A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.
I wanted to manipulate light to produce visual compositions in time continuity much as a musician manipulates sound to produce music. It was particularly while I listened to music that I ... 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 »
Brakhage's hand carvings directly into the film emulsions are illuminated and textured by Solomon's lighting and optical printing. The forms are then shaped and edited by Solomon into a ... 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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