15 mi n. by Scot t Bar tl et t
MUSEM OF ART CARNEGI E I NSTI TUTE
THURSDAY MARCH 20, 1980 MOA THEATRE , 3: 00 PM
SERPENT ( 1971)
15 mi n.
by Sc ot t
FL I CKER ( 1966)
30 mi n . by To ny Co nr ad
OUR LADY OF THE SPHERES ( 1969) I AN ACTRESS ( 1976)
10 mi n,
RI VER OF STARS ( 1975)
Ba r t l e t t
10 mi n.
by La r r y J o r d a n
by Ge or ge Ku c h a r
10 mi n.
by Br uc e Mo od
Sc ot t Ba r t l e t t c a me t o pr omi n e n c e i n f i l mma k i n g b y wa y of t el ev i s i on , o r r at her , v i deo i mager y , and t hi s f a c t has ha d an i mp o r t a n t i mpa c t on t he k i nds of f i l ms he has made. The t e c h no l o gy o f v i de o g r a p n i c s i s s uc h t h at t he a r t i s t mu s t hav e c o n s i d er abl e u n d e r s t a n d i n g of t he t ool s he i s wo r k i n g wi t h , and on e of t he v i r t ues o f t he me d i u m i s t h at t h r o ug h t he us e o f t ape t he i mag er y t h at i s c r e a t e d c an be i mme di at e l y e x a mi ned i n p l ay ba c k and i mpr ov ed i f t he a r t i s t wi s hes . The e f f e c t o f bot h of t hes e f a c t or s i s t o e n c o u r a g e p r e c i s i o n i n i mag e- ma k i ng , t o e n c o u r a g e t he r e f i n e me n t of i mager y t o a f i ne poi nt . Ba r t l e t t ' s f i l ms e x h i b i t s uc h a r e f i n e me n t o f i mag er y t o a hi gh degr ee, wh e t h e r v i d e o - g e n e r a t e d or , as. i n hi s l a t e r wo r k , c a me r a - g en er at e d. Thi s i s t he s o ur c e o f t he e x t r e me c l a r i t y t h at mak e s s u c h f i l ms as SERPENT and 1970 s o power f ul . On e get s t he s ens e t h at Ba r t l e t t i s al wa y s i n t ot al c ont r ol o f t he f i l m, t hat he ne v e r f i nds t he c a me r a o b s t r u c t i n g hi s v i s i on. - - R. A. Ha l l e r " The s e r p en t emb o d i us es nat ur al an d e l v i s c er al i mpac t o f f i r e and wat er , n a t
e s t he p r i ec t r oni c i t hi s ma r r i u r e an d c i
ma l : c h a o t i c l i f e f or c e i mag er y t o p a r t i c u l a r i z e a g e o f me t a p h o r s br i n gs v i l i z a t i o n , ex t r e me s of - - Sc o t t Ba r t
n my t h i c s y mbol ogy . SERPENT' t hi s c r e a t i v e f o r c e Th e ab o u t a un i o n o f i r r e c o nc i l ab l es , ho t an d c ol d. " l et t
" THE FL I CKER r e du c e s f i l m t o i t s ul t i ma t e p r i mi t i v e ma t e r i al s , f r ames o f bl a c k and whi t e. As a r es u l t of ex t e n s i v e e x p e r i me n t a t i o n wi t h t h e pr ec ept i on. o f a l t e r n at i n g s er i es o f bl a c k and wh i t e f r ames , wi t h o u t i mages , i t was f o un d po s s i b l e t o c r e a t e a f i l m of un ex p e c t e d p o we r and i nt ens i t y . " At t he begi nn i n g, a wa r n i n g appear s . Be c a u s e r a pi d f l u c t u a t i o n s o f l i gh t at c er t ai n f r equ enc i es c an i n a s mal l p e r c e n t a g e of pe op l e c a u s e p r o f o u n d phy s i o l o gi c a l ef f ec t s , and i n f ac t i nduc es an abnor mal ps y c ho l o gi c a l c o n d i t i o n i n mo s t v i ewer s , i t i s n e c e s s ar y t o ma k e t he au d i e n c e awar e of t he pot ent i al p o we r o f t he ex per i en c e . I n mo s t v i ewer s , t he ma n i f e s t a t i o n s i n c l ud e t he p e r c e p t i o n o f n o n e x i s t a n t c o l o r s a n d mo v i ng f or ms , or ev e n t he a p p e a r a n c e o f c o mp l e t e s c enes , an d a mi l d hy p n o t i c c ondi