Robert Breer At Home
Some actions filmed during an encounter with Robert Breer in February 1992. Robert Breer operates some Mutoscopes, one of the first cinematographic devices. He flips through a series of cards from his current film *Sparkill Ave !* A dome-shaped sculpture moves slowly.
| Director | Jennifer Burford |
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Robert Breer at Home is a documentary made by experimental filmmaker, teacher, and researcher Jennifer L. Burford. It was filmed in 1992, during a meeting with the artist in his workshop. Following no apparent logical framework, the film explores his workshop and Breer’s experimental touch as a filmmaker, from padding sequences to flipbooks, graphic manipulations, cranking mutoscope handles (used to make the film Sparkill Ave!), a writing sequence at his worktable, and a demonstration of how his sculpture Float worked.
This work opens a window into Breer’s research work on forms of movement. A committed work with raw materials and archaic resources, some conducted with pre-cinematographic devices, Burford captures everything in wide shots, highlighting by its very design the operator’s gestures. She takes a particular focus on the creative process, the production of visual rhythms, saccades, and flashes. She makes us co-conspirators at the scene of a “spectacle animation” being made.
Patrick Barrès
Professor at the University Toulouse Jean-Jaurès
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FR - Chez Robert Breer
Language: Français
- Année 1992
- Pays France
- Durée 6
- Producteur Jennifer Burford
- Langue Mute
- Résumé court Some actions filmed during a meeting with experimental animation filmmaker Robert Breer in February 1992. He flips through a series of cards from his current film.
- Programmateur Patrick Barrès|aucune;
Robert Breer at Home is a documentary made by experimental filmmaker, teacher, and researcher Jennifer L. Burford. It was filmed in 1992, during a meeting with the artist in his workshop. Following no apparent logical framework, the film explores his workshop and Breer’s experimental touch as a filmmaker, from padding sequences to flipbooks, graphic manipulations, cranking mutoscope handles (used to make the film Sparkill Ave!), a writing sequence at his worktable, and a demonstration of how his sculpture Float worked.
This work opens a window into Breer’s research work on forms of movement. A committed work with raw materials and archaic resources, some conducted with pre-cinematographic devices, Burford captures everything in wide shots, highlighting by its very design the operator’s gestures. She takes a particular focus on the creative process, the production of visual rhythms, saccades, and flashes. She makes us co-conspirators at the scene of a “spectacle animation” being made.
Patrick Barrès
Professor at the University Toulouse Jean-Jaurès
-
FR - Chez Robert Breer
Language: Français
- Année 1992
- Pays France
- Durée 6
- Producteur Jennifer Burford
- Langue Mute
- Résumé court Some actions filmed during a meeting with experimental animation filmmaker Robert Breer in February 1992. He flips through a series of cards from his current film.
- Programmateur Patrick Barrès|aucune;
