Storm De Hirsch

Total Page：16

File Type：pdf, Size：1020Kb

STORM DE HIRSCH: DIVINATIONS, (1964) Opening on Saturday, March 14 from 7-10pm, JOAN is pleased to present a one night screening of Storm de Hirsch’s Divinations (1964). The film will screen every 30 minutes. Divinations is a hallucinatory, dizzying, and meditative collage of image and sound. The work is part of de Hirsch’s (1912-2000) trilogy of films entitled The Color of Ritual, the Color of Thought (1964–67). To make the work she subjected rolls of 16mm sound tape and unused film stock to a process of cutting, scratching, and painting. Richly hued, abstract swaths of painted film are interspersed by black and white footage of a series of interior spaces. Multiple scenes depict a kind of circular motion–the camera spins around a room or tea leaves eddy at the bottom of a cup. An early film by de Hirsch, Divinations attests to the artist’s interest in form, color, and process, as well as myth, ritual, and mysticism. De Hirsch (born Lillian Malkin) was a founding member of The Film-Makers’ Cooperative and a key participant in New York City’s experimental film scene of the 1960s. A contemporary and peer of Stan Brakhage, Shirley Clarke, and Jonas Mekas, she was a pioneer of frame-by-frame etching, painting, scratching, and generally disrespecting film stock. De Hirsch was also an accomplished poet before coming to film, just like the celebrated underground filmmaker Maya Deren, whose career was cut short just as De Hirsch’s began. Beyond both using pseudonyms, they shared an interest in the occult and earthy, dark subject matter. Many of her works also have a feminist provocation with an all-female cast and decidedly feminine perspective, specifically in Goodbye in the Mirror (1964) and her treatment of male nudes as an object of the gaze in Journey Around A Zero (1963). De Hirsch published her first collection of poems, Alleh lulleh cockatoo and other poems (Brigant Press, 1955), before making her first film in 1962. Storm de Hirsch, Divinations, 1964, 16mm film still, courtesy of Anthology Film Archives, New York. .

Copy Link

Recommended publications

Art & Culture 1900-2000 : Part II
WHITNEY MUSEUM OF AMERICAN ART The American Century: Art & Culture 1900-2000 Part 11: 1950-2000 The Cool World: Film & Video in America 1950-2000 Curated by Chrissie Iles, curator of film and video, Whitney Museum of American Art. Film Program for the 1950s, 1960s, and early 1970s co-curated with Mark Webber; 1970s, 1980s and 1990s programs co-curated with Mark MacElhatten, Brian Frye, and Bradley Eros. The Cool Worldsurveys the development of avant-garde film and video in America, from the Beats of the to the 1950s recent innovations of the 1990s. The exhibition includes experiments in abstraction and the emergence of a new, "personal" cinema in the 1950s, the explosion of underground film and multimedia experiments in the 1960s, the rigorous Structural films of the early 1970s, and the new approaches to filmmaking in the 1980s and 1990s. The program also traces the emergence of video as a new art form in the 1960s, its use as a conceptual and performance tool during the 1970s, and its exploration of landscape, spirituality, and language during the 1980s . The Cool World concludes in the 1990s, with experiments by artists in projection, digital technology, and new media. The series is divided into two parts. Part I (September 26-December 5, 1999) presents work from the 1950s and 1960s . Part II (December 7, 1999-February 13, 2000) surveys the 1970s, 1980s, and 1990s. Each month is devoted to a specific decade. All films are 16mm. Those marked (v) are shown on videotape. Asterisked films are shown in both the repeating weekly programs and the Thursday/weekend theme programs.
[Show full text]
The Dialectic of Obscenity
University of Kentucky UKnowledge Law Faculty Scholarly Articles Law Faculty Publications Winter 2012 The Dialectic of Obscenity Brian L. Frye University of Kentucky College of Law, [email protected] Follow this and additional works at: https://uknowledge.uky.edu/law_facpub Part of the Constitutional Law Commons, Entertainment, Arts, and Sports Law Commons, and the Legal History Commons Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Brian L. Frye, The Dialectic of Obscenity, 35 Hamline L. Rev. 229 (2012). This Article is brought to you for free and open access by the Law Faculty Publications at UKnowledge. It has been accepted for inclusion in Law Faculty Scholarly Articles by an authorized administrator of UKnowledge. For more information, please contact [email protected]. The Dialectic of Obscenity Notes/Citation Information Hamline Law Review, Vol. 35, No. 1 (Winter 2012), pp. 229-278 This article is available at UKnowledge: https://uknowledge.uky.edu/law_facpub/264 229 THE DIALECTIC OF OBSCENITY Brian L. Frye* I. INTRODUCTION 230 II. A BRIEF HISTORY OF OBSCENITY 231 A. WHAT IS OBSCENITY? 231 B. THE RISE & FALL OF THE PANDERING TEST 232 C. THE MILLER TEST 234 D. THE AFTERMATH OF MILLER 235 III. FLAMING CREATURES 236 A. THE MAKING OF FLAMING CREATURES 237 B. THE INTRODUCTION OF FLAMING CREATURES 238 C. THE PERSECUTION OF FLAMING CREATURES 242 IV. JACOBS V. NEW YORK 245 A. FLAMING CREATURES IN NEW YORK STATE COURT 245 B. FLAMING CREATURES IN THE SUPREME COURT 250 C.