t i on. " The gr owt h of t he i n t e n s i t y o f t he f i l m i s s l ow, a l l o wi n g t he v i ewer ampl e t i me t o s t udy hi s own r eac t i on s and ps y c ho l o gi c a l s t at e. The d i f f e r e n t pa t t er ns of f r ames of bl ac k and wh i t e f o l l ow a p r o g r a m wh i c h c o n s i s t e n t l y de v e l o ps t he me d i u m of mo d ul at ed l i ght as a c o nt e x t f o r h a r mon i c c o mp os i t i o n. Thus ma n y of t he pa t t er ns s een embod y an a mb i g u i t y of f r eq ue nc y , or t he c o mp l e x c o mb i n a t i o n o f mo r e t han o n e f l i c k er f r equenc y . " Si nc e THE FLI CKER i s t he f i r s t f i l m t o e f f e c t i v e l y c o mp o s e i n a t o t a l l y new medi um, wh i c h l i es bet ween c o nt i n u o u s l i ght and l i ght r h y t hms at l o we r f r eq ue nc i e s , i t i s c o ns i s t e n t wi t h t he t ot al e x p e r i e n c e t hat t he s oun d i s s i mi l a r l y c o mp o s e d i n f r e q uenc i es l y i ng b e l o w t he r ange o f he ar i n g bu t ab ov e t he r ang e of r hy t hm. " Towar d t he end o f t he f i l m, t he e f f e c t i v e i n t e n s i t y i s s l o wl y d e c r ea s e d, s o t hat t he v i ewe r i s eas e d bac k i nt o hi s nor mal r eal i t y . Ex c e p t i n e x t r e me c as e s , t her e ar e no af t er ef f ec t s . " - - no t e s f o r a s h o wi n g at Oe s t e r r e i c h i s c h e s Fi l mmus eum. " Per haps f l i c k e r - c o mp os i t i on s wi l l o n l y be a p p r e c i a t e d pr o p e r l y wh e n p e o p l e a p p e a r who t al k by f l as hi ng t h e i r l i gh t b ul bs at eac h ot he r . " - - To ny Conr ad, Au g u s t 1967
L a r r y J o r d a n b e g a n m a k i n f f i l m s . . . i n t h e e a r l y i c ul at i on i s gr ap hi c ani mat i on. OUR LADY OF THE SPHERE ( and s ev er al of hi s ot h e r f i l ms ) was c o n s t r u c t e d f r om c u t - ou t s o f Vi c t o r i a n e n g r a v i n g s , a pr o c e d u r e wh i c h a l mos t i ne v i t ab l y ge ner at es r adi c al j u x t ap os i t i o ns of s c al e, s pat i al c o nt ex t , an d t he a s s o c i at i v e qual i t i e s of ob j e c t s ( J or dan has s t u d i e d t he c o l l a g e s o f Max Er n s t as a s o ur c e f or hi s t ec hni que) . I n an i n t e r v i e w f r o m 1970, J o r d an s pea k s o f t r y i ng t o c r ea t e a ' l i mbo wo r l d . . . i t ' s no t Pa r a d i s o a n d i t ' s not Pur gat or i o' - i n HAMFAT ASAR and t hi s i dea c o ul d pe r t ai n t o OUR LADY OF THE SPHERE as wel l . J o r d a n c o ns t r uc t s a c o ns i s t e n t s pa t i o- t empor al c o n t e x t i n wh i c h b a c k gr ou nd s , ob j e c t s , and huma n f i gur es f l oat i n an d out , i n t e r a c t wi t h e a c h ot he r , un der go t r an s f o r ma t i o n s , and di s appear . Si t n ey has c o mme n t e d on t he f r a g i l i t y an d e v a n e s c e n t qu al i t y o f J o r d an ' s i mages . Th ey c ont ai n, as wel l , v ague t h r e ad s o f n a r r at i v e c o n t i n u i t y and h a l f - u n d e r s t o o d a s s o c i a t i v e c onnec t i ons . Wh i l e i n no wa y pu t t o g e t h e r by a p s y c h o a n a l y t i c f o r mul a, t he f l ow of i mages s ug g es t e x p l o r a t i o n s of a s u b c o n s c i o u s s t at e s u bj e c t t o i n t e r p r e t a t i v e anal y s i s . " . . . De s pi t e t he f a c t t h at mo s t of t he i mage c o n d e n s a t i o n s r ema i n he r