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Bruce Conner - BREAKAWAY - Art + Music - MOCAtv
Dennis Hopper has described the experience of seeing Bruce Conner's A MOVIE (1958) like lifting the veil from his eyes, an associative blur of images that would go on to influence the infamous acid trip scene in his film Easy Rider. Years later, Hopper recalls, he and Dean Stockwell held the lights for Conner as he filmed Toni Basil dancing for BREAKAWAY (1966), the short film set to her song of the same name. A rare example of a Bruce Conner musical film containing all original photography, what makes the film unquestionably Conner is his frenetic editing and the evanescence of his subject, a spirit flickering in celluloid. The flashes of figure would reappear in Conner's sculptural photograms such as "Sound of Two Hand Angel" (1974).
Director: Chris Green.
Producer: Matthew Shattuck. ...
published: 01 Oct 2013
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Bruce Conner: It’s All True
Bruce Conner was many things, among them a filmmaker, a mixed-media artist, a Beat, a punk, and a notorious prankster. In this collage of rare archival footage, Bruce Conner discusses how, as an artist, he can’t be pinned down and doesn’t want to be. Decades after his groundbreaking work first appeared, it’s still all true.
published: 26 Oct 2016
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Bruce Conner - MONGOLOID - Art + Music - MOCAtv
It may have been an unusual sight—an elder statesmen from the Beat Generation hanging out at Mabuhay Gardens at the height of punk, taking pictures of bands like Negative Trend and slam dancing with teenagers. But Bruce Conner was restless and the energy of punk invigorated him. For MONGOLOID (1978), the short film Conner began preparing after seeing Devo on their first tour, Conner spliced together newsreel, educational, and b-movie footage which resonated with their satirical lyrics about an underdeveloped man-child determined to fit into and positively contribute to mainstream American society. Gerald Casale discusses meeting Conner in Los Angeles and finding political and aesthetic common ground with Dada and Constructivism.
Director: Chris Green.
Producer: Matthew Shattuck.
Execut...
published: 02 Oct 2013
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Bruce Conner - MEA CULPA - Art + Music - MOCAtv
One of two short films Bruce Conner made for Brian Eno and David Byrne's My Life in the Bush of Ghosts—a defining work of musical assemblage—MEA CULPA (1981) comes near the end of Conner's active filmmaking career. Compared to his earlier works, the film is slower and more considered, perhaps even tranquil, as Conner transforms elements of industrial and scientific footage into graphic abstractions before setting them adrift in space, gliding to the song's sinister, percolating beat. In their purity of form, and in Conner's contentedness to let the objects be, the film recalls the rhythmic compositions of Hans Richter from a generation earlier.
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm...
published: 03 Oct 2013
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Bruce Conner - Intro / THREE SCREEN RAY - Art + Music - MOCAtv
It's been said that MTV owes Bruce Conner a paycheck. Decades before music videos were part of popular culture, the experimental filmmaker pioneered techniques of non-narrative montage and high-speed editing, cutting thousands of images to a pop music soundtrack.
THREE SCREEN RAY (2006) is a reimagined and expanded version of his seminal COSMIC RAY (1961), a literal cinematic slot machine where three reels of images meet and diverge and meet again. Influenced as much by the methodologies of assemblage as the kineticism of abstract expressionism, Conner cuts together images of sex, war, dancing, and cinema itself, before abrading and abusing the reel. The result is an explosive collage and a reflexive comment on the power of film and media.
Director: Chris Green.
Producer: Matthew Shatt...
published: 30 Sep 2013
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Bruce Conner's 'Report' | Video Essay
video essay for bruce conner's 'report'
for everyone asking or anyone wondering: i did this for a school project in 2015, my teacher gave me the film on a jump drive which i no longer have. sorry.
published: 27 Apr 2015
-
Video Essay A MOVIE Bruce Conner
After watching Bruce Conner’s A MOVIE for the first time I was emotionally shaken up. Despite the comic-relief that Conner provides, the images that come from real-life footage can have a great impact because there is no escape to a fictional world and that makes it very confronting. This essay briefly touches on the origins and foundations of collage film. Using Wees' article, it then tries to explain the differences between collage, compilation and appropriation. The essay visualises the ‘nuclear mushroom cloud example’ as given by Wees in his article. It also brings more examples to the table about the avant-garde way that Conner uses his techniques in A MOVIE and the implications this has on the viewer’s perception and experience of the film. The arguments are supported by footage from...
published: 11 Jun 2019
5:35
Bruce Conner - BREAKAWAY - Art + Music - MOCAtv
Dennis Hopper has described the experience of seeing Bruce Conner's A MOVIE (1958) like lifting the veil from his eyes, an associative blur of images that would...
