A woman dressed elegantly walks purposely through the water gardens at the Villa d'Este in Tivoli, as the music of Vivaldi's "Winter" movement of "The Four Seasons" plays. Heavy red filters... See full summary »
A dance of shapes. A title card tells us this is an experiment in conveying the mental images of music in a visual form. Liszt's "Second Hungarian Rhapsody" is the music. The shapes, all ... See full summary »
Abstract animation illustrates Edwin Gerschefski's modernist composition. Two dots - one blue and one orange - appear most often, sometimes large, sometimes small, sometimes overlapping. ... See full summary »
Inspired by a lesson from Erik Satie; a film in the form of a street - Castro Street running by the Standard Oil Refinery in Richmond, California ... switch engines on one side and refinery... See full summary »
Arrival in the Bronx is shown with a view from an elevated train as it enters the city. Then follows a montage of sights from the Bronx. Many typical neighborhood activities are shown, along with scenes from many local businesses.
Poems narrate four afternoon vignettes; each protagonist is older than the one in the previous sketch. As a girl skips rope in "Game Little Gladys," she sings a jingle about who she might ... See full summary »
Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery. There are perils: a boy falls, a lion roars. The lyric flights of ... See full summary »
Close up we see pistons move up and down or side to side. Pendulums sway, the small parts of machinery move. Gears drive larger wheels. Gears within gears spin. Shafts turn some mechanism ... See full summary »
A brilliant and evocative account of New York street life of the 1940s
This film if it was directed at all, was 'directed' by the legendary New York writer, screenplay writer, critic and reviewer James Agee. Siegfried Kracauer in his book Theory of Film wrote an evocative appreciation of the film: On the one hand, this film is nothing but a reportage pure and simple; its shots of Harlem scenes are so loosely juxtaposed that they almost give the impression of a random sample. A child behind a window is seen licking the pane; a woman with a terrible face passes by; a young man languidly watches the spectacle in the street; Negro children, intoxicated by their Halloween masks, dance and romp about with complete self-abandon. On the other hand, this reporting job is done with unconcealed compassion for the people depicted: the camera dwells on them tenderly; they are not meant to stand for anything but themselves (Kracauer 203).
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