met i c and opaque, J o r d an ma i n t a i n s c o n v en t i on s s uc h as ma t c h i n g s c r e en d i r e c t i o n an d v e l o c i t y as he dev e l ops mo t i f s and t h emat i c pat t er ns . Th e s pher i c al f or ms - c l oc k s , c o mp as s e s , b a l l oons , pl anet s - r el a t e t o t he t hemes o f s u s p e n s i o n ( bot h t empor al an d s pat i al ) and s ubmer s i on. Re c u r r en t i mag e- f r a g me n t s s uc h as a f l ower , a s u i t c as e, t he f i gu r e of At l as , s u gge s t a t d i f f e r e n t t i mes t r a n s i e n c y and t he t as k o f t he s ear c h. Th e s e e l e me n t s ar e r e i n f o r c e d by r api d c h an ge s i n c o l o r t i n t i n g ( t he d o mi n a n t c o l o r s ar e r ed, y e l l o w, l i gh t bl ue, and j a de gr een) and by t he s o u n d t r a c k - wh i c h j u x t ap os es har p mus i c , an d el ec t r o n i c buz z , ani mal s o unds , r u nn i n g wa t e r , et c . Th e r e ar e s u p e r i mpos i t i ons , a n d s ev er al v a r i et i e s o f c a me r a mo v e me n t wh i c h, i n c o mb i n a t i o n , pr o duc e a s t r ong f e el i n g o f l ay er ed, a mo r p h o u s l y mo b i l e dept h. I n o n e s ens e, t he s t r a t eg i es e mpl oy ed her e wo u l d s e e m t o c o n f o r m wi t h t he i l l u s i o n - p r o d u c i n g / i l l u s i o n - d e n y i n g a e s t he t i c of o t h e r f i l ms . . . . J o r d a n ' s v i s i on, ho we v e r , i s mo r e d i r e c t e d at t he me t a phy s i c al t han t he c onc r et e. I t i s t r ue t h at OUR L ADY OF THE SPHERE gr an t s an a wa r e nes s of t he s i ng l e f r ame as a uni t o f f i l mi c s t r u c t u r e an d t h a t . t h e d i s j un c t i o n b e t ween s t at i c ba c k g r o u n d s an d a n i ma t e d f i gur es c al l s a t t e n t i o n t o t he f l at nes s of t he s c r ee n sur f ace* , i t i s t o t he t r a n s c e n d e n c e f o t h e s e l i mi t a t i o n s t h at t he f i l m i s addr es s ed. " - - Paul S. Ar t hur , i n A Hi s t o r y of t he Ame r i c an Av a n t - Ga r d e Ci n e ma .
" I , AN ACTRESS e a s i l y s t an ds up t o Ge or ge ' s o t h e r t wo ma j o r 1 6 mm f i l ms , HOLD ME WHI LE I ' M NAKED an d THE DEVI L' S CLEAVAGE. For mal l y , i t i s t he t i gh t e s t , mo s t s p ar e f i l m y et . Ta k i ng pl ac e wi t h i n one r oom, wi t h o n l y t wo ac t or s , Ku c h a r h i ms e l f pl ay s a d i r ec t o r c o ac hi ng a y o u n g ac t r es s i n a l ov e s c en e wi t h a p r e c a r i o u s l y c o n s t r u c t e d du m my. Ac t u al l y , t her e i s a t hi r d per f or me r , Th a t i s t he c a me r a i t s e l f wh i c h we av e s i n and o u t of f oc us t h r o u g h o u t t he s c en e wh i l e g r a d u a l l y wi d e n i n g a n d pu l l i n g ba c k i t s angl e of v i s i on. Th es e day s , Ku c h a r i s i n v o l v ed i n a c o mp l e x e x p l o r a t i o n of l i g ht i ng an d i n I , AN ACTRESS he e x t e n d s t he s o f t - f oc us ed , s c r i mme d ef f ec t s us ed by Ho l l y wo o d on f e ma l e s t ar s of t he 3 0 ' s and 4 0 ' s t o pl ai n o u t - o f - f o c u s , t hus r ai s i n g t he qu e s t i o n o f c a me r a pr e s e n c e i n a mo r e s u s t a i n e d v/ ay t han he has pr ev i ous l y . " The f i l m i s p r ob ab l y as p r o f o u n d a s t u d y o f a p p e a r a n c e a n d p e r f o r ma n c e as i s Genet ' s Th e Ma i d s - - - I t goes wi t h o u t s