DOCSLIB.ORG

William Moritz and Harry Frazier Collection, 1902-2007 Coll2014.001

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William Moritz and Harry Frazier Collection, 1902-2007 Coll2014.001 http://oac.cdlib.org/findaid/ark:/13030/c89w0jpv No online items Finding Aid to the William Moritz and Harry Frazier Collection, 1902-2007 Coll2014.001 Loni Shibuyama Processing this collection has been funded by a generous grant from the Council on Library and Information Resources. ONE National Gay & Lesbian Archives, USC Libraries, University of Southern California 909 West Adams Boulevard Los Angeles, California 90007 (213) 821-2771 [email protected] Finding Aid to the William Moritz Coll2014.001 1 and Harry Frazier Collection, 1902-2007 Coll2014.001 Language of Material: English Contributing Institution: ONE National Gay & Lesbian Archives, USC Libraries, University of Southern California Title: William Moritz and Harry Frazier collection creator: Moritz, William creator: Frazier, Harry Identifier/Call Number: Coll2014.001 Physical Description: 17.6 Linear Feet3 archive boxes, 6 archive cartons, 3 binder boxes, 6 flat archive boxes, 1 mapcase drawer. Date (inclusive): 1902-2007 Abstract: Personal papers, motion picture history files, photographs, film, video, audiotape, artworks, posters, clothing, and memorabilia, 1902-2007, from film professor and animator William Moritz and actor Harry Frazier. Moritz and Frazier were friends and collaborators on several short films and other creative projects throughout the 1970s-1990s, some of which documented bohemian and hippie gay communities in Los Angeles, as well as the Radical Faeries. Moritz is best known for his expertise on animation and experimental film. However, the majority of this collection documents his other work and interests, including poetry, film history, and the gay liberation movement. The collection also includes personal papers from "Buddha" John Parker and Robert Opel, famous for streaking on stage at the 1974 Academy Awards. Biography Excerpted from the William Moritz biography on the Center for Visual Music website, http://www.centerforvisualmusic.org/Moritz.htm#bio (accessed June 9, 2014): "Dr. William Moritz was a world-renowned expert on animation, experimental film, and visual music, and authored more than 100 articles, chapters, and program notes. His biography on [Oskar] Fischinger, Optical Poetry, is the culmination of 34 years of research and work with the Fischinger Archive. "Born May 6, 1941 in Williams, Arizona, Moritz was raised in Arizona and Southern California. He received his doctorate from the University of Southern California in 1968 (Comparative Literature, minor in Cinema). He began teaching at Occidental College in 1965, and continued teaching film and humanities at institutions including Otis Art Institute, Pitzer College, American University Center (Calcutta, India), UCLA, Art Center College of Design, USC and CalArts. He worked as a researcher and translator for the television show Ripley's Believe It or Not; with the film distributor Creative Film Society; and at radio station KPFK as a film and music critic. He promoted experimental film and visual music through venues like Los Angeles Filmmaker's Cooperative, Theatre Vanguard, and Los Angeles Film Oasis; and was a member of the Visual Music Alliance in the 1980s. "Moritz' own 34 films, both experimental and animation, have screened at museums in Paris, Amsterdam, Stockholm and Tokyo, and venues including Pacific Film Archive, Anthology Film Archive, San Francisco Art Institute, Academy of Fine Arts (the Hague), and Filmforum (Los Angeles). He toured giving poetry readings and had many of his poems published. Two of his plays were produced, including a number of performances of The Midas Well Show. "[Moritz] published widely on animation, visual music, and experimental film[...] He served as president of the Society for Animation Studies, and lectured at film festivals, museums, universities and conferences worldwide. He was actively involved in preservation work on numerous films and received a Film Preservation Award from Anthology Film Archive. He curated film exhibitions and was a guest curator for several art exhibitions, including "The Spiritual in Art" and 'Degenerate Art' at the