Published: 1974; 344 pages

Publisher: Film Culture Non-Profit Corporation. Editor-in-Chief: Jonas Mekas. Assistant Editors: P. Adams Sitney, Caroline S. Angell. General Manager: Amy Taubin

Copyright 1974 by Film Culture. Printed in the U.S.A. by