Essential, integral experimental work from the late 1950s is an incredible dance of montage and super-imposition starring none other than New York City's various bridges, transforming them ... See full summary »
A scene from The Bells (1926) is optically reprinted and edited to Michael Gordon¹s 7 minute composition. A meditation on the fleeting nature of life and love, as seen through the roiling emulsion of an film.
An unscripted cinema verité allowing us a few minutes on what it is like at a Paris park--children playing, going on rides, feeding the animals at a petting zoo, watching a puppet show, etc. We also see men playing cards and croquet.
Clarke parallels the sense of spectacle and the real violence of an actual bullfight with a dance interpretation of the emotional experience, using a distillation of the ritual gestures in ... See full summary »
A balletic meeting between two lovers progresses from a woodland tryst up to the mountain tops.
There are some interesting camera effects with multiple exposures or a vanishing figure. Unlike Clarke's early Dance in the Sun, or her later dance-based films (Four Journeys into Mystic Time), A Moment in Love places cinema uppermost and the dancing second. As the dancers move, so does the camera, becoming almost like a dancer itself. Says Clarke, "I started choreographing the camera as well as the dancers in the frame". At one point, the dancers appear to be suspended in the clouds.
Although an interesting piece, especially for pushing boundaries, it is more contrived than her 'pure dance' shorts, and the dancing is more rigid. It has the feeling of attempting something that is a bit beyond the technology of the time.
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