Los Angeles County Museum of Art. He appeared in television documentaries including the French Paths of Light, the British Abstract Cinema, and the American Camera Three. In 1993, he was honored with a lifetime achievement trophy for service to Visual Music by the Royal Academy of the Netherlands. In 1995, he received an American Film Institute Independent Filmmakers Grant for his film, All My Lost Lovers. He was faculty at California Institute of the Arts, and a member of the Board of Advisors and a founder of the Center for Visual Music. Dr. Moritz died on March 12, 2004 in Mokelumne Hill, California, after a long struggle with cancer." Biography Harry Frazier, born on July 30, 1929 in Elk County, Pennsylvania, was an actor in Los Angeles, whose white beard landed him numerous film and television roles playing Santa Claus. Beginning in the 1960s, Frazier worked regularly in local Shakespeare companies throughout Southern California, including Will Geer's Theatricum Botanicum in Topanga. He also worked as a character actor mostly in television, with guest starring roles on Batman, Cheers, Hill Street Blues, as well as TV movies such as The Elf Who Saved Christmas and its sequal The Elf and the Magic Key. Frazier was also a photographer and amateur experimental filmmaker, and he worked closely with film professor William Moritz on Moritz's short films and theatrical productions. Frazier died of complications from diabetes on May 26, 2007 in Los Angeles. Finding Aid to the William Moritz Coll2014.001 2 and Harry Frazier Collection, 1902-2007 Coll2014.001 Conditions Governing Access The collection is open to researchers. The original films in this collection are deposited in conjunction with the Outfest Legacy Project at the UCLA Film and Television Archive. Advance notice is required for researchers wishing to access these materials. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the ONE Archivist. Permission for publication is given on behalf of ONE National Gay and Lesbian Archives at USC Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained. Researchers wishing to publish or quote from William Moritz materials must seek permission from the Center for Visual Music, which retains the copyright to all materials created by Moritz. Acquisition The bulk of this collection was donated by the Center for Visual Music on March 29, 2007; July 3, 2007; January 17, 2008; June 12, 2008; February 17, 2009; and February 18, 2014. The remaining materials were believed to be donated by William Moritz to the International Gay & Lesbian Archives, date unknown. Preferred Citation [Box/folder #, or item name] William Moritz and Harry Frazier Collection, Coll2014-001, ONE National Gay & Lesbian Archives, USC Libraries, University of Southern California. Processing Information Collection processed by Loni Shibuyama, May 2014. Related Archival Materials William Moritz Collection, Special Collections, Center for Visual Music, Los Angeles, California. Robert Opel Los Angeles Christopher Street West Gay Pride Parade Photographs, Coll2012-145, ONE National Gay & Lesbian Archives, USC Libraries, University of Southern California. Arrangement This collection is arranged in the following series: Series 1. Writings and personal papers Series 2. Motion picture history and photographs Series 3. Personal photographs Series 4. Sound recordings Series 5. Film and video recordings Series 6. Art works and posters Series 7. Objects and clothing Scope and Contents The collection comprises personal papers, motion picture history files, photographs, film, video, audiotape, artworks, posters, clothing, and memorabilia, 1902-2007, from film professor and animator William Moritz and actor Harry Frazier. The bulk of the personal papers includes writings by Moritz, research material, and subject files covering a variety of Moritz's interests such as poetry, literature, performing arts, gay film history, and gay liberation movement. The motion picture history files are Moritz's collection of publicity still photographs and research material on American film history, particularly silent- and studio-era actors. The personal photographs are those of Moritz and Frazier; and Robert Opel and "Buddha" John Parker to a lesser extent. The sound recordings are primarily recordings