A three part film. Cut-outs of war machines and the figure of Napoleon – contributors to an anti-war theme – encounter abstract shapes, line drawings, old-master landscapes, short bursts of ‘real-time’ landscapes and shakily photographed gestural watercolors. … ‘a synthesis of all previous techniques.’ (RB)
Also in this combined programme
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A Man and His Dog Out for Air
The first hand-drawn film by Breer that involved a continuous cartoon-like movement. One of his most accessible.
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Le mouvement
Filmed during the exhibition with the same title, in April 1955, considered the first show exclusively devoted to kinetic art.
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Un Miracle
Pope Pius XII juggles with balls, then his head, then goes off to Paradise. Without his arms.
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Sparkill Ave!
Everyday things, i.e. newspapers, have been a characteristic since some of his very early films, but here Breer for the first time shows more perso
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Eyewash
Organised confusion of live footage and animation. Colour added to by hand on each print.
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Blazes
A continuous explosion. Breer made a hundred images, created by gestural brushstrokes and switched their positions for four thousand frames.
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Colliding
Colliding was made entirely from Super8 footage and it was completed as a silent film in 1977. It could be described as a ‘structural documen
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LMNO
A policeman, drawn in a ‘childish’ manner, is caught in mini-dramas but also in graphic events.
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Recreation
Breer filmed all kinds of things and tightened the rhythm by reducing the shots to lengths of three frames, two, or even one.
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Robert Breer at Home (Chez Robert Breer)
Breer in February 1992: he manipulates some of his mutoscopes, he leafs through some cards and a dome-shaped sculpture slowly moves across the spac
Film details
- Country of production
- USA
- Year
- 1957
- Festival edition
- IFFR 2008
- Length
- 6"
- Medium/Format
- 35mm
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77
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A Man and His Dog Out for Air
The first hand-drawn film by Breer that involved a continuous cartoon-like movement. One of his most accessible.
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What Goes Up
Breer’s personal take on the everyday in images that zoom past us like a flashback of a thousand perfectly lived moments, a four-minute epic.