Dennis Hopper has described the experience of seeing Bruce Conner's A MOVIE (1958) like lifting the veil from his eyes, an associative blur of images that would go on to influence the infamous acid trip scene in his film Easy Rider. Years later, Hopper recalls, he and Dean Stockwell held the lights for Conner as he filmed Toni Basil dancing for BREAKAWAY (1966), the short film set to her song of the same name. A rare example of a Bruce Conner musical film containing all original photography, what makes the film unquestionably Conner is his frenetic editing and the evanescence of his subject, a spirit flickering in celluloid. The flashes of figure would reappear in Conner's sculptural photograms such as "Sound of Two Hand Angel" (1974).
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm.
Director of Photography: Curtis Tamm, Peter Kirby, Kaitlin Dixon, Kevin Southworth.
Assistant Camera: Eugenia Barbuc, Morgan Kessler.
Music Clearances: Colby Trane.
Interviews: Toni Basil, Bruce Jenkins.
Film: BREAKAWAY by Bruce Conner (1966, 16mm, b&w/sound, 5 minutes) Courtesy and (c) Conner Family Trust. Pas De Trois by Dean Stockwell (1964, 16mm, b&w, 8 minutes) Courtesy of Dean Stockwell.
Audio: Dennis Hopper Recording Courtesy of UCLA Film & Television Archive.
Photography: (c) Conner Family Trust/ Artists Rights Society (ARS), New York. (c) Dennis Hopper, The Dennis Hopper Art Trust. (c) The Getty Research Institute, Los Angeles.
Music: "Breakaway" Written by Ed Cobb, Performed by Toni Basil, Published by Embassy Music Corporation (BMI), Courtesy of A&M Records, Under license from Universal Music Enterprises.
Special Thanks: Conner Family Trust, MOCAtv, Emma Reeves, John Toba, Jean Conner, Michelle Silva, Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Todd Wiener, Terry Riley, Dean Stockwell, Robert Matheu, Hugh Brown, Mills Moran, Karl Puchlik, School of the Art Institute of Chicago, UCLA Film & Television Archive, USC School of Cinematic Arts, The Dennis Hopper Art Trust, The Getty Research Institute, Michael Kohn Gallery, Artists Rights Society, OHWOW Gallery.
Dedicated to Bruce Conner, November 18, 1933 - July 7, 2008.
Produced by Dissident Industries Inc.
www.dissidentusa.com
https://wn.com/Bruce_Conner_Breakaway_Art_Music_Mocatv
Dennis Hopper has described the experience of seeing Bruce Conner's A MOVIE (1958) like lifting the veil from his eyes, an associative blur of images that would go on to influence the infamous acid trip scene in his film Easy Rider. Years later, Hopper recalls, he and Dean Stockwell held the lights for Conner as he filmed Toni Basil dancing for BREAKAWAY (1966), the short film set to her song of the same name. A rare example of a Bruce Conner musical film containing all original photography, what makes the film unquestionably Conner is his frenetic editing and the evanescence of his subject, a spirit flickering in celluloid. The flashes of figure would reappear in Conner's sculptural photograms such as "Sound of Two Hand Angel" (1974).
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm.
Director of Photography: Curtis Tamm, Peter Kirby, Kaitlin Dixon, Kevin Southworth.
Assistant Camera: Eugenia Barbuc, Morgan Kessler.
Music Clearances: Colby Trane.
Interviews: Toni Basil, Bruce Jenkins.
Film: BREAKAWAY by Bruce Conner (1966, 16mm, b&w/sound, 5 minutes) Courtesy and (c) Conner Family Trust. Pas De Trois by Dean Stockwell (1964, 16mm, b&w, 8 minutes) Courtesy of Dean Stockwell.
Audio: Dennis Hopper Recording Courtesy of UCLA Film & Television Archive.
