Offon by Scott Bartlett (1968)
This film’s title is spelled various ways in different sources. Variations include Off-On, Off/On, and Offon. The Canyon Cinema Catalog 3, published in Spring 1972, spells it Offon. However, all film titles in the catalog are spelled in all caps, so the Underground Film Journal has opted to spell it as Offon, also based on the title screen, which is in all caps. Some sources also give a completion year of 1967, but 1968 is correct.
Offon is considered one of the first works to combine film and video together. It was celebrated upon its release for both its technical ingenuity as much as for its artistic integrity.
Over the weekend of May 10th, 1968, Offon screened at the first Yale Film Festival at Yale University, where it was awarded First Prize by judges Annette Michelson, Willard Van Dyke, Bernard Hanson, and Jonas Mekas, who wrote about the festival...
This film’s title is spelled various ways in different sources. Variations include Off-On, Off/On, and Offon. The Canyon Cinema Catalog 3, published in Spring 1972, spells it Offon. However, all film titles in the catalog are spelled in all caps, so the Underground Film Journal has opted to spell it as Offon, also based on the title screen, which is in all caps. Some sources also give a completion year of 1967, but 1968 is correct.
Offon is considered one of the first works to combine film and video together. It was celebrated upon its release for both its technical ingenuity as much as for its artistic integrity.
Over the weekend of May 10th, 1968, Offon screened at the first Yale Film Festival at Yale University, where it was awarded First Prize by judges Annette Michelson, Willard Van Dyke, Bernard Hanson, and Jonas Mekas, who wrote about the festival...
- 7/29/2018
- by Mike Everleth
- Underground Film Journal
Babette Mangolte. © Fleur van Muiswinkel If the name Babette Mangolte doesn’t ring with the same familiarity as such storied French cinematographers as Raoul Coutard and William Lubtchansky, it’s not for lack of innovation or accomplishment. Born in Montmorot in 1941, Mangolte moved to New York in 1970 following a number of years as an assistant cinematographer and apprentice to director Marcel Hanoun. There she quickly integrated herself into the city’s burgeoning experimental cinema scene, befriending luminaries such as Jonas Mekas and Stan Brakhage, and soon after met a 20-year-old Chantal Akerman whom she proceeded to collaborate with on a series of groundbreaking works throughout the mid-70s. Influenced as much by structuralism as the films of the French New Wave, Mangolte and Akerman deftly utilized time and space as cinematic conduits to visually articulate themes of dislocation, alienation, and female autonomy. Their most celebrated work, the landmark feminist dispositif Jeanne Dielman,...
- 3/30/2017
- MUBI
David Humphrey's new work can be seen in solo exhibitions at Fredricks & Freiser, New York, opening November 8, 2012, and at The American University Museum in Washington, DC, opening November 3, 2012.
Bradley Rubenstein: The last time I was at your studio, we were looking at an empty landscape in progress. You said, "This one is just waiting for a protagonist." You were thinking in terms of storytelling -- a part of the picture was the character, another was the set.
David Humphrey: Yes, sometimes the location scout gets ahead of the casting director, who still hasn't received the script. I like thinking of my painting process as an ill-coordinated collaboration, so that more than one role is present within the work, and there's the possibility of a disaster. But that's a different narrative than what appears in the picture, which tends to be relatively simple: owners hang out with their pets,...
Bradley Rubenstein: The last time I was at your studio, we were looking at an empty landscape in progress. You said, "This one is just waiting for a protagonist." You were thinking in terms of storytelling -- a part of the picture was the character, another was the set.
David Humphrey: Yes, sometimes the location scout gets ahead of the casting director, who still hasn't received the script. I like thinking of my painting process as an ill-coordinated collaboration, so that more than one role is present within the work, and there's the possibility of a disaster. But that's a different narrative than what appears in the picture, which tends to be relatively simple: owners hang out with their pets,...
- 10/7/2012
- by bradleyrubenstein
- www.culturecatch.com
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