a y i n g t h at t he f i l m i s h y s t e r i c a l l y and p a i n f u l l y f unny . " - - Amy Ta ub i n , So ho We e k l y Mews , 5/ 12/ 77 RI VER OF STARS r ef l ec t s my c l o s e i n v o l v e me n t wi t h t he wo r k of t he a b s t r a c t e x p r e s s i oni s t s , and wi t h or i ent al l a nd s c ap e and c a l l i g r a p h i c l i ne. For s ev er al y e ar s , I hav e been c o n c e r n e d wi t h t r a n s l at i n g ' s t i l l ' c o mp os i t i o na l e l emen t s i nt o t he r ea l m of t i me an d mot i on. RI VER OF STARS i s t he c r e a t i v e r e s u l t o f t h at c onc er n. - - Br u c e Wo od Pr oj ec t ed, Br u c e Wood ' s f i l ms ge n e r a t e a f l ui d s t r e a m of or ga ni c i mages i n a c a r e f ul l y c o n t r o l l e d p o s t - c u b i s t s p a c e c o mp a r a b l e t o t he wo r k o f pa i n t e r s l i k e J a c k s o n Pol l oc k . Vi ewed one f r ame at a t i me ( whi c h i s t he wa y mu c h o f t he f o ot ag e i s s hot ) , t hey r ec al l t he r i c h l i nes an d t e x t ur es o f s uc h ma s t e r et c h er s as Rembr ant . Wood' s us e of c amer a mo v e me n t du r i ng t he e x p o s u r e o f eac h i ndi v i dual f r ame - l i k e dr awi ng t og e t h er wi t h t he i l l u s i on o f mo v e me n t i n p r o j e c t i o n ma k e hi s f i l ms bo t h beaut i f ul and uni que. - - Bi l l J u ds on
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THURSDAY MARCH 20, 1980 MOA THEATRE , 3: 00 PM
SERPENT ( 1971)
15 mi n.
by Sc ot t
FL I CKER ( 1966)
30 mi n . by To ny Co nr ad
OUR LADY OF THE SPHERES ( 1969) I AN ACTRESS ( 1976)
10 mi n,
RI VER OF STARS ( 1975)
Ba r t l e t t
10 mi n.
by La r r y J o r d a n
by Ge or ge Ku c h a r
10 mi n.
by Br uc e Mo od
Sc ot t Ba r t l e t t c a me t o pr omi n e n c e i n f i l mma k i n g b y wa y of t el ev i s i on , o r r at her , v i deo i mager y , and t hi s f a c t has ha d an i mp o r t a n t i mpa c t on t he k i nds of f i l ms he has made. The t e c h no l o gy o f v i de o g r a p n i c s i s s uc h t h at t he a r t i s t mu s t hav e c o n s i d er abl e u n d e r s t a n d i n g of t he t ool s he i s wo r k i n g wi t h , and on e of t he v i r t ues o f t he me d i u m i s t h at t h r o ug h t he us e o f t ape t he i mag er y t h at i s c r e a t e d c an be i mme di at e l y e x a mi ned i n p l ay ba c k and i mpr ov ed i f t he a r t i s t wi s hes . The e f f e c t o f bot h of t hes e f a c t or s i s t o e n c o u r a g e p r e c i s i o n i n i mag e- ma k i ng , t o e n c o u r a g e t he r e f i n e me n t of i mager y t o a f i ne poi nt . Ba r t l e t t ' s f i l ms e x h i b i t s uc h a r e f i n e me n t o f i mag er y t o a hi gh degr ee, wh e t h e r v i d e o - g e n e r a t e d or , as. i n hi s l a t e r wo r k , c a me r a - g en er at e d. Thi s i s t he s o ur c e o f t he e x t r e me c l a r i t y t h at mak e s s u c h f i l ms as SERPENT and 1970 s o power f ul . On e get s t he s ens e t h at Ba r t l e t t i s al wa y s i n t ot al c ont r ol o f t he f i l m, t hat he ne v e r f i nds t he c a me r a o b s t r u c t i n g hi s v i s i on. - - R. A. Ha l l e r " The s e r p en t emb o d i us es nat ur al an d e l v i s c er al i mpac t o f f i r e and wat er , n a t
e s t he p r i ec t r oni c i t hi s ma r r i u r e an d c i
ma l : c h a o t i c l i f e f or c e i mag er y t o p a r t i c u l a r i z e a g e o f me t a p h o r s br i n gs v i l i z a t i o n , ex t r e me s of - - Sc o t t Ba r t
