Barely Legal 82

Filmmaker Molly Gandour, in her mid-20s, returns to her childhood home in Indiana to speak with her parents in depth for the first time about her sister's death from cancer sixteen years earlier. The filmmaker comes of age as she weaves a deeply observed portrait of a family unearthing a long ago loss. Unflinching and poignant, Peanut Gallery shows us how we can transform when we begin to fill the silences between those closest to us.

An illusion of 3 dimensions is achieved by a blending of mathematics and physics to carry the spectator through a new range of audio and visual dynamics.

This film is strongly rooted in its underlying mathematical structure which forms the basis for the images. The music by Jean Claude Risset is integral to the creation of this concert of space and time.

A single bird in flight is transformed, enhanced and interpreted so as to present a unique visual experience. From its original inception in a 128 frame black-and-white sequence it evolves by programmed reflection, inversion, magnification, color transformation and time distortion into the final restructured film as art.

Abstract images of frame-by-frame animation with subtle growing effects of crystals are enhanced by polarized colors.

Music “Canzoni per sonar a quattro” by Giovanni Gabrieli, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz. Images generated by computer.

Computer generated images used as counterpoint to music “Fantasia & In Nomine” by John Ward, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz.

Escher-like images stepping through the frames to the music of a jazz group. Delightful–shows a depth in the imagery not accomplished by computer before.

Beginning with footage of sea birds in flight, the film image is then optically scanned and transformed by the computer. The geometric overlay on live random motion has the effect of creating new depth, a third dimension. Our perception of the birds’ forms and movements is heightened by the abstract pattern outlining them.

“Schwartz’ METAMORPHOSIS is a complex study of evolving lines, planes, and circles, all moving at different speeds, and resulting in subtle color changes. The only computer-generated work on the program, it transcends what many of us have come to expect of such film with its subtle variations and significant use of color.” – Catherine Egan

This tape combines live-images filmed in the Yucatan with output from the Paik video-synthesizer ribboned with computer-generated images.