Photography: (c) Conner Family Trust/ Artists Rights Society (ARS), New York. (c) Dennis Hopper, The Dennis Hopper Art Trust. (c) The Getty Research Institute, Los Angeles.
Music: "Breakaway" Written by Ed Cobb, Performed by Toni Basil, Published by Embassy Music Corporation (BMI), Courtesy of A&M Records, Under license from Universal Music Enterprises.
Special Thanks: Conner Family Trust, MOCAtv, Emma Reeves, John Toba, Jean Conner, Michelle Silva, Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Todd Wiener, Terry Riley, Dean Stockwell, Robert Matheu, Hugh Brown, Mills Moran, Karl Puchlik, School of the Art Institute of Chicago, UCLA Film & Television Archive, USC School of Cinematic Arts, The Dennis Hopper Art Trust, The Getty Research Institute, Michael Kohn Gallery, Artists Rights Society, OHWOW Gallery.
Dedicated to Bruce Conner, November 18, 1933 - July 7, 2008.
Produced by Dissident Industries Inc.
www.dissidentusa.com
- published: 01 Oct 2013
- views: 91591
3:42
Bruce Conner: It’s All True
Bruce Conner was many things, among them a filmmaker, a mixed-media artist, a Beat, a punk, and a notorious prankster. In this collage of rare archival footage,...
Bruce Conner was many things, among them a filmmaker, a mixed-media artist, a Beat, a punk, and a notorious prankster. In this collage of rare archival footage, Bruce Conner discusses how, as an artist, he can’t be pinned down and doesn’t want to be. Decades after his groundbreaking work first appeared, it’s still all true.
https://wn.com/Bruce_Conner_It’S_All_True
Bruce Conner was many things, among them a filmmaker, a mixed-media artist, a Beat, a punk, and a notorious prankster. In this collage of rare archival footage, Bruce Conner discusses how, as an artist, he can’t be pinned down and doesn’t want to be. Decades after his groundbreaking work first appeared, it’s still all true.
- published: 26 Oct 2016
- views: 12514
5:50
Bruce Conner - MONGOLOID - Art + Music - MOCAtv
It may have been an unusual sight—an elder statesmen from the Beat Generation hanging out at Mabuhay Gardens at the height of punk, taking pictures of bands lik...
It may have been an unusual sight—an elder statesmen from the Beat Generation hanging out at Mabuhay Gardens at the height of punk, taking pictures of bands like Negative Trend and slam dancing with teenagers. But Bruce Conner was restless and the energy of punk invigorated him. For MONGOLOID (1978), the short film Conner began preparing after seeing Devo on their first tour, Conner spliced together newsreel, educational, and b-movie footage which resonated with their satirical lyrics about an underdeveloped man-child determined to fit into and positively contribute to mainstream American society. Gerald Casale discusses meeting Conner in Los Angeles and finding political and aesthetic common ground with Dada and Constructivism.
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm.
Director of Photography: Curtis Tamm, Peter Kirby, Kaitlin Dixon, Kevin Southworth.
Assistant Camera: Eugenia Barbuc, Morgan Kessler.
Music Clearances: Colby Trane.
Interviews: Toni Basil, Gerald Casale, David James, Bruce Jenkins.
Film: MONGOLOID by Bruce Conner (1978, 16mm, b&w/sound, 3.5 minutes) Courtesy and (c) Conner Family Trust.
Louder, Faster, Shorter (1979, 16mm, b&w/sound, 20 minutes) Director: Mindaugis Bagdon. Courtesy and (c) Mindaugis Bagdon.
Photography: (c) 2013 Conner Family Trust/ Artists Rights Society (ARS), New York, Courtesy and (c) Robert Matheu
Music: "Mongoloid" Written by Gerald V. Casale, Performed by Devo, Published by EMI Virgin Songs, Inc., obo EMI Virgin Music Ltd and Devo Music (BMI) (c) Recombinant Music 1977.
Special Thanks: Conner Family Trust, MOCAtv, Emma Reeves, John Toba, Jean Conner, Michelle Silva, Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Todd Wiener, Terry Riley, Dean Stockwell, Robert Matheu, Hugh Brown, Mills Moran, Karl Puchlik, School of the Art Institute of Chicago, UCLA Film & Television Archive, USC School of Cinematic Arts, The Dennis Hopper Art Trust, The Getty Research Institute, Michael Kohn Gallery, Artists Rights Society, OHWOW Gallery.
