Film Categories: cameraless

  • Coupling

    This hand-painted and elaborately step-printed work (involving Positives and Negatives of original painted source material in combination, as well as superimpositions filmed at 24fps and at 48 fps) is a very organic be-seeming darkly coloured work (blood and rust reds mixed with off-greens) as if microscopic images of connective and (other) cells and/or threads of internal muscles were caught in a “dance” (i.e. contrapuntal varieties-of-rhythm increasingly coordinated) ultimately suggestive of sex). The forms of the work also vaguely metaphor male and female exterior nudity coupling. The evolution of the work is almost purely rhythmic as increased tempos, in ever more…

  • Cloud Chamber

    This hand-painted step-printed film begins in a field of white light slightly bespeckled with ephemeral glazes of flecks of silver which gradually give way to pale suggestions of pastel colours. These take shape occasionally and flicker the forthcoming bits of solid coloured and multiply formed abstract images, a few brief sequences-of-such interspersed with the cloud-suggestive passages as at beginning, which eventually end the film (Stan Brakhage).

  • Persian Series #7

    In the spirit of the Roman, Arabic, Egyptian and Babylonian Series, these hand-painted films attempt to imagine the kind of Persian visual thinking which created their calligraphy, miniatures and aesthetic designs in general. (Stan Brakhage)

  • Persian Series #8

    In the spirit of the Roman, Arabic, Egyptian and Babylonian Series, these hand-painted films attempt to imagine the kind of Persian visual thinking which created their calligraphy, miniatures and aesthetic designs in general. (Stan Brakhage)

  • Relative Motion

    “Relative Motion” is a series of designs scratched on already processed film, allowing the natural colour of the film to reveal itself. Paint is also added to enhance this state. The designs are expressions of emotions and thoughts which are brought to a roar with sound created to accompany the movements of the scratches.

  • Ditty Dot Comma

    “Ditty Dot Comma” is the first motion picture musical salute to visual punctuation. Set to the cool jazz styling of drummers Buddy Rich and Gene Krupa, and including the pulsating piano rhythms of Oscar Peterson, we make this musical leap into this abstract animated film. Using animated shapes, drawn directly onto the film’s emulsion, Woloshen opens the door into the abstract world, and propels the audience into a pure widescreen experience. Liberated from plotlines, language and recognizable forms, a universal film experience emerges, suitable for all ages and nationalities.

  • Light Magic

    “Movies arise out of magic.” – Stanley Cavell “Light Magic” utilizes and examines one of the earliest photographic processes, discovered at the birth of the photographic medium: the photogram. This technique combines science and art in order to record the process of transformation. Images created through this technique are traces of light that pass through each object, leaving their mark on the film surface. Photograms bring both the maker and the viewer closer to the object, thus revealing its essence – that neither the naked eye nor the camera lens could see. “Light Magic” was one of the fifteen films…

  • Get Happy

    “Get Happy”, as the title suggests, is a joyous carefree romp through the swinging world of Benny Goodman and his orchestra. This richly textured “cameraless” animation propels the audience through the highs, lows, and refrains of a big-band classic. With a new sound synchronization formula, “Get Happy” delivers an unabashed stream-of-consciousness, fluid with several well-delivered visual punches and crescendos. In Cinemascope.

  • MeMeMaMa

    The magnificence of the solar winds, the unseen emissions from the centre of the galaxy. In Woloshen’s first film of the 21st century, a new cameraless animation engraving technique seeks to capture a new spectrum of light from the centre of the solar system and the core of the projector’s lamp. Is the cinema’s screen a litmus paper of the projector’s activity?

  • Persian Series 1 – 5

    In the spirit of the Roman, Arabic, Egyptian and Babylonian Series, these hand-painted films attempt to imagine the kind of Persian visual thinking which created their calligraphy, miniatures and aesthetic designs in general. 1) This hand-painted and elaborately step-printed work begins with a flourish of reds and yellows and purples in palpable fruit-like shapes interspersed with darkness, then becomes lit, lightning-like, by sharp multi-colored twigs of shape, all resolving into shapes of decay. 2) Multiple thrusts and then retractions of oranges, reds, blues, and the flickering, black, textural dissolves suggesting an amalgam approaching script. 3) Dark, fast-paced symmetry in mixed…