n my t h i c s y mbol ogy . SERPENT' t hi s c r e a t i v e f o r c e Th e ab o u t a un i o n o f i r r e c o nc i l ab l es , ho t an d c ol d. " l et t
" THE FL I CKER r e du c e s f i l m t o i t s ul t i ma t e p r i mi t i v e ma t e r i al s , f r ames o f bl a c k and whi t e. As a r es u l t of ex t e n s i v e e x p e r i me n t a t i o n wi t h t h e pr ec ept i on. o f a l t e r n at i n g s er i es o f bl a c k and wh i t e f r ames , wi t h o u t i mages , i t was f o un d po s s i b l e t o c r e a t e a f i l m of un ex p e c t e d p o we r and i nt ens i t y . " At t he begi nn i n g, a wa r n i n g appear s . Be c a u s e r a pi d f l u c t u a t i o n s o f l i gh t at c er t ai n f r equ enc i es c an i n a s mal l p e r c e n t a g e of pe op l e c a u s e p r o f o u n d phy s i o l o gi c a l ef f ec t s , and i n f ac t i nduc es an abnor mal ps y c ho l o gi c a l c o n d i t i o n i n mo s t v i ewer s , i t i s n e c e s s ar y t o ma k e t he au d i e n c e awar e of t he pot ent i al p o we r o f t he ex per i en c e . I n mo s t v i ewer s , t he ma n i f e s t a t i o n s i n c l ud e t he p e r c e p t i o n o f n o n e x i s t a n t c o l o r s a n d mo v i ng f or ms , or ev e n t he a p p e a r a n c e o f c o mp l e t e s c enes , an d a mi l d hy p n o t i c c ondi t i on. " The gr owt h of t he i n t e n s i t y o f t he f i l m i s s l ow, a l l o wi n g t he v i ewer ampl e t i me t o s t udy hi s own r eac t i on s and ps y c ho l o gi c a l s t at e. The d i f f e r e n t pa t t er ns of f r ames of bl ac k and wh i t e f o l l ow a p r o g r a m wh i c h c o n s i s t e n t l y de v e l o ps t he me d i u m of mo d ul at ed l i ght as a c o nt e x t f o r h a r mon i c c o mp os i t i o n. Thus ma n y of t he pa t t er ns s een embod y an a mb i g u i t y of f r eq ue nc y , or t he c o mp l e x c o mb i n a t i o n o f mo r e t han o n e f l i c k er f r equenc y . " Si nc e THE FLI CKER i s t he f i r s t f i l m t o e f f e c t i v e l y c o mp o s e i n a t o t a l l y new medi um, wh i c h l i es bet ween c o nt i n u o u s l i ght and l i ght r h y t hms at l o we r f r eq ue nc i e s , i t i s c o ns i s t e n t wi t h t he t ot al e x p e r i e n c e t hat t he s oun d i s s i mi l a r l y c o mp o s e d i n f r e q uenc i es l y i ng b e l o w t he r ange o f he ar i n g bu t ab ov e t he r ang e of r hy t hm. " Towar d t he end o f t he f i l m, t he e f f e c t i v e i n t e n s i t y i s s l o wl y d e c r ea s e d, s o t hat t he v i ewe r i s eas e d bac k i nt o hi s nor mal r eal i t y . Ex c e p t i n e x t r e me c as e s , t her e ar e no af t er ef f ec t s . " - - no t e s f o r a s h o wi n g at Oe s t e r r e i c h i s c h e s Fi l mmus eum. " Per haps f l i c k e r - c o mp os i t i on s wi l l o n l y be a p p r e c i a t e d pr o p e r l y wh e n p e o p l e a p p e a r who t al k by f l as hi ng t h e i r l i gh t b ul bs at eac h ot he r . " - - To ny Conr ad, Au g u s t 1967