Dedicated to Bruce Conner, November 18, 1933 - July 7, 2008.
Produced by Dissident Industries Inc.
www.dissidentusa.com
ArtIsForYou20
https://wn.com/Bruce_Conner_Mongoloid_Art_Music_Mocatv
It may have been an unusual sight—an elder statesmen from the Beat Generation hanging out at Mabuhay Gardens at the height of punk, taking pictures of bands like Negative Trend and slam dancing with teenagers. But Bruce Conner was restless and the energy of punk invigorated him. For MONGOLOID (1978), the short film Conner began preparing after seeing Devo on their first tour, Conner spliced together newsreel, educational, and b-movie footage which resonated with their satirical lyrics about an underdeveloped man-child determined to fit into and positively contribute to mainstream American society. Gerald Casale discusses meeting Conner in Los Angeles and finding political and aesthetic common ground with Dada and Constructivism.
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm.
Director of Photography: Curtis Tamm, Peter Kirby, Kaitlin Dixon, Kevin Southworth.
Assistant Camera: Eugenia Barbuc, Morgan Kessler.
Music Clearances: Colby Trane.
Interviews: Toni Basil, Gerald Casale, David James, Bruce Jenkins.
Film: MONGOLOID by Bruce Conner (1978, 16mm, b&w/sound, 3.5 minutes) Courtesy and (c) Conner Family Trust.
Louder, Faster, Shorter (1979, 16mm, b&w/sound, 20 minutes) Director: Mindaugis Bagdon. Courtesy and (c) Mindaugis Bagdon.
Photography: (c) 2013 Conner Family Trust/ Artists Rights Society (ARS), New York, Courtesy and (c) Robert Matheu
Music: "Mongoloid" Written by Gerald V. Casale, Performed by Devo, Published by EMI Virgin Songs, Inc., obo EMI Virgin Music Ltd and Devo Music (BMI) (c) Recombinant Music 1977.
Special Thanks: Conner Family Trust, MOCAtv, Emma Reeves, John Toba, Jean Conner, Michelle Silva, Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Todd Wiener, Terry Riley, Dean Stockwell, Robert Matheu, Hugh Brown, Mills Moran, Karl Puchlik, School of the Art Institute of Chicago, UCLA Film & Television Archive, USC School of Cinematic Arts, The Dennis Hopper Art Trust, The Getty Research Institute, Michael Kohn Gallery, Artists Rights Society, OHWOW Gallery.
Dedicated to Bruce Conner, November 18, 1933 - July 7, 2008.
Produced by Dissident Industries Inc.
www.dissidentusa.com
ArtIsForYou20
- published: 02 Oct 2013
- views: 29741
5:11
Bruce Conner - MEA CULPA - Art + Music - MOCAtv
One of two short films Bruce Conner made for Brian Eno and David Byrne's My Life in the Bush of Ghosts—a defining work of musical assemblage—MEA CULPA (1981) co...
One of two short films Bruce Conner made for Brian Eno and David Byrne's My Life in the Bush of Ghosts—a defining work of musical assemblage—MEA CULPA (1981) comes near the end of Conner's active filmmaking career. Compared to his earlier works, the film is slower and more considered, perhaps even tranquil, as Conner transforms elements of industrial and scientific footage into graphic abstractions before setting them adrift in space, gliding to the song's sinister, percolating beat. In their purity of form, and in Conner's contentedness to let the objects be, the film recalls the rhythmic compositions of Hans Richter from a generation earlier.
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm.
Director of Photography: Curtis Tamm, Peter Kirby, Kaitlin Dixon, Kevin Southworth.
Assistant Camera: Eugenia Barbuc, Morgan Kessler.
Music Clearances: Colby Trane.
Interviews: Toni Basil, Bruce Jenkins.
Film: MEA CULPA by Bruce Conner (1981, 16mm, b&w/sound, 5 minutes) Courtesy and (c) Conner Family Trust.
Photography: Courtesy and (c) Hugh Brown.
Music: "Mea Culpa" Written by David Byrne and Brian Eno, WB Music Corp. (ASCAP) o/b/o Itself and Index Music, Inc. (ASCAP) Universal Music - MGB Songs on behalf of E.G. Music Ltd. (ASCAP) Performed by Brian Eno and David Byrne, Courtesy of Nonesuch Records, by arrangement with Warner Music Group Film & TV Licensing.
