Animation expérimentale qui questionne la vie, la mort, l’au-delà. À l’aide de cas d’espèces, de récentes études et d’anciens mythes, la mort y est dépeinte comme une expérience stupéfiante, mais également méthodique, où sont passées en revue les expériences individuelles passées. Film sans paroles.
J’allais publier ce vidéo (Richard Dawkins – author of “The God Delusion” – gave a lecture at the Eden Court Theater) mais celui-là résume assez bien toute la patente :
La lecture au complet est ici : ‘On Saturday, March 8th, 2008, Richard Dawkins gave this lecture on “The God Delusion” during his US Tour. The event took place on the UC Berkeley campus in Wheeler Auditorium…’
An experimental film from Arthur Lipsett, Free Fall is an assortment of film trimmings assembled to make a wry comment on humankind in today’s world. It evokes a surrealist dream of our fall from grace into banality.
The photograph collection of the Hamilton Family fonds details Dr. T.G. (Thomas Glendenning) and Lillian Hamilton’s investigations of psychic phenomena in their home in Winnipeg, Manitoba between 1918 and 1945. The images detail numerous aspects of spiritualism including telekinesis, teleplasm, trance states and various other psychic phenomena.
Animation réalisée à partir de journaux et de magazines. Les coupures, groupées et soumises à un mouvement fragmenté, font ressortir la réalité qui se cache sous l’image fallacieuse, dont la publicité incarne le pire des abus.
CONFESSION : Un post un peu hors-sujet, une histoire un peu trop longue à raconter. En gros c’est ma faute si il n’y a plus de films de Lipsett disponibles sur Ubuweb (‘Removed by request of the copyright holder’) … Tout ce qu’il en reste c’est ce vidéo qu’on avait ‘posté’ sur un autre blog – ‘reposté’ ici (par miracle toujours fonctionnel). Je demande pardon.
Arthur Lipsett (May 13, 1936 – May 1, 1986) was a Canadian avant-garde director of short experimental films.
In the 1960s he was employed as an animator by the National Film Board of Canada. Lipsett’s particular passion was sound. He would collect pieces of sound and fit them together to create an interesting auditory sensation. After playing one of these creations to friends, they suggested that Lipsett put images to it. He did what his friends suggested, and the result became the 7 minute long film Very Nice, Very Nice which was nominated for the Academy Award for Best Short Subject, Live Action Subjects in 1962. Despite not winning the Oscar, this film brought Lipsett considerable praise from critics and directors. Stanley Kubrick was one of Lipsett’s fans, and asked him to create a trailer for his upcoming movie Dr. Strangelove. Lipsett declined Kubrick’s offer. Kubrick went on to direct the trailer himself; however, Lipsett’s influence on Kubrick is clearly visible when watching the trailer.
Lipsett’s film 21-87 was a profound influence on director George Lucas who included elements from 21-87 in THX 1138, his Star Wars films and also American Graffiti. The film 21-87 has been credited by Lucas as the source of the « The Force » in Star Wars. Lucas never met the filmmaker but tributes to 21-87 appear throughout Star Wars. For example, the holding cell of Princess Leia in Star Wars Episode IV: A New Hope on the Death Star is cell No. 2187.
Lipsett’s success allowed him some freedom, but as his films became more bizarre, this freedom quickly disappeared. He suffered from psychological problems. Later in his life he is said to have done strange things like taking a taxi from Toronto to Montreal (costing several hundred dollars). Lipsett committed suicide in 1986, two weeks before his 50th birthday.
"The production of nervous force is directly connected with the diet of an individual, and its refining depends
on the very purity of this diet, allied to appropriate breathing exercises.
The diet most calculated to act effectively on the nervous force is that which contains the least quantity of
animal matter; therefore the Pythagorean diet, in this connection, is the most suitable.
...
The main object was to avoid introducing into the organism what Descartes called 'animal spirits'. Thus, all
animals that had to serve for the nourishment of the priests were slaughtered according to special rites, they
were not murdered, as is the case nowadays".