created for Moritz's unfinished documentary Crown Prince Arcadia, and interviews with Harry Hay and Radical Faeries groups. The bulk of the film reels are productions elements for short films created by Moritz or Frazier, including Call It Maya for Now, Crown Prince Arcadia, and Kissing. The film reels also include home movies of Alaska, gay pride events, Theatricum Botanicum, Radical Faeries gatherings; and interviews with Robert Opel. The bulk of the videocassettes are short films by Frazier, or television shows in which Frazier appeared. The collection also includes personal papers, photographs, and film from Moritz's friends, "Buddha" John Parker and Robert Opel, including documents and posters from Opel's Fey Way Studios. Separated Materials The following have been separated to the ONE Archives library: Allen, Donald, ed. The Selected Poems of Frank O'Hara. New York: Vintage Books, 1974. Busch, Charles. The Tale of the Allergist's Wife and Other Plays. New York: Grove Press, 2001. Finding Aid to the
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College
    Claremont Colleges Scholarship @ Claremont All HMC Faculty Publications and Research HMC Faculty Scholarship 8-1-2012 Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College Recommended Citation Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 This Article is brought to you for free and open access by the HMC Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in All HMC Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Consonance and Dissonance in Visual Music Bill Alves Organised Sound / Volume 17 / Issue 02 / August 2012, pp 114 - 119 DOI: 10.1017/S1355771812000039, Published online: 19 July 2012 Link to this article: http://journals.cambridge.org/abstract_S1355771812000039 How to cite this article: Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 134.173.130.244 on 24 Jul 2014 Consonance and Dissonance in Visual Music BILL ALVES Harvey Mudd College, The Claremont Colleges, 301 Platt Blvd, Claremont CA 91711 USA E-mail: [email protected] The concepts of consonance and dissonance broadly Plato found the harmony of the world in the Pythag- understood can provide structural models for creators of orean whole numbers and their ratios, abstract ideals visual music.
    [Show full text]
  • The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
    EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... ..
    [Show full text]
  • Artists' Statements
    Artists’ stAtements Free PlAy meets GAmePlAy: iGotBand is an experimental video tumultuous and spontaneous, although iGotBAnd, A Video GAme game produced in collaboration with readily carried to unruly excess [2]. For imProVisers four undergraduate Worcester Poly- This is an equally apt definition for free technic Institute students [1]. The improvisation. The essential view of play Joshua Pablo Rosenstock, Department basic mechanic---the game’s system as freedom is important to improvisers, of Humanities and Arts, Worcester Poly- of player actions, causal relationships who associate the act with unfettering technic Institute, 100 Institute Road, and feedback---consists of a series of not only musical but also social and Worcester, MA 01609, U.S.A. E-mail: animated avatars, each of which is political boundaries. Ludus is the <[email protected]>. accompanied by a row of floating col- contrasting impulse of ordered rules, ABSTRACT ored blocks, representing suggested manifest in improvisation within estab- note sequences and corresponding to lished genre boundaries and in the The author presents an experimental musical the game controller’s colored buttons 20th-century literature of instruction- video game called iGotBand. Fans are central to the (Fig. 1). If a player plays the series of based or indeterminate compositions. game’s narrative, capturing a feedback loop in which notes “requested” by a particular avatar, Paradoxically, ludus constraints grant the audience shares responsibility for performance. that avatar is “captured” and becomes a the player agency, allowing choice- Recently, musical video games like “fan.” A fan has a finite attention span making to occur. Guitar Hero have burgeoned in the and will periodically request its own As a formal game, iGotBand typifies pop-cultural zeitgeist.
