Animators and Films
- In 1912, Italian Futurists Arnaldo Ginna and Bruno Corra discuss their nine abstract films (now lost) in their text Abstract Cinema – Chromatic Music.
- In 1916, American concert pianist Mary Hallock-Greenewalt produced hand-painted film strips, possibly intended for projection in her color organ, Sarabet.
- In 1926 Man Ray created Emak Bakia, which includes sequences made by exposing film directly to light.
- In 1935 Len Lye created the first direct film screened to a general audience, a promotion for the British General Post Office entitled A Colour Box aswell as his movie "Kaleidoscope". Lye and Norman McLaren produced hand-painted films for John Grierson in the GPO Film Unit. Lye went on to create direct films in New York.
- Beginning in 1941, McLaren continued this work at the National Film Board of Canada (NFB), founding the NFB's animation unit. NFB direct films created or co-created by McLaren include Boogie-Doodle (1941), Hen Hop (1942), Begone Dull Care (1949) and Blinkity Blank (1955).
- In 1946, Harry Smith produced hand-painted films in San Francisco which screened at the Art in Cinema series at the San Francisco Museum of Art.
- In 1970, José Antonio Sistiaga exhibited the first feature-length hand-painted film, the silent epic ... era erera baleibu izik subua aruaren ..., in Madrid.
- Stan Brakhage, Mothlight (1963)
- Harry Everett Smith, Profile, Filmography, Bibliography
- Pierre Hébert, Memories of War (1982)
- Cathy Joritz, Negative Man (2 min, 1985)
- Cathy Joritz, "Give AIDS the Freeze" (1 min)
- Bärbel Neubauer
- Richard R. Reeves,www.flickerfilms.ca
- Jürgen Reble / Schmelzdahin
- Wes Southern
- Heide StrangeSky, "Revolver" (2002, 8 min) or "VooDoo Vex" (2001, 4 min)
- Steven Woloshen produced and directed Ditty Dot Comma (2001, 3 min).
Read more about this topic: Drawn-on-film Animation
Famous quotes containing the word films:
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)