Five Experimental Films of the 1950's (1952-1958) on BLu-ray

Actor: N/A
Director: John Arvonio, Jim Davis, Wheaton Galentine, Francis Thompson
Genre: Drama
Year: 1952-1958
Studio: Flicker Alley
Length: 52
Released: 6/22/2016
Rating: Not Rated (MPAA Rating)
Format: Blu-ray
Misc/Special Features: Blu-ray
Language: English
Subtitles : N/A

DESCRIPTION:

Four of the films in this collection arrived after the release of the much larger anthology Masterworks of the American Avant-garde Experimental Film, 1920-1970 had gone to press; they are such beautiful and extraordinary works that deserve to be seen after decades of unavailability. All are brilliant and true color copies mastered in high definition from original Kodachrome master copies or camera films. Abstract in Concrete (1952). John Arvonio shot footage for this stunning pattern film of New York City at night over a five-year period. The music by Frank Fields is a movement of his 1931 suite Times Square Silhouette. Although it was quite successful and widely shown in the 1950s, Arvonio never released another film. Analogies #1 and Color Dance #1 are both by Jim Davis (1952-53). Painter, sculptor and a major figure in 50s avant-garde film, Davis is represented in the Masterworks anthology by Evolution. Abstract and mysterious to many spectators, these waves and studies of light were for Davis images if the causative forces of nature. - ReVoir Treadle and Bobbin by Wheaton Galentine (1954). The Singer treadle sewing machine stars in this rhythmic and imaginatively photographed work. A distinguished visual analysis of moving parts, well exploited for beauty and interest and notable for it's fresh observation. - Melbourne (Australia) Intl Film Festival. Galentine collaborated with other major independent filmmakers of the period including Francis Thompson, Shirley Clarke and Alexander Hammid, but this is his only released solo work. N.Y., N.Y. by Francis Thompson (Filmed 1949-57, released 1958). Thompson shot the vibrant fractured images with a Kodak Cine-Special camera specially rigged with secret mirrors, kaleidoscopes and even reflective car hubcaps. The experience remains an exquisite time capsule that not only documents Manhattan during the 1950s but also, in the words of the New York Times, proffers one of the few genuine mas terpieces of the burgeoning experimental film movement in the United States. Compiled and Produced by David Shepard Special Contents of This Edition (c) 2016 by Film Preservation Associates, Inc