><\/p>\n

The rhythmic elements of cinema are explored by artists and filmakers
\nfascinated by the abstract qualities of light. The American authors of
\navant-garde classics Le Retour a la raison (1923), Ballet mecanique
\n(1923-24), Anemic cinema (1926) and Une nuit sur Le Mont Chauve (1934) are
\nfinally acknowledged for their seminal artistic achievements made in
\nEurope. Pioneer abstract films by Ralph Steiner, Mary Ellen Bute, Douglass
\nCrockwell, Dwinell Grant and George Marris are compared and contrasted
\nwith Hollywood montages created by Ernst Lubitsch, Slavko Vorkapich and
\nBusby Barkeley. For the first time on video, composer George Antheils
\noriginal 1924 score accompanies Fernand Leger and Dudley Morphys film
\nBallet mecanique, a truly avant-garde cacophony of image and sound.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

2009 vasario 7d. – kovo 7d. 19val. “Projektoriaus” film\u0173 per\u017ei\u016brose matysite: Programa: Early American Avant – Garde Film 1894-1941 \u00a0Part 2. vasario 7d. 19val. Viva la dance The beginnings of cine-dance Dance and film have shared the aspiration to creatively sculpt motion and time. Some of the first films ever made featured Annabelles skirt dance, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"jetpack_post_was_ever_published":false},"categories":[14],"tags":[],"translation":{"provider":"WPGlobus","version":"2.10.6","language":"lt","enabled_languages":["en","lt"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"lt":{"title":false,"content":false,"excerpt":false}}},"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/posts\/856"}],"collection":[{"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/comments?post=856"}],"version-history":[{"count":0,"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/posts\/856\/revisions"}],"wp:attachment":[{"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/media?parent=856"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/categories?post=856"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mekas.lt\/lt\/wp-json\/wp\/v2\/tags?post=856"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}