[Show full text]
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
[Show full text]
El Cine Experimental De Mujeres
ARBOR Ciencia, Pensamiento y Cultura Vol. 187 - 758 noviembre-diciembre [2012] 1117-1129 ISSN: 0210-1963 doi: 10.3989/arbor.2012.758n6010 EL CINE EXPERIMENTAL DE WOMEN’S EXPERIMENTAL MUJERES: ANTECEDENTES CINEMA: ANTECEDENTS Y DESARROLLO DEL CINE AND DEVELOPMENT OF TEÓRICO FEMINISTA DE LOS 70 FEMINIST FILM IN THE 1970S EN EL REINO UNIDO IN THE UK Carmen Pérez Ríu Universidad de Oviedo [email protected] RESUMEN: Este artículo analiza la obra experimental de mujeres A BSTRACT: This article analyses experimental films made by women centrándose principalmente en la que se produjo durante los años between 1920 and 1979, focusing particularly on films produced 70 en el Reino Unido y su vinculación con la teoría cinematográfica during the 1970s in the UK and their links to feminist film theory. The feminista. La primera parte hace un recorrido por la participación de first part deals with the participation of women in the experimental las mujeres en las diferentes corrientes y movimientos del cine expe- film movements from the 1920s to the 1970s. The aim of this section rimental desde la década de los 20 hasta los 70. Esta sección tiene is to provide a context for British experimental women directors como finalidad situar a las directoras experimentales británicas de during the 1970s within the more complex background of experimental los 70 dentro de un panorama global mucho más complejo inclu- film movements, with influences from the nerve centre of the Avant- yendo las influencias que recibían desde Europa y EE.UU., donde se Garde in Europe and the USA. The second part studies the development encontraba el centro neurálgico de las corrientes cinematográficas of experimental feminist film in the UK during the 1970s, with special de vanguardia.
[Show full text]
Altered States: the American Psychedelic Aesthetic
ALTERED STATES: THE AMERICAN PSYCHEDELIC AESTHETIC A Dissertation Presented by Lana Cook to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April, 2014 1 © Copyright by Lana Cook All Rights Reserved 2 ALTERED STATES: THE AMERICAN PSYCHEDELIC AESTHETIC by Lana Cook ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University, April, 2014 3 ABSTRACT This dissertation traces the development of the American psychedelic aesthetic alongside mid-twentieth century American aesthetic practices and postmodern philosophies. Psychedelic aesthetics are the varied creative practices used to represent altered states of consciousness and perception achieved via psychedelic drug use. Thematically, these works are concerned with transcendental states of subjectivity, psychic evolution of humankind, awakenings of global consciousness, and the perceptual and affective nature of reality in relation to social constructions of the self. Formally, these works strategically blend realist and fantastic languages, invent new language, experimental typography and visual form, disrupt Western narrative conventions of space, time, and causality, mix genres and combine disparate aesthetic and cultural traditions such as romanticism, surrealism, the medieval, magical realism, science fiction, documentary, and scientific reportage. This project attends to early exemplars of the psychedelic aesthetic, as in the case of Aldous Huxley’s early landmark text The Doors of Perception (1954), forgotten pioneers such as Jane Dunlap’s Exploring Inner Space (1961), Constance Newland’s My Self and I (1962), and Storm de Hirsch’s Peyote Queen (1965), cult classics such as Tom Wolfe’s The Electric Kool-Aid Acid Test (1968), and ends with the psychedelic aesthetics’ popularization in films like Roger Corman’s The Trip (1967).
