"Robert Florey and Slavko Vorkapich created one of the most creative (particularly in light of its reputed $97 budget) and bleakest of the early avant-garde films. Photographed by Gregg Toland, who would become best known for his work on "Citizen Kane," the film is the time-worn tale of a movie extra (Jules Raucort) marginalized by one casting director after another until he's seen only as a number symbolically appearing on his forehead. The ultra simplistic sets and props, made of toys and cardboard buildings projected like shadows, help to create intricate German Expressionistic cityscapes reminiscent at times of "Metropolis." " National Film Registry.
"This experimental film by Kenneth Anthony (credited as Ken Anthony) is a twist on the novel The Picture of Dorian Gray by Oscar Wilde. The main character, a young man, has a portrait of himself in a contemporary style. Over the course of the film, images of traditional paintings begin appearing on his body, much to his concern. After he leaves, his female companion is chased by the portrait. As more images appear on his body, the young man decides to destroy the portrait. He fails, however, and turns into a work of contemporary art himself. He is sent to a gallery by the women in the film, all of whom fall in love with the portrait. The final shot indicates that the portrait may come to life" Texas Archive of the Moving Image.
"An amateur film made by and starring the husband and wife duo, John & Evelyn Kibar. The couple visit an art gallery, where John proclaims he can make art just the same. Title cards with dialogue are dispersed throughout the film." Chicago Film Archives
"Animules are imaginary animals which may be constructed from such common materials as wet paper, paste, wire, string, and paint. A class of junior high students show how to make animules. A base of wet newspaper is tied around a thin piece of wire and paper mache is then added and molded to the desired shape. A coat of paste gives a smooth surface which may then be painted. Odds and ends pasted on for decoration" Library and Archives Canada.
"School children are shown how to make two kinds of simple masks using paper and paste" (Catalog of Copyright Entries, 113).
"Mungo Martin demonstrates the making of a Bee Mask. Tony Hunt models the mask and provides a short rendition of the Bee Mask Dance" (Duffy, 140).
This film is also known as Mungo Martin Makes a Mask.
"Coastal people, places and scenery between Vancouver Island and the mainland. Includes footage of Indian villages, pictographs, birds and wildlife, logging operations, other vessels, etc. One sequence shows a Kelly raft of aviation spruce being broken up; another shows logs being unloaded from the log barge 'Monongahela' (formerly the ship 'Balasore', whose figurehead is shown sitting on shore). The B.C. Packers cannery at Quathiaski Cove is shown. Troops arrive at Nanaimo from Vancouver on the 'Princess Victoria' and parade through the streets" British Columbia Archives.
"Cruise on Toketie. Coastal people, places and scenery between Vancouver Island and the mainland. Includes footage of Indian villages, pictographs, birds and wildlife, logging, other vessels, etc. Notably, there are good shots of the abandoned villages of Gwayasdums, Karlukwees, and Mamalilaculla, as well as the burial ground on Klaoitsis Island" British Columbia Archives.
"Coastal people, places and scenery between Vancouver Island and the mainland. Includes footage of Indian villages, pictographs, birds and wildlife, logging operations, other vessels, etc." British Columbia Archives.
"We Are All Artists, traces our experience of the aeshetic in the everyday; it begins by considering the related categories of beauty, art, and craftwork before moving on to suggest some of the many ways that modern art and design have made our world more beautiful. Offering a broad definition of art as any "skillful or purposeful endeavor," the film suggests that we are all artists to the extent that we exercise aesthetic judgement through a range of quotidian activities. The film presents a montage sequence showing a woman cleaning, men painting a wall, a letter being typed, and activities in gardening and pottery and then concludes by proposing that even "exercising the powers of selection" —as in purchasing a hat—makes use of some attributes of the artist" (Tepperman, 237-238).
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