    [Show full text]
  • 32 Rudolf Pfenninger in His Laboratory with Hand
    Rudolf Pfenninger in his laboratory with hand-drawn sound strips, 1932. Source: Pfenninger Archive, Munich. 32 “Tones from out of Nowhere”: Rudolph Pfenninger and the Archaeology of Synthetic Sound THOMAS Y. LEVIN 4.014 The gramophone record, the musical idea, the written notes, the sound waves, all stand in the same internal representational relationship to one another that obtains between language and the world. —Ludwig Wittgenstein, Tractatus logico-philosophicus (1921) “All-of-a-tremble”: The Birth of Robotic Speech On February 16, 1931, the New York Times ran a story on a curious development that had just taken place in England: “Synthetic Speech Demonstrated in London: Engineer Creates Voice which Never Existed” read the headline.1 The day before, so the article began, “a robot voice spoke for the first time in a darkened room in London . uttering words which had never passed human lips.” According to the accounts of this event in numerous European papers, a young British physi- cist named E.A. Humphries was working as a sound engineer for the British International Film Co. when the studio ran into a serious problem. A synchro- nized sound film (then still quite a novelty) starring Constance Bennett had just been completed in which the name of a rather unsavory criminal character hap- pened to be the same as that of a certain aristocratic British family. This noble clan was either unable or unwilling to countenance the irreducible—even if seemingly paradoxical—polysemy of the proper name (so powerful, perhaps, was the new experience of hearing it actually uttered in the cinema) and threat- ened a libel suit if “their” name was not excised.
    [Show full text]
  • Save Pdf (0.42
    EDITORIAL One hundred years ago in 1912, the art critic Roger effects of sound for the ear. If they were less successful Fry coined the term ‘visual music’ in an attempt to than composers of auditory music,thesolereasonrests describe Wassily Kandinsky’s paintings, generally in the fact that light is harder to manipulate than air’ recognised as the first purely abstract canvases. (Moritz 1986: 1). With today’s technology, light has Connecting Kandinsky’s non-representational art to become as easy to control as air. the similarly abstract nature of music was a way to Our first group of articles approaches visual music explain and interpret this new art form. Within a through the language of music. In ‘From Sonic Art to decade’s time, this analogy was applied to moving Visual Music: Divergences, Convergences, Intersec- images; Augenmusik (eye-music) was one of the terms tions’ Diego Garro presents a new approach for the used by the German absolute film movement of the electroacoustic community to relate to, and engage early 1920s. Today, many definitions of visual music with: the visual music phenomenon. He covers the exist, though perhaps the most useful refers to visuals intersection of the two art forms from technological, composed as if they were music, using musical struc- historical and cultural perspectives, drawing connec- tures. Another definition refers to a visualisation of tions from electroacoustic music to visual music. In music, using the structures of an underlying composi- the next article, Bill Alves focuses on a single rela- tion in a new work. Still more examples of visual music tionship between visuals and music, that of con- include works using manual, mechanical or algorithmic sonance and dissonance, in the appropriately titled means of transcoding sound to image, pieces which article ‘Consonance and Dissonance in Visual Music’.
    [Show full text]
  • ``From Painting to Film: Abstract Cinema and Synaesthesia
    “From Painting to Film: Abstract Cinema and Synaesthesia Marie Rebecchi To cite this version: Marie Rebecchi. “From Painting to Film: Abstract Cinema and Synaesthesia. From Sensation to Synaesthesia in Film and New Media, pp.205-215, 2019. hal-03226469 HAL Id: hal-03226469 https://hal.archives-ouvertes.fr/hal-03226469 Submitted on 14 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. From Sensation to Synaesthesia in Film and New Media From Sensation to Synaesthesia in Film and New Media Edited by Rossella Catanese, Francesca Scotto Lavina and Valentina Valente From Sensation to Synaesthesia in Film and New Media Edited by Rossella Catanese, Francesca Scotto Lavina and Valentina Valente This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Rossella Catanese, Francesca Scotto Lavina, Valentina Valente and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner.