Special Thanks: Conner Family Trust, MOCAtv, Emma Reeves, John Toba, Jean Conner, Michelle Silva, Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Todd Wiener, Terry Riley, Dean Stockwell, Robert Matheu, Hugh Brown, Mills Moran, Karl Puchlik, School of the Art Institute of Chicago, UCLA Film & Television Archive, USC School of Cinematic Arts, The Dennis Hopper Art Trust, The Getty Research Institute, Michael Kohn Gallery, Artists Rights Society, OHWOW Gallery.
Dedicated to Bruce Conner, November 18, 1933 - July 7, 2008.
Produced by Dissident Industries Inc.
www.dissidentusa.com
https://wn.com/Bruce_Conner_Mea_Culpa_Art_Music_Mocatv
One of two short films Bruce Conner made for Brian Eno and David Byrne's My Life in the Bush of Ghosts—a defining work of musical assemblage—MEA CULPA (1981) comes near the end of Conner's active filmmaking career. Compared to his earlier works, the film is slower and more considered, perhaps even tranquil, as Conner transforms elements of industrial and scientific footage into graphic abstractions before setting them adrift in space, gliding to the song's sinister, percolating beat. In their purity of form, and in Conner's contentedness to let the objects be, the film recalls the rhythmic compositions of Hans Richter from a generation earlier.
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm.
Director of Photography: Curtis Tamm, Peter Kirby, Kaitlin Dixon, Kevin Southworth.
Assistant Camera: Eugenia Barbuc, Morgan Kessler.
Music Clearances: Colby Trane.
Interviews: Toni Basil, Bruce Jenkins.
Film: MEA CULPA by Bruce Conner (1981, 16mm, b&w/sound, 5 minutes) Courtesy and (c) Conner Family Trust.
Photography: Courtesy and (c) Hugh Brown.
Music: "Mea Culpa" Written by David Byrne and Brian Eno, WB Music Corp. (ASCAP) o/b/o Itself and Index Music, Inc. (ASCAP) Universal Music - MGB Songs on behalf of E.G. Music Ltd. (ASCAP) Performed by Brian Eno and David Byrne, Courtesy of Nonesuch Records, by arrangement with Warner Music Group Film & TV Licensing.
Special Thanks: Conner Family Trust, MOCAtv, Emma Reeves, John Toba, Jean Conner, Michelle Silva, Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Todd Wiener, Terry Riley, Dean Stockwell, Robert Matheu, Hugh Brown, Mills Moran, Karl Puchlik, School of the Art Institute of Chicago, UCLA Film & Television Archive, USC School of Cinematic Arts, The Dennis Hopper Art Trust, The Getty Research Institute, Michael Kohn Gallery, Artists Rights Society, OHWOW Gallery.
Dedicated to Bruce Conner, November 18, 1933 - July 7, 2008.
Produced by Dissident Industries Inc.
www.dissidentusa.com
- published: 03 Oct 2013
- views: 17033
6:43
Bruce Conner - Intro / THREE SCREEN RAY - Art + Music - MOCAtv
It's been said that MTV owes Bruce Conner a paycheck. Decades before music videos were part of popular culture, the experimental filmmaker pioneered techniques ...
It's been said that MTV owes Bruce Conner a paycheck. Decades before music videos were part of popular culture, the experimental filmmaker pioneered techniques of non-narrative montage and high-speed editing, cutting thousands of images to a pop music soundtrack.
THREE SCREEN RAY (2006) is a reimagined and expanded version of his seminal COSMIC RAY (1961), a literal cinematic slot machine where three reels of images meet and diverge and meet again. Influenced as much by the methodologies of assemblage as the kineticism of abstract expressionism, Conner cuts together images of sex, war, dancing, and cinema itself, before abrading and abusing the reel. The result is an explosive collage and a reflexive comment on the power of film and media.
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm.
Director of Photography: Curtis Tamm, Peter Kirby, Kaitlin Dixon, Kevin Southworth.
Assistant Camera: Eugenia Barbuc, Morgan Kessler.
Music Clearances: Colby Trane.
Interviews: Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Michelle Silva.
