Morte all'orecchio di Van Gogh (1968)
Overview
Amateur footage, filming of dubious origin, chromatic alterations and hard-core details in an alienating and curious collage with sinister and gloomy voices reciting poems of the beat generation.
Production Companies
Additional Info
| Budget | $0.00 |
|---|---|
| Revenue | $0.00 |
| Original Language | it |
| Popularity | 0.962 |
Directed By
Piero Bargellini
Crew
Piero Bargellini
TOP CAST
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Prelude 1
Turquoise and maroon-toned thin lines of paint are interspersed with variously toned circular "watermarks" of blotched paint giving-way to multi-colored brush strokes and finally fulsomely darkened and thickened brush-strokes which then thin to something akin to the beginning.
Prelude 2
Interplay of toned rectangular shapes, vertical and horizontal and diagonal lines in juxtaposition with hardened darker shapes which gradually shift tone and lighten until ending on thin blues.
Prelude 3
Many white interruptive frames and absolutely straight-edged multi-colored lines amidst "clouds" of color, finally thickened into blobs with lengthy white (clear leader) spacing between them.
Prelude 4
Much depth of multi-colored thickened shapes which appear to be superimposed upon each other, semi-transparent in their "weave" with each other which is increasingly interrupted by ragged-edged blobs and smears of color.
Prelude 5
This section is very similar to Prelude 4 except that it is composed of extremely thin-lined colors and sharply delineated shapes which are constantly interrupted by "cloud"-like forms.
Prelude 6
Interplay of mostly horizontal lines inter-woven with "watermark" forms in a wide variety of tones which gradually tend to dissolve into blues at the end.
Prelude 7
The ocean, the trees, the varieties of cityscape and landscape assert themselves as "pictures", but the images are essentially a wash and tangle of nervous feedback, sometimes influenced by the colors of inlet waters, sometimes the wave movements, but more ordinarily by the cellular shifts and shapes of the optic system receiving exterior imagery.
Prelude 8
...as removed as possible from any recognition of either exterior scene of interior feedback phenomena. It is, in its ineffability, as close to pure visual music as I can make it, more inspired by The Preludes of Bach or The Preludium of Buxtehude than anything of my surroundings when I was painting.
Prelude 9
...again, is "plein-aire abstraction" as defined above (painted in New York City) – with, for example, even a correctly toned green impression of The Statue of Liberty – and, then, impressions of Toronto with its architectural particularities appearing, midst hurrying people – shapes (almost as if photographed at times). This segment is Double-Printed (i. e., two frames for every painted one).
Prelude 10
Prelude 10 is a double-printed film with an extreme mixture of darks shot thru with jewel-like bursts of color, and very white bursts of light and fleeting colored forms.
Prelude 11
Thick weaves of multicolored lines and dull-colored blobs play off against each other.
Prelude 12
A bursting of mostly golden light forms as if heralding sunlight itself in their hurried (single-frame) display.
Prelude 13
Singly-printed multi-colored watery "blobs" and "feathery" streaks of painted color, dominated by yellows and reds interweaving in complexity until there's an evolution of hard-edge autumn leaf patterns which dissipate into patterns similar to the beginning of the film.