L a r r y J o r d a n b e g a n m a k i n f f i l m s . . . i n t h e e a r l y i c ul at i on i s gr ap hi c ani mat i on. OUR LADY OF THE SPHERE ( and s ev er al of hi s ot h e r f i l ms ) was c o n s t r u c t e d f r om c u t - ou t s o f Vi c t o r i a n e n g r a v i n g s , a pr o c e d u r e wh i c h a l mos t i ne v i t ab l y ge ner at es r adi c al j u x t ap os i t i o ns of s c al e, s pat i al c o nt ex t , an d t he a s s o c i at i v e qual i t i e s of ob j e c t s ( J or dan has s t u d i e d t he c o l l a g e s o f Max Er n s t as a s o ur c e f or hi s t ec hni que) . I n an i n t e r v i e w f r o m 1970, J o r d an s pea k s o f t r y i ng t o c r ea t e a ' l i mbo wo r l d . . . i t ' s no t Pa r a d i s o a n d i t ' s not Pur gat or i o' - i n HAMFAT ASAR and t hi s i dea c o ul d pe r t ai n t o OUR LADY OF THE SPHERE as wel l . J o r d a n c o ns t r uc t s a c o ns i s t e n t s pa t i o- t empor al c o n t e x t i n wh i c h b a c k gr ou nd s , ob j e c t s , and huma n f i gur es f l oat i n an d out , i n t e r a c t wi t h e a c h ot he r , un der go t r an s f o r ma t i o n s , and di s appear . Si t n ey has c o mme n t e d on t he f r a g i l i t y an d e v a n e s c e n t qu al i t y o f J o r d an ' s i mages . Th ey c ont ai n, as wel l , v ague t h r e ad s o f n a r r at i v e c o n t i n u i t y and h a l f - u n d e r s t o o d a s s o c i a t i v e c onnec t i ons . Wh i l e i n no wa y pu t t o g e t h e r by a p s y c h o a n a l y t i c f o r mul a, t he f l ow of i mages s ug g es t e x p l o r a t i o n s of a s u b c o n s c i o u s s t at e s u bj e c t t o i n t e r p r e t a t i v e anal y s i s . " . . . De s pi t e t he f a c t t h at mo s t of t he i mage c o n d e n s a t i o n s r ema i n he r met i c and opaque, J o r d an ma i n t a i n s c o n v en t i on s s uc h as ma t c h i n g s c r e en d i r e c t i o n an d v e l o c i t y as he dev e l ops mo t i f s and t h emat i c pat t er ns . Th e s pher i c al f or ms - c l oc k s , c o mp as s e s , b a l l oons , pl anet s - r el a t e t o t he t hemes o f s u s p e n s i o n ( bot h t empor al an d s pat i al ) and s ubmer s i on. Re c u r r en t i mag e- f r a g me n t s s uc h as a f l ower , a s u i t c as e, t he f i gu r e of At l as , s u gge s t a t d i f f e r e n t t i mes t r a n s i e n c y and t he t as k o f t he s ear c h. Th e s e e l e me n t s ar e r e i n f o r c e d by r api d c h an ge s i n c o l o r t i n t i n g ( t he d o mi n a n t c o l o r s ar e r ed, y e l l o w, l i gh t bl ue, and j a de gr een) and by t he s o u n d t r a c k - wh i c h j u x t ap os es har p mus i c , an d el ec t r o n i c buz z , ani mal s o unds , r u nn i n g wa t e r , et c . Th e r e ar e s u p e r i mpos i t i ons , a n d s ev er al v a r i et i e s o f c a me r a mo v e me n t wh i c h, i n c o mb i n a t i o n , pr o duc e a s t r ong f e el i n g o f l ay er ed, a mo r p h o u s l y mo b i l e dept h. I n o n e s ens e, t he s t r a t eg i es e mpl oy ed her e wo u l d s e e m t o c o n f o r m wi t h t he i l l u s i o n - p r o d u c i n g / i l l u s i o n - d e n y i n g a e s t he t i c of o t h e r f i l ms . . . . J o r d a n ' s v i s i on, ho we v e r , i s mo r e d i r e c t e d at t he me t a phy s i c al t han t he c onc r et e. I t i s t r ue t h at OUR L ADY OF THE SPHERE gr an t s an a wa r e nes s of t he s i ng l e f r ame as a uni t o f f i l mi c s t r u c t u r e an d t h a t . t h e d i s j un c t i o n b e t ween s t at i c ba c k g r o u n d s an d a n i ma t e d f i gur es c al l s a t t e n t i o n t o t he f l at nes s of t he s c r ee n sur f ace* , i t i s t o t he t r a n s c e n d e n c e f o t h e s e l i mi t a t i o n s t h at t he f i l m i s addr es s ed. " - - Paul S. Ar t hur , i n A Hi s t o r y of t he Ame r i c an Av a n t - Ga r d e Ci n e ma .
