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Impressioni fiorentine [Florentine Impressions]

Date produced: 1935

Filmmaker(s):

Ubaldo Magnaghi

Description:

"doc. a fantasia"/avant-garde documentary


In a Clock Store

Date produced: 1971

Filmmaker(s):

Christopher T. Leggo

Description:

"In a Clock Store by Christopher Leggo of Berkeley, Calif. Chris has taken the lively musical selection by this title, performed on a Wurlitzer pipe organ, and shot about every imaginable clock there is, timing the action to the music. This 6-minute 16mm film was awarded a Ten Best Medal and the Experimental Film Award" PSA Journal, Nov. 1971, 42.


In the Daytime

Date produced: 1950

Filmmaker(s):

Stanley Fox

Peter Varley

Description:

"An impressionistic portrait of city life during a day off in the summertime, with poetic narration set opposite some very observant and intimate views of Vancouver and its inhabitants. These include numerous street scenes; departure of the passenger ferry 'Hollyburn'; shots of and from Interurban railway and streetcars; sequences on Chinatown, Kitsilano Beach, Stanley Park, Victory Square, and the downtown waterfront; and a glimpse inside a typical beer parlour. The film received honourable mention in the amateur category at the 1950 Canadian Film Awards." (BC Archives)

Opening credit reads: "The Vancouver Branch of the National Film Society presents..."

Additional credits (on 1986 restored version): "Restored 1986 by Dennis J. Duffy for National Film Week '86 in co-operation with Canadian Filmmakers Distribution West and the Provincial Archives of British Columbia. Restoration funded by BC Heritage Trust."


Jazzflections

Date produced: 1969

Filmmaker(s):

Leon Paquette

Description:

Jazzflections is a sound and color blending film by Leon Paquette of Lynn, Mass. It's 2½ minutes of experimenting in how music looks color-wise and shape-wise. It's short enough to be entertaining and yet long enough to let you know how some other guy feels about the sound of music," PSA Journal, Mar. 1970, 44.


Jícama [Jicama]

Date produced: 1970

Filmmaker(s):

Sergio Díaz Zubieta

O. Santos

Description:

"La película realizaba un montaje lúdico al yuxtaponer los mensajes políticos oficiales escritos en las bardas de la ciudad con imágenes o textos que los ironizaban o alteraban su sentido. El título viene de un juego de palabras con el fraseo de las sílabas "Mé-xi-co" / jí-ca-ma", que solían usarse entonces como porra en los partidos de fútbol de la selección nacional" (Vázquez Mantecón, 2012).

"The movie had a playful montage by juxtaposing official political messages written in walls around the city with images or text that ironized them or altered their meaning. The title comes from a word game that played with the phrasing of the syllables "Me-xi-co / ji-ca-ma", a popular chant during the national team soccer games of the time" (Vázquez Mantecón, 2012).


Kaleidoscopio

Date produced: 1946

Filmmaker(s):

Roberto Machado

Description:

"Kaleidoscopio, by Dr. Roberto Machado, is a brilliant and provocative study in abstractions, filmed in its entirety through a kaleidoscope. Dr. Machado's cinematic extension tube, however, is quite obviously not the familiar small toy of one's childhood: in one sequence, delicate human fingers are deployed before the device, while in another a set of colored, kitchen measuring spoons do a gay dance in multiple. The lighting — which traditionally was transmitted only through the base — ranges from that type (through gleaming balls of crushed cellophane) to reflected illumination on an assortment of children's marbles. Billed by its producer as a "film musical," Kaleidoscopio is indeed instinct with strong rhythmic patterns and pulsations. The picture is an exciting and imaginative advance along the ever widening frontiers of personal motion pictures." Movie Makers, Dec. 1946, 471.


Kördüğüm [Deadlock]

Date produced: 1969

Filmmaker(s):

Muammer Özer

Description:

“Ruhi Su ve Rahmi Saltuk türküleri eşliğinde yoksulluk ve emek sömürüsünü ve mücadeleyi, direnişi farklı, ilginç bir kurgu ile anlatmış. 13 dakikalık 1969 yılı koşullarını düşünerek izlemek gerekiyor.” Sinematek.tv: http://sinematek.tv/kordugum-1969-2/ (15 Oct 2019).

“Accompanied by Ruhi Su and Rahmi Saltuk’s folk songs, the film tells the story of poverty, struggle, and resistance in a different way, with an interesting montage. This 13-minute-long film requires audiences to acknowledge the contexts of the year 1969 in viewing.” Sinematek.tv: http://sinematek.tv/kordugum-1969-2/ (15 Oct 2019).


La vie d’Émile Lazo

Date produced: 1938

Filmmaker(s):

Omer Parent

Description:

C’est à l’automne 1937, au retour de l’exposition universelle de Paris, qu’Omer Parent entreprend la réalisation de l’œuvre expérimentale La vie d’Émile Lazo. En réaction directe à la « loi du cadenas » émise par le gouvernement Duplessis, le titre de ce court-métrage réfère au tout premier film visé par cette nouvelle motion censurogène, imposée aux médias : The life of Emile Zola de William Dieterle (1937).

