Updated through 5/10.
"The filmmaker and Oakland native Sidney Peterson once scatted that after World War II, San Francisco 'was a city hanging loose, a small pocket edition, for a brief period, of the Vienna of Wittgenstein and Musil, and the Zurich of Tzara, the Cologne, the Berlin, the Paris, the Hanover, the New York of Dada.'" In the New York Times, Manohla Dargis notes that the version of Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945 - 2000 presented at Anthology Film Archives today and tomorrow and at MoMA on Sunday and Monday "doesn't go as deep or as wide as the original, of course. But it's something of a movable feast nonetheless, and it gives you plenty to chew on, starting with an entire program dedicated to Peterson, a sculptor, painter and novelist whose adventures in the seventh art in the late 1940s turned him...
"The filmmaker and Oakland native Sidney Peterson once scatted that after World War II, San Francisco 'was a city hanging loose, a small pocket edition, for a brief period, of the Vienna of Wittgenstein and Musil, and the Zurich of Tzara, the Cologne, the Berlin, the Paris, the Hanover, the New York of Dada.'" In the New York Times, Manohla Dargis notes that the version of Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945 - 2000 presented at Anthology Film Archives today and tomorrow and at MoMA on Sunday and Monday "doesn't go as deep or as wide as the original, of course. But it's something of a movable feast nonetheless, and it gives you plenty to chew on, starting with an entire program dedicated to Peterson, a sculptor, painter and novelist whose adventures in the seventh art in the late 1940s turned him...
- 5/10/2011
- MUBI
Director: James Bruner Writer: Norman Handelsman Starring: Stuart Anderson, Valora Noland, John Kulhanek The now famous cinematographer, Vilmos Zsigmond (McCabe & Mrs. Miller, Deliverance, The Long Goodbye, Close Encounters of the Third Kind) was still a little moist behind the ears from his training at the Budapest Film Academy -- where he studied alongside Laszlo Kovacs -- when first-time director James Bruner recruited him to lens Summer Children. Bruner wanted to create an homage to the masters of Italian Neo-Realism and the French New Wave -- and Raoul Coutard was probably too busy working with the highly-prolific Jean-Luc Godard -- so he chose Zsigmond, a 35-year old devout student of European cinema. Together, they created a visually magnificent film that, upon completion of production, lacked the appropriate financing for post-production publicity and distribution. Summer Children was placed in storage for over 40 years in several different Deluxe Laboratory Archival vaults in several states and countries.
- 5/6/2011
- by Don Simpson
- SmellsLikeScreenSpirit
Summer Children Screening at Grauman’s Egyptian Theatre for “American Cinematheque” Tuesday, May 10, 2011 at 7:30 pm.
The 45 year delayed Los Angeles World Premiere of Summer Children, will unveil the work of Academy Award winning cinematographer Vilmos Zsigmond, Asc. Vilmos is known for his exquisite use of natural light, and desaturated color. Summer Children is an example of his early work in the American New Wave movement. Fresh from his training at the Budapest Film Academy where he studied with Laszlo Kovacs, it is evident that Vilmos’ style was directly influenced by Italian Neo-Realism, New Wave, and Fellini. His creative combination of nourish lighting with intoxicating natural light on the deck of “The Mayflower”.
Academy Award Winning Cinematographer Vilmos Zsigmond, Asc states, “You can’t cut corners in Film Making”…referring to the importance of lighting direction and quality education for aspiring film makers. The craftsmanship and raw film making talent revealed in this early feature,...
The 45 year delayed Los Angeles World Premiere of Summer Children, will unveil the work of Academy Award winning cinematographer Vilmos Zsigmond, Asc. Vilmos is known for his exquisite use of natural light, and desaturated color. Summer Children is an example of his early work in the American New Wave movement. Fresh from his training at the Budapest Film Academy where he studied with Laszlo Kovacs, it is evident that Vilmos’ style was directly influenced by Italian Neo-Realism, New Wave, and Fellini. His creative combination of nourish lighting with intoxicating natural light on the deck of “The Mayflower”.
Academy Award Winning Cinematographer Vilmos Zsigmond, Asc states, “You can’t cut corners in Film Making”…referring to the importance of lighting direction and quality education for aspiring film makers. The craftsmanship and raw film making talent revealed in this early feature,...
- 5/1/2011
- by Michelle McCue
- WeAreMovieGeeks.com
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