TURBIDUS FILM #4 - NORMAN MCLAREN (UK) + other short films

Datum: 
17 Oct 2013 - 19:00

NORMAN MCLAREN (UK, 1914-1987)

Pioneer of drawn on film animation, cameraless animation, abstract film, visual music, graphical sound and pixilation.

You must see this avant-garde films live. Its colourful, jazzy, rytmic, comic, minimal... sometimes simultaneously.

FILM PROGRAM BY NORMAN MCLAREN

Fiddle-de-dee 3'22 (1947)

Begone Dull Care 7'48 (1949)

Neighbours 8'06 (1952)

Blinkity Blank 5'15 (1955)

Opening Speech 6'52 (1961)

Lines Horizontal 5'55 (1962)

Mosaic 5'00 (1965)

Synchromy 7'27 (1971)

OTHER SHORT FILMS

John Witney – per·mu·ta·tion· 7'28 (1966)

Se kriget 6´00

+ 2 or 3 relevant short secrets

Format: 16mm

BIO - NORMAN MCLAREN

”Born in Scotland, Norman McLaren was a filmmaker who raised cameraless film to an art form. From the early 1930s, when he was a student at Glasgow School of Art and did not own a camera, McLaren found it necessary to draw directly onto transparent filmstrip from which he had removed the emulsion. His difficulty lay in finding suitable paints and dyes with which to work. How this problem is solved determines the forms and animation methods applied by every cameraless filmmaker. McLaren decided to use India ink. Drawning image after image directly onto the film stock led to a rhythmic structuring of the filmstrip. McLaren's films consisted of segments of more or less equal length, which he painted onto transparent filmstrip or scratched onto dark leader. This structure also made it possible to transfer graphics onto the sound track. McLaren's discovery of Len Lye's A Colour Box (1935) was for him an overwhelming experience, showing him that it is not necessary to take into account the predetermined seperation of the separate images, and that painting on film stock was a form of choreography.

In successive films (...) McLaren explored and crafted new techniques for film with and without camera. Abstraction was central to his work and was demonstrated in the way he used synthetic sound, initially basing it on Rudolf Pfenninger's experiments. As a result of the synesthesia which was created in each film, McLaren gradually built up his own catalog of sound cards. In each case, however, the choreographic element was what mattered most. Norman McLaren became a filmmaker because he could not become a dancer or choreographer. Dance movements were what preoccupied and fascinated him most and he practiced his art as if it were a dance whose lines and shapes unfolded according to the sounds and rhytms he drew.”

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