S’il s’agit là du premier film expérimental achevé par Parent, l’œuvre est également issue d’une collaboration amicale au sein de professeurs de l’École des beaux-arts de Québec qui se prêtent au jeu de l’acteur : la sculptrice Sylvia d’Aoust (1902-2004), la dessinatrice Arline Généreux (1897-1987), la graveuse Simone Hudon (1905-1984), le couple Madeleine Des Rosiers (1904-1994) et son mari Jean Paul Lemieux (1904-1990), tous les deux peintres. À cette petite bande — qui fréquente l’éphémère atelier du « Nordet » où le tournage a lieu —, s’ajoute Robert Lapalme (1908-1997), caricaturiste et illustrateur de talent au style immédiatement reconnaissable, seule figure à ne pas occuper alors un poste de professeur. Sorte d’électron libre, Lapalme, en plus de rédiger le scénario du film en écho à sa propre existence, y incarne le rôle d’Émile Lazo. Terminé au printemps 1938, ce film « amateur » porte sur la condition de l’artiste « moderne » vis-à-vis de l’académisme dont il cherche à se libérer.

Peu après sa création, La vie d’Émile Lazo a été projetée à quelques reprises lors de présentations publiques et particulières dont une visait, en 1941, à célébrer l’installation d’Alfred Pellan — meilleur ami de Parent — dans son nouvel atelier. Depuis cette époque, ce film, dont il n’existe que deux copies sur pellicule, est demeuré pour ainsi dire inédit, connu seulement par quelques amateurs et spécialistes. Zoom-out est fier de présenter cette satire, rare et burlesque.

In the autumn of 1937, upon his return from the Paris Universal Exhibition, Omer Parent undertakes the creation of the experimental work "The Life of Emile Lazo". In direct reaction to the "Padlock Law" issued by the Duplessis government, the title of this short movie refers to the very first film targeted by this new censorship motion imposed on the media: William Dieterle's "The Life of Emile Zola" (1937). Completed in the spring of 1938, this "amateur" movie deals with the condition of the "modern" artist in relation to academicism from which he seeks to free himself.

While this is Parent's first experimental work, it is also the result of a friendly collaboration among professors at the École des beaux-arts de Québec who lend themselves to the role of actors: sculptor Sylvia d'Aoust (1902-2004), draughtswoman Arline Généreux (1897-1987), engraver Simone Hudon (1905-1984), the couple Madeleine Des Rosiers (1904-1994) and her husband Jean Paul Lemieux (1904-1990), both painters. A little appart in this small group of artists and professors — who frequents the ephemeral "Nordet" studio where filming takes place— Robert Lapalme (1908-1997), a talented caricaturist and illustrator with a immediately recognizable style, is added. Lapalme, in addition to writing the film's screenplay in echo with his own existence, also plays the role of Émile Lazo.

Shortly after its creation, "The Life of Émile Lazo" was screened a few times during public and private presentations, one of which aimed, in 1941, to celebrate the installation of Alfred Pellan—Parent's best friend—in his new studio. Since then, this rare and burlesque satire, of which only two copies on film exist, has remained virtually unpublished, known only to a few enthusiasts and specialists until fall of 2022 where it was realeased online.


Le parfum de la Dame En Noir = Bir Kadın [A Woman]

Date produced: 1962

Filmmaker(s):

Alp Zeki Heper

Description:

“İlk film çalışmalarını Paris’te gerçekleştiren Heper, Galatasaray Lisesi’nden mezun olduktan sonra önce hukuk okumak için Cenevre’ye gider lakin mutlu olamaz ve okulu bırakarak Fransa’ya geçip, Paris Yüksek Sinema Enstitüsü’de (Institut des Hautes Etudes Cinématographiques – IDHEC) sinema eğitimi almaya başlar. Bu okuldan ‘En İyi Yönetmen’ ünvanı ile mezun olan yönetmen, bu dönem (1963 yılında) gerçekleştirdiği iki kısa filminden ilki olan ‘Bir Kadın’ ile IDHEC, ikinci kısa filmi Şafak ile de hem IDHEC hem de Avusturya Kültür Bakanlığı En İyi Film ödülünü almıştır.” Burak Çevik, Sinematek.tv: http://sinematek.tv/alp-zeki-heper-ve-iki-kisa-filmi-bir-kadin-safak/ (15 November 2019).

“Graduated from Galatasaray Highschool, Heper who first involved in filmmaking in Paris initially went to Geneva to study law. Because he was unhappy in Geneva, he left the law school and went to Paris to study filmmaking at Institut des Hautes Etudes Cinématographiques (IDHEC). He graduated from IDHEC with the award, “the best director.” The two student short films, Bir Kadın and Şafak, made by Heper when he was at IDHEC, received the best film awards from both IDHEC and the Austrian Ministry of Culture. Burak Çevik, Sinematek.tv http://sinematek.tv/alp-zeki-heper-ve-iki-kisa-filmi-bir-kadin-safak/ (15 November 2019).


Life and Death of 9413: a Hollywood Extra, The

Date produced: 1927

Filmmaker(s):

Robert Florey

Slavko Vorkapich

Description:

"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.


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