Films Courtesy and Copyright Conner Family Trust:
A MOVIE
(1958, 16mm, b&w/sound, 12 minutes)
COSMIC RAY
(1961, 16mm, b&w/sound, 4 minutes)
TEN SECOND FILM
(1965, b&w/silent, 10 seconds)
BREAKAWAY
(1966, 16mm, b&w/sound, 5 minutes)
REPORT
(1967, 16mm, b&w/sound, 13 minutes)
CROSSROADS
(1976, 35mm, b&w/sound, 36 minutes)
MONGOLOID
(1978, 16mm, b&w/sound, 3: 30 minutes)
MEA CULPA
(1981, 16mm, b&w/sound, 5 minutes)
THREE SCREEN RAY
(2006, video installation/sound, 5: 14 minutes)
PAS DE TROIS
(1964, 16mm, b&w/sound, 8 minutes)
Director: Dean Stockwell
Editor: Bruce Conner
Courtesy of Dean Stockwell
Audio: Dennis Hopper Interview, Courtesy of UCLA Film & Television Archive.
Artworks: Courtesy and Copyright Conner Family Trust.
Photography: Copyright 2013 Conner Family Trust/Artists Rights Society (ARS), New York
Music: "Descending Moonshine Dervishes." Written and Performed by Terry Riley. Published by Associated Music Publishers (BMI). (c) 1982 Kuckuck Schallplatten. Used Courtesy of Celestial Harmonies. "What'd I Say (Live at Herdon Stadium)." Written and Performed by Ray Charles. Published by Unichappell Music, Inc. and Mijac Music. Administered by Sony/ATV Songs LLC. Courtesy of Atlantic Recording Corp. By arrangement with Warner Music Group Film & TV Licensing.
Special Thanks: Conner Family Trust, MOCAtv, Emma Reeves, John Toba, Jean Conner, Michelle Silva, Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Todd Wiener, Terry Riley, Dean Stockwell, Robert Matheu, Hugh Brown, Mills Moran, Karl Puchlik, School of the Art Institute of Chicago, UCLA Film & Television Archive, USC School of Cinematic Arts, The Dennis Hopper Art Trust, The Getty Research Institute, Michael Kohn Gallery, Artists Rights Society, OHWOW Gallery.
Dedicated to Bruce Conner, November 18, 1933 - July 7, 2008.
Produced by Dissident Industries Inc.
www.dissidentusa.com
https://wn.com/Bruce_Conner_Intro_Three_Screen_Ray_Art_Music_Mocatv
It's been said that MTV owes Bruce Conner a paycheck. Decades before music videos were part of popular culture, the experimental filmmaker pioneered techniques of non-narrative montage and high-speed editing, cutting thousands of images to a pop music soundtrack.
THREE SCREEN RAY (2006) is a reimagined and expanded version of his seminal COSMIC RAY (1961), a literal cinematic slot machine where three reels of images meet and diverge and meet again. Influenced as much by the methodologies of assemblage as the kineticism of abstract expressionism, Conner cuts together images of sex, war, dancing, and cinema itself, before abrading and abusing the reel. The result is an explosive collage and a reflexive comment on the power of film and media.
Director: Chris Green.
Producer: Matthew Shattuck.
Executive Producer: Chris Green, Noah Khoshbin, Emma Reeves, John Toba.
Editor: Curtis Tamm.
Director of Photography: Curtis Tamm, Peter Kirby, Kaitlin Dixon, Kevin Southworth.
Assistant Camera: Eugenia Barbuc, Morgan Kessler.
Music Clearances: Colby Trane.
Interviews: Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Michelle Silva.
Films Courtesy and Copyright Conner Family Trust:
A MOVIE
(1958, 16mm, b&w/sound, 12 minutes)
COSMIC RAY
(1961, 16mm, b&w/sound, 4 minutes)
TEN SECOND FILM
(1965, b&w/silent, 10 seconds)
BREAKAWAY
(1966, 16mm, b&w/sound, 5 minutes)
REPORT
(1967, 16mm, b&w/sound, 13 minutes)
CROSSROADS
(1976, 35mm, b&w/sound, 36 minutes)
MONGOLOID
(1978, 16mm, b&w/sound, 3: 30 minutes)
MEA CULPA
(1981, 16mm, b&w/sound, 5 minutes)
THREE SCREEN RAY
(2006, video installation/sound, 5: 14 minutes)
PAS DE TROIS
(1964, 16mm, b&w/sound, 8 minutes)
Director: Dean Stockwell
Editor: Bruce Conner
Courtesy of Dean Stockwell
Audio: Dennis Hopper Interview, Courtesy of UCLA Film & Television Archive.