    [Show full text]
  • Film21-2.Chp:Corel VENTURA
    Film History, Volume 21, pp. 164–176, 2009. Copyright © John Libbey Publishing ISSN: 0892-2160. Printed in United States of America ‘Harmonious sensations of sound by means of colors’: vernacular colour abstractions in silent cinema Harmonious sensations of sou nd by means of colors Joshua Yumibe Why should I prefer the colored picture? Yan- essay, I want to use this modernist tradition of colour kee-like I answer ‘Why should you?’ Why do and abstraction as a context for discussing more the poor of a great city spend their small sav- popular or ‘vernacular’ experiments with synaesthe- ings in occasional efforts to get away from the sia in silent cinema. This discussion will focus spe- dull gray monotony of their lives to where they cifically on the work of two technicians: Charles can obtain a glimpse of radiant sea or vari- Francis Jenkins, who designed an early film projector egated woodland? The beauty of nature lays in the 1890s and was one of the first exhibitors of hold of our senses as does the charm of good colour films, and Loyd Jones, who developed a music without our being aware of an effort of number ofcolour technologiesatthe Kodak Research attention; we lose consciousness of ourselves Laboratories. Through this history I will show that a and our bitter thoughts when we are pos- ‘synaesthetic’ approach to colour was not only crucial sessed by the external will; the love of colour- for experimental modes of filmmaking but was also audition seems to be universal. If I am central to how colour in the cinema was thought about mistaken set me down as an impressionist.
    [Show full text]
  • The Dream of Color Music, and Machines That Made It Possible
    Animation World Magazine, Issue 2.1, April 1997 The Dream of Color Music, And Machines That Made it Possible by William Moritz Elfriede Fischinger, Barbara Fischinger and Bill Moritz at a 1996 Lumograph performance at the Goethe Institute in Los Angeles. The dream of creating a visual music comparable to auditory music found its fulfillment in animated abstract films by artists such as Oskar Fischinger, Len Lye and Norman McLaren; but long before them, many people built instruments, usually called "color organs," that would display modulated colored light in some kind of fluid fashion comparable to music. Ancient Greek philosophers, like Aristotle and Pythagoras, speculated that there must be a correlation between the musical scale and the rainbow spectrum of hues. That idea fascinated several Renaissance artists including Leonardo da Vinci (who produced elaborate spectacles for court festivals), Athanasius Kircher (the popularizer of the "Laterna Magica" projection apparatus) and Archimboldo who (in addition to his eerie optical-illusion portraits composed of hundreds of small symbolic objects) produced entertainments for the Holy Roman Emperors in Prague. The Jesuit, Father Louis Bertrand Castel, built an Ocular Harpsichord around 1730, which consisted of a 6-foot square frame above a normal harpsichord; the frame contained 60 small windows each with a different colored-glass pane and a small curtain attached by pullies to one specific key, so that each time that key would be struck, that curtain would lift briefly to show a flash of corresponding color. Enlightenment society was dazzled and fascinated by this invention, and flocked to his Paris studio for demonstrations.
    [Show full text]
  • Oskar Fischinger - Wikipedia, the Free Encyclopedia 1/1/08 9:31 PM
    Oskar Fischinger - Wikipedia, the free encyclopedia 1/1/08 9:31 PM Oskar Fischinger From Wikipedia, the free encyclopedia Oskar Fischinger (22 June 1900, Gelnhausen, Germany — 31 January 1967, Los Angeles) was an abstract animator, filmmaker, and painter. He made over 50 short films, and painted c. 900 canvases which are in museums, galleries and collections worldwide. Among his film works is Motion Painting No. 1 (1947), which is part of the United States National Film Registry. Contents 1 Biography 1.1 Early life 1.2 Early career 1.3 Berlin 1.4 Hollywood 1.5 Lumigraph 2 Further reading 2.1 Notes 3 External links Biography Early life Born in the German town of Gelnhausen, Wilhelm Oskar Fischinger was the fourth of six children. His father ran a drugstore while his mother's family owned a combination brewery, tavern, and bowling alley. At an early age he dabbled in painting, encouraged by the painters who came to capture Gelnhausen's scenery.[1] Also interested in music (he took violin lessons), he apprenticed at an organ-building firm until the owners were drafted into the war. The next year he worked as a draftsman in an architect's office, until he himself was called to duty. He was rejected as being unhealthy, and the Fischinger family moved to west Frankfurt. There Fischinger attended a trade school and worked as an apprentice at a factory, eventually obtaining an engineer's diploma. Early career In Frankfurt he met the theater critic Bernhard Diebold, who in 1921 introduced Fischinger to the work and personage of Walter Ruttmann, a pioneer in abstract film.