[Show full text]
2012 National Society of Film Critics' Film
2012 New York Film Critics Circle Winner: Special Award for “Project Shirley” 2012 National Society of Film Critics’ Film Heritage Award for “Project Shirley” Milestone Films • (201) 767-3117 • milestonefilms.com • portraitofjason.com • [email protected] Portrait of Jason 1967. Running time: 105 minutes. Black & White. Filmed in 16mm and released in 35mm. Aspect ratio: 1.33:1. Mono Sound. ©1967 Shirley Clarke. Cast: Onscreen .................................. Jason Holliday (né Aaron Payne) Offscreen ................................. Shirley Clarke and Carl Lee Crew: Director .................................... Shirley Clarke Producer .................................. Shirley Clarke Production assistant ................. Bob Fiore Photography ............................ Jeri Sopanen Sound ...................................... Francis Daniel Assistant Sound engineer ......... Jim Hubbard Editor ....................................... Shirley Clarke Assistant editor ........................ Gloria Hawkins NegatiVe cutters ....................... Lawrence Mischel, Sue Mischel Laboratory ............................... Duart Film Labs, New York First sneak preView screening: July 9, 1967 at the Museum of Modern Art, New York. US premiere: September 29, 1967 at the Fifth New York Film FestiVal at Lincoln Center. Theatrical premiere: October 2, 1967 at the New Cinema Playhouse, 120 West 42nd Street and the Cinema 50, 236 West 50th Street, New York. Originally released by Filmmakers’ Distribution Center. Restoration by the Academy Film
[Show full text]
San Francisco Cinematheque Program Notes
fnurfffH San Francisco Cinematheque program notes 1993 From the collection of the f d n z m o Prelinger a v liAJibrary p San Francisco, California 2007 San Francisco Cinematheque 1993 Program Notes Production and Layout: David Gerstein Albert Kilchesty Cover: Michael De Vries Written and Researched by: Steve Anker Lana Bernberg Chris Bishop Elizabeth Dee Susanne Fairfax David Gerstein Lissa Gibbs Albert Kilchesty Gina Lehmann Colby Luckenbill Ariel O'Donnell Michael Roth Michelle Sabol E. S. Theise © Copyright 1994 by the San Francisco Cinematheque. No material may be reproduced without written permission from the publisher. All individual essays © to the individual authors. San Francisco Cinematheque, Sept. 1993—Aug. 1994: Staff Steve Anker, Artistic Director David Gerstein, Executive Director Albert Kilchesty, Administrative Manager (Sept. 93—June 94) Irina Leimbacher, Office Manager (June-Aug. 94) Board of Directors Charles Boone Linda Gibson Lynn Hershman Ariel O'Donnell Lynne Sachs (through Feb. 94) Scott Taylor Eric S. Theise (through Apr. 94) Michael Wallin Table of Contents 1993 Program Notes silt: EROSIONS AND ACCRETIONS Artists Christian Farrell & Jeff Warrin in person February 4, 1993 utter Silt: a word which when you it, letting the air slip thinly between your teeth, invokes a slow, sly insinuating agency. Silt: which shapes and undermines continents; which demolishes as it builds, which is simultaneous accretion and erosion; neither progress nor decay. —Graham Swift silt is a three-member San Francisco-based collaborative film group (Keith Evans, Christian Farrell, and Jeff Warrin) which has been working in Super-8mm since 1990. All films Super-8mm, color/b&w, silent w/sound-on-cassette Grapefruitfilm (1990, 2.5 minutes) Our first experiment! We crammed found footage inside a grapefruit and left it to rot for a month before rephotographing it.
[Show full text]
Jonas Mekas 12/28/07 9:42 PM
Jonas Mekas 12/28/07 9:42 PM contents great directors cteq annotations top tens about us links archive search Jonas Mekas b. December 24, 1922, Semeniskiai, Lithuania by Genevieve Yue Genevieve Yue is a writer and film curator. She lives in Los Angeles. Filmography Select Bibliography Articles in Senses Web Resources “It is for this art and from this art that I (we) speak to you.” – Jonas Mekas, Anthology Film Archives manifesto Midwife of the New York Independent Cinema In the late 1940s, Jonas Mekas and his brother Adolfas were living in a displaced persons camp in Wisenbaden, Germany, following the end of the Second World War. There, for the first time in their lives, they had seen some films that stirred in them an interest in the medium, like John Huston's The Treasure of the Sierra Madre (1948). They had also seen The Search by Fred Zinnemann (1948), a film about the lives of displaced persons, and it made them angry. In their minds, the film touched on nothing of the experience of displaced persons, which was also their experience. Outraged by what they had seen, they began to write scripts and resolved to start making their own films as soon as they could afford a camera. Both brothers would go on to lead long careers in film, and throughout their lives, the original motive would remain unchanged: to protest against what cinema was, and to look toward the promise of what it could be. Previously, Jonas Mekas had lived in Semeniskiai, a quiet farming village in Lithuania.