" I , AN ACTRESS e a s i l y s t an ds up t o Ge or ge ' s o t h e r t wo ma j o r 1 6 mm f i l ms , HOLD ME WHI LE I ' M NAKED an d THE DEVI L' S CLEAVAGE. For mal l y , i t i s t he t i gh t e s t , mo s t s p ar e f i l m y et . Ta k i ng pl ac e wi t h i n one r oom, wi t h o n l y t wo ac t or s , Ku c h a r h i ms e l f pl ay s a d i r ec t o r c o ac hi ng a y o u n g ac t r es s i n a l ov e s c en e wi t h a p r e c a r i o u s l y c o n s t r u c t e d du m my. Ac t u al l y , t her e i s a t hi r d per f or me r , Th a t i s t he c a me r a i t s e l f wh i c h we av e s i n and o u t of f oc us t h r o u g h o u t t he s c en e wh i l e g r a d u a l l y wi d e n i n g a n d pu l l i n g ba c k i t s angl e of v i s i on. Th es e day s , Ku c h a r i s i n v o l v ed i n a c o mp l e x e x p l o r a t i o n of l i g ht i ng an d i n I , AN ACTRESS he e x t e n d s t he s o f t - f oc us ed , s c r i mme d ef f ec t s us ed by Ho l l y wo o d on f e ma l e s t ar s of t he 3 0 ' s and 4 0 ' s t o pl ai n o u t - o f - f o c u s , t hus r ai s i n g t he qu e s t i o n o f c a me r a pr e s e n c e i n a mo r e s u s t a i n e d v/ ay t han he has pr ev i ous l y . " The f i l m i s p r ob ab l y as p r o f o u n d a s t u d y o f a p p e a r a n c e a n d p e r f o r ma n c e as i s Genet ' s Th e Ma i d s - - - I t goes wi t h o u t s a y i n g t h at t he f i l m i s h y s t e r i c a l l y and p a i n f u l l y f unny . " - - Amy Ta ub i n , So ho We e k l y Mews , 5/ 12/ 77 RI VER OF STARS r ef l ec t s my c l o s e i n v o l v e me n t wi t h t he wo r k of t he a b s t r a c t e x p r e s s i oni s t s , and wi t h or i ent al l a nd s c ap e and c a l l i g r a p h i c l i ne. For s ev er al y e ar s , I hav e been c o n c e r n e d wi t h t r a n s l at i n g ' s t i l l ' c o mp os i t i o na l e l emen t s i nt o t he r ea l m of t i me an d mot i on. RI VER OF STARS i s t he c r e a t i v e r e s u l t o f t h at c onc er n. - - Br u c e Wo od Pr oj ec t ed, Br u c e Wood ' s f i l ms ge n e r a t e a f l ui d s t r e a m of or ga ni c i mages i n a c a r e f ul l y c o n t r o l l e d p o s t - c u b i s t s p a c e c o mp a r a b l e t o t he wo r k o f pa i n t e r s l i k e J a c k s o n Pol l oc k . Vi ewed one f r ame at a t i me ( whi c h i s t he wa y mu c h o f t he f o ot ag e i s s hot ) , t hey r ec al l t he r i c h l i nes an d t e x t ur es o f s uc h ma s t e r et c h er s as Rembr ant . Wood' s us e of c amer a mo v e me n t du r i ng t he e x p o s u r e o f eac h i ndi v i dual f r ame - l i k e dr awi ng t og e t h er wi t h t he i l l u s i on o f mo v e me n t i n p r o j e c t i o n ma k e hi s f i l ms bo t h beaut i f ul and uni que. - - Bi l l J u ds on
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