"Dancers move in front of a background made up of crystal formations filmed through a microscope. One of Norman McLaren’s first experimental films." Library and Archives Canada.
"A five minute abstract film using live action, slow motion and shots showing the interplay of lights on coloured paper. Although the film was silent, its accompanying gramophone record married so well that the film was perceived as a sound film" ("McLaren and Grierson: Intersections").
"An amateur experimental film made by Sol Falon and distributed by the Society of Amateur Cinematographers (SAC)." Chicago Film Archives
"Experimental film. A collage film combining found footage (on mixed film stock) with hand-painted stock and hand-scratched stock leader. No readily identifiable locations are shown." (BC Archives)
"The authorship and origins of this unusual film are not clear. Since it was found in the collection of cineaste Oscar C. Burritt [following his death], it is assumed to have been made by him as a precursor (or a response) to the [experimental] film and-, made by his future wife Dorothy Fowler [Burritt]. The Kodachrome stock in the original film has the edge code for 1938; the hidden phrase "Help the people of Denmark" may refer to the Nazi occupation of that country in 1940." (BC Archives)
Available evidence suggests that residue 2 was probably made between 1938 and 1946 in Vancouver. (D.J. Duffy)
"Abstract Patterns is a two-minute abstract film by Sol Falon of Teaneck, N.J. - a beautiful "shorty" of color and design that is fast moving and stimulating" PSA Journal, Nov. 1969, 56; "A short amateur experimental film featuring mid-century paintings from Pablo Picasso, Wassily Kadinsky, Piet Mondrianand Joan Miro. Disributed by the Society of Amateur Cinematographers (SAC)." Chicago Film Archives
"Perhaps the first experimental film made in British Columbia, this short uses found footage, painted and scratched emulsion, negative and reversed images, chaotic camera movements, and holes punched in the frame and filled with other images. Some portions are hand coloured." (British Columbia Archives.)
"The third in Steiner’s trilogy of abstract films, Mechanical Principles (1930), is fascinating and more striking than Surf and Seaweed. It is composed of close-up shots of mechanical gears of different kinds in motion; rather than an examination of a single machine, it is an examination of the different kinds of motion produced by machines. Mechanical Principles emphasizes the tension in such machinery between the constancy of force and repetition on the one hand and the irregularity of shapes, sizes, and motions on the other, " Tepperman, 203.
"Steiner is interested in film’s capacity to invigorate everyday sight, to alert viewers to the simple, magical visual pleasures available in nearly any circumstance. The film is divided into sequences that focus on specific kinds of imagery in and around ocean surf" Scott MacDonald via Light Cone.
"Herbie is an abstract pattern mostly of automobile headlights enough out of focus to cause the viewer to wonder what they are. The judges felt the maker of this film should be commended for synchronizing his sound track to the abstract movements, of the patterns made by the lights" PSA Journal, Aug. 1967, 37.
"Floating, bubbling, revolving, darting, projecting, swirling, blending, forming, superimposing colors upon colors in sync with jazz music. Two numbers of different tempo and patterns, a fantasia of color configuration and music. What can one say about this type of visual and audible accomplishment on film? This will be included in the [prize winning] Package." PSA Journal, Oct. 1962, 34.
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