    [Show full text]
  • Early 20Th Century Abstract Cinema Immersive
    1 Vol 16 Issue 6 – 7 “RAUMLICHTMUSIK” - produce abstract imagery and screened engineers…it was fantastic. It was a EARLY 20TH CENTURY this in their multiple projector shows giant apparatus, which was played by ABSTRACT CINEMA (and later completed films). Fischinger him and his many assistants. He built in IMMERSIVE ENVIRONMENTS and Belson continued to extend the a special film projector for my films, and Cindy Keefer, Center for Visual Music, boundaries of cinema, projection, that topped everything. Zeiss Ikon in Los Angeles, CA. Email: audience interaction and their own Dresden helped him…it cost unheard of <[email protected]>. consciousness throughout their careers. sums of money and was shown in all the Fischinger (1900-1967) was the most opera houses of Europe…At that time, important and influential filmmaker in Zeiss Ikon developed the unique and Abstract visual music, producing over 50 films wonderful planetarium projectors. For Filmmakers Oskar Fischinger and Jordan Belson created cinematic multimedia experiments from and 800 paintings. He’s recognized as that reason, and also because of the 1926 to 1959; three of these events are predecessors the father of Visual Music, the publicity connected with it, they were to immersive environments: (A) Beginning in 1926, grandfather of music videos, and the very much interested in László’s Fischinger's multiple projector shows combining abstract films, colored light projections, and painted great-grandfather of motion graphics. Spectrum-Piano [Farblichtklavier] and at slides; (B) Fischinger's 1944 (unrealized) concept His films influenced generations of that time they put everything at his for a dome theatre with center film projectors filling the sphere, creating "endless space without filmmakers, animators and artists, even disposal that he could possibly ask for perspective" and (c) Belson and Henry Jacobs’ continuing today.
    [Show full text]
  • Norman Mclaren and Jules Engel: Post-Modernists — Iota 3/4/08 9:47 PM
    Norman McLaren and Jules Engel: Post-Modernists — iota 3/4/08 9:47 PM The iotaCenter Log In Join Abstraction | Animation | Music You are here: iota » Visual Music » Articles » William Moritz Archive » Norman McLaren and Jules Engel: Post- Modernists A Reader in Animation Studies, 1997. iota About Us Our Programs Norman McLaren and Jules Engel: Our Projects Adam Beckett Post-Modernists Jules Engel Dr. William Moritz William Moritz News Store Support iota Of all the great names in animation, Norman McLaren has, paradoxically, suffered most from a kind of critical neglect. Everyone Site Overview acknowledges his genius, but few discuss it. Numerous books and Visual Music articles chronicle his life and describe his works, usually stressing Artist Profiles the inventiveness of his filmic techniques, but rarely do they analyse Techniques his aesthetic qualities and achievements.(1) Articles Offsite Resources Most texts oriented toward animation as a Fine Art - such as the catalog for the massive Film as Film exhibition that toured Germany and England from 1977 until 1979 - ignore McLaren entirely, while Advanced search including Len Lye, Oskar Fischinger, Harry Smith, James Whitney and other animators who are McLaren's peers.(2) Aside from Terence Dobson's splendid paper delivered at the 1989 Society for Animation Studies conference in Los Angeles, which gave a close textual reading of McLaren's film Synchromy in comparison with Oskar Fischinger's Radio Dynamics, the only other serious critical analysis of McLaren's aesthetics comparatively is David Curtis's article "Locating Norman McLaren".(3) Curtis may have written the article in response to the Film as Film exhibition, which excluded McLaren and of which Curtis was the British co-ordinator.
    [Show full text]