[Show full text]
Women's Experimental Cinema
FILM STUDIES/WOMEN’S STUDIES BLAETZ, Women’s Experimental Cinema provides lively introductions to the work of fifteen avant- ROBIN BLAETZ, garde women filmmakers, some of whom worked as early as the 1950s and many of whom editor editor are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her Experimental Cinema Women’s work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and expand the ter- rain of film history, particularly the history of the American avant-garde. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Marie Menken used film as a way to rethink the transition from ab- stract expressionism to Pop Art in the 1950s and 1960s, how Barbara Rubin both objecti- fied the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Cheryl Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, in- cluding a tendency toward documentary rather than fiction and a commitment to nonhi- erarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by sug- gesting alternative films for classroom use.
[Show full text]
The American Film Institute and Philanthropic Support For
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier “IN THE BEST INTERESTS OF THE COUNTRY”: THE AMERICAN FILM INSTITUTE AND PHILANTHROPIC SUPPORT FOR AMERICAN EXPERIMENTAL AND INDEPENDENT CINEMA IN THE 1960s. BY R CI R RE A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DOCTOR IN PHILOSOPHY AT EDINBURGH NAPIER UNIVERSITY APRIL 2013 ii Contents Tables ........................................................................................................................ vi Figures ....................................................................................................................... vi Acknowledgements .................................................................................................. vii Abbreviations .......................................................................................................... viii Abstract ..................................................................................................................... ix INTRODUCTION .......................................................................................................... 1 Defining Experimental and Independent Cinema ....................................................... 2 Personal Films and the Medium-Specific Evolution of Avant-Garde Cinema ........... 6 Philanthropic Support and Avant-Garde Arts ........................................................... 12 Experimental Cinema in Academic Institutions ......................................................
[Show full text]
Day2020.Pdf (4.239Mb)
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. UNIVERSITY OF EDINBURGH Pop Cinema: Aesthetic Conversations between Art and the Moving-Image By Tom Day Thesis submitted in fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Design Edinburgh College of Art University of Edinburgh December 2019 I Declaration I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, russthe work presented is entirely my own. Thomas Day December 2019 II Contents Title Page I Declaration II Contents III Abstract IV Acknowledgements VII List of Figures IX Introduction: Cinema
[Show full text]
242-Newsletter.Pdf
DIRECTING EDITOR: Ted Dodson REvIEws EDITOR: Sara Jane Stoner MAsTHEAD DEsIGN: John Passafiume POETRY PROJECT, Ltd. STAFF DIRECTOR: Stacy Szymaszek MANAGING DIRECTOR: Nicole Wallace PROGRAM MANAGER: Simone White COMMunications AND MEMbERsHIP Coordinator: Laura Henriksen MONDAy NIGHT coordinator: Judah Rubin wEDNEsDAy NIGHT coordinator: Simone White FRIDAy NIGHT Coordinator: Ariel Goldberg TAlk sERIEs coordinator: Andrew Durbin bOOkkEEPER: Carlos Estrada vIDEOGRAPHER: Andrea Cruz ARCHIvIsT: Will Edmiston INTERNs/vOluNTEERs: Mel Elberg, Lesedi Ntsele, Vanessa Funfsinn, Alissa Gold, Phoebe Lifton, Ashleigh Martin, Pali Sharwani, and Batya Rosenblum. bOARD OF DIRECTORs: John S. Hall (President), Katy Lederer (Vice-President), Carol Overby (Treasurer), Jo Ann Wasserman (Secretary), Kristine Hsu, Camille Rankine, Claudia La Rocco, Jonathan Morrill, Todd Colby, Erica Hunt, Elinor Nauen, David Wilk, Laura Nicoll, Adam Fitzgerald FRIENDs COMMITTEE: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Ted Greenwald, Steve Hamilton, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Gillian McCain, Eileen Myles, Patricia Spears Jones, Michel de Konkoly Thege, Greg Masters, Ron Padgett, Bob Holman, Paul Slovak, John Yau, Anne Waldman and Hal Willner FuNDERs: Axe-Houghton Foundation; Committee on Poetry; Dr. Gerald J. & Dorothy R. Friedman Foundation, Inc.; Foundation for Contemporary Arts; Jerome Foundation; Leaves of Grass Fund; Leslie Scalapino – O Books Fund; LitTAP; Poets & Writers, Inc.; Poets for the Planet Fund; Anonymous
[Show full text]