We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Uncle Sugar's Flying Cirrus (3 mins, sound) bv Warren Bass. 1970. This film (excppt for the titles) was made without a camera: using aircraft press-tyDe, hole punches, felt pens, film leader, and thirteen images from Picasso's Guernica punched out of 35mm slides and punched into film. Inspiration for the film derived from the 1970 U.S. bombing of Cambodia. Variations on a 7 Second Loop-Painting (6 mins, silent) by Barry Spinello. 1970. This film combines handmade imaees on film and sten-printine and optical manipulation processes. A seven second loop-painting of film is repeatf>d several fimps and then varied in texture and form throueh an optical printer. Memories of War fib mins, sound) bv Pierre Hebert. 1982. Working at the National Film Bnar^ of Canada, Hebert created this richly complex animat-ion that graphically reveals the intolerable dilemnas of poli- tiques and war. A multiplan of animat-ion techniques are used, including free-hand scratching of images onto film, cut-out and eel animation, as well as thp incorporation of live action footage inf> animated scenes through the use of optical printing. Burnt Offering (8 mins, sound) bv David Gerstein. 1976. Recipe: Rolls of 16mm and regular bran color and black&white unexposed film. Bake in o^en for 45 minutes at 350 degrees. Add loops, freeze frames and blurred images with an optical printer. Add sound to taste. Circuit VII (8 mins, sound) by Gil Frishman. 1983. One in a series of eight films dealing with states of consciousness. This film is symbolized by the inevitability of immortality and interspecific symbiosis. -GF Live-action footage is reworked by scratching directly into the photoeranhed imagery frame-by-frame. Bloodlines (4 mins, 1984) by Mark Yellen. 1984. In another example of 'direct' filmmaking techniques. Mark's use of adhesive tape and markers gives a wild organic quality to lines drawn on film. The soundtrack is composed of Haitian street music and orieinal sound effects. Thanks to Mark Yellen for his contribution in formulating this program.