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ROBERT bREER:. , . ." ^ ' • ' "■ 01^ & 'new . • Thursday, November 9, 1989 Hurray for a formless film, a non-literary, non-musical, picture film that doesn't tell a story, become an abstract dance, or deliver a message. A film with no escape from the pictures. A film where words are pictures or sounds and skip around the way thoughts do. An experience itself like eating, looking, running, like an object, a tree, buildings, drips, and crashes. A film that instead of making sense is sense. Because it's a picture film it might combine reason and kite flying and torpedoes and golf. People can talk in it. It can turn on and turn blue and turn off. A film on the level of the artist's imagination which stays there. A moral film. A film that looks like the man who made it. Hurray also for the big pink bubble gum cloud, the powdery puff dream of millionaire tuxedo cinema where illusion's illusion. Hurray for wide-screen, big-booble cinema. Hurray for the fake dream that's as real as the long wet french kiss in the balcony. Hurray for movies that we can see are movies and hurray for movies that aren't movies and hurray for style. Hurray for me. —Robert Breer, Film Culture . Winter 1962 RECREATION (1956): 1.5 minutes, color, sound, 16mm. Along with collages of colored paper, a moire pattern, and a piece of typewritten paper. Recreation X uses numerous solid objects of differing degrees of depth: buttons, a mechanical mouse, a Jackknlfe, plastic film reels, a glove, a cat, string, the animator's hand, and most strikingly, a wad of paper expanding after compression ... Noel Burch, who wrote and speaks the run-on punning French speech which accompanies the film like a Dadaist commentary, accurately compared the total impression of this film to the collages of Kurt Schwitters. —P. Adams Sitney, Visionary Film A M^ AND MIS DOG OUT FOR AIR (1957); 3 minutes, b & w, sound, 16mm. I can describe it as a sort of stew: once in a while something recognizable comes to the surface and disappears again. Finally at the end you see the man and his dog, and it's a kind of joke. The title and the bird songs make you expect to see the man and his dog, and it's the absurdity that makes audiences accept what is basically a free play of lines and pure rhythms. —Robert Breer, in an interview with Guy L. Cote, Film Culture . Winter 1962 BREATHING (1963); 5 minutes, b & w, sound, 16mm. Breer's unpredictable lines flow forth naturally with an assurance and a serenity which are the signs of an astonishing felicity. —A. Labarthe, Cahiers du Cinema FIST FIGHT (1964); 11 minutes, color, sound, 16mm. The personal material blends into the animations and fragments without assuming a privileged emphasis. At times it seems as if they were not personal pictures at all, but simply the most convenient photographs for a film intensely determined to explore further ambiguities of stillness and motion, painterly surface and illusory depth. —P. Adams Sitney, Visionary Film