|
|
The film reflects Dewdney's conviction that the projector, not the camera, is the filmmaker's true medium. The form and content of the film are shown to derive directly from the mechanical operation of the projector - specifically the maltese cross movement's animation of the disk and the cross illustrates graphically (pun intended) the projector's essential parts and movements. It also alludes to a dialectic of continuous-discontinuous movements that pervades the apparatus, from its central mechanical operation to the spectator's perception of the film's images... (His) soundtrack demonstrates that what we hear is also built out of continuous-discontinuous 'sub-sets.' Preserved by the Academy Film Archive in 2009. |
People
Stuart Little 3: Call of the Wild
Scooby-Doo! Mecha Mutt Menace
The Land Before Time IV: Journey Through the Mists
Scooby-Doo! Winter WonderDog
Tokyo Drifter
Starbuck
Belgica
The Work Wife
Scooby-Doo! and the Werewolves
Delta Farce
Kizumonogatari Part 3: Reiketsu
Graduation
K-911
My Mom Is a Character 2
Roger & Me
Mrs. Doubtfire
Indiana Jones and the Temple of Doom
South Park: Imaginationland
Kirikou and the Men and Women
Primary
Galaxie
Torpedo Squadron
Chicken Real
Like It Is
Wonderland of California
Hoop Dreams
Hats Off to Hollywood
100 Watts 120 Volts
Mardi Gras Carnival
White Rhapsody
Seeds of Destiny
Brooklyn, U.S.A.
First Steps
Toward Independence
1848
Making Dances: Seven Post-Modern Choreographers
Churchill's Island
Henry Browne, Farmer
Anselmo
|