Artworks: Courtesy and Copyright Conner Family Trust.
Photography: Copyright 2013 Conner Family Trust/Artists Rights Society (ARS), New York
Music: "Descending Moonshine Dervishes." Written and Performed by Terry Riley. Published by Associated Music Publishers (BMI). (c) 1982 Kuckuck Schallplatten. Used Courtesy of Celestial Harmonies. "What'd I Say (Live at Herdon Stadium)." Written and Performed by Ray Charles. Published by Unichappell Music, Inc. and Mijac Music. Administered by Sony/ATV Songs LLC. Courtesy of Atlantic Recording Corp. By arrangement with Warner Music Group Film & TV Licensing.
Special Thanks: Conner Family Trust, MOCAtv, Emma Reeves, John Toba, Jean Conner, Michelle Silva, Toni Basil, Gerald Casale, David James, Bruce Jenkins, Michael Kohn, Todd Wiener, Terry Riley, Dean Stockwell, Robert Matheu, Hugh Brown, Mills Moran, Karl Puchlik, School of the Art Institute of Chicago, UCLA Film & Television Archive, USC School of Cinematic Arts, The Dennis Hopper Art Trust, The Getty Research Institute, Michael Kohn Gallery, Artists Rights Society, OHWOW Gallery.
Dedicated to Bruce Conner, November 18, 1933 - July 7, 2008.
Produced by Dissident Industries Inc.
www.dissidentusa.com
- published: 30 Sep 2013
- views: 28774
2:00
Bruce Conner's 'Report' | Video Essay
video essay for bruce conner's 'report'
for everyone asking or anyone wondering: i did this for a school project in 2015, my teacher gave me the film on a jump...
video essay for bruce conner's 'report'
for everyone asking or anyone wondering: i did this for a school project in 2015, my teacher gave me the film on a jump drive which i no longer have. sorry.
https://wn.com/Bruce_Conner's_'Report'_|_Video_Essay
video essay for bruce conner's 'report'
for everyone asking or anyone wondering: i did this for a school project in 2015, my teacher gave me the film on a jump drive which i no longer have. sorry.
- published: 27 Apr 2015
- views: 9742
6:28
Video Essay A MOVIE Bruce Conner
After watching Bruce Conner’s A MOVIE for the first time I was emotionally shaken up. Despite the comic-relief that Conner provides, the images that come from r...
After watching Bruce Conner’s A MOVIE for the first time I was emotionally shaken up. Despite the comic-relief that Conner provides, the images that come from real-life footage can have a great impact because there is no escape to a fictional world and that makes it very confronting. This essay briefly touches on the origins and foundations of collage film. Using Wees' article, it then tries to explain the differences between collage, compilation and appropriation. The essay visualises the ‘nuclear mushroom cloud example’ as given by Wees in his article. It also brings more examples to the table about the avant-garde way that Conner uses his techniques in A MOVIE and the implications this has on the viewer’s perception and experience of the film. The arguments are supported by footage from A MOVIE as well as numerous little clips from online content and original films that underline the reasoning that the essay presents and simultaneously serve the purpose of illustrating collage technique itself.
https://wn.com/Video_Essay_A_Movie_Bruce_Conner
After watching Bruce Conner’s A MOVIE for the first time I was emotionally shaken up. Despite the comic-relief that Conner provides, the images that come from real-life footage can have a great impact because there is no escape to a fictional world and that makes it very confronting. This essay briefly touches on the origins and foundations of collage film. Using Wees' article, it then tries to explain the differences between collage, compilation and appropriation. The essay visualises the ‘nuclear mushroom cloud example’ as given by Wees in his article. It also brings more examples to the table about the avant-garde way that Conner uses his techniques in A MOVIE and the implications this has on the viewer’s perception and experience of the film. The arguments are supported by footage from A MOVIE as well as numerous little clips from online content and original films that underline the reasoning that the essay presents and simultaneously serve the purpose of illustrating collage technique itself.
- published: 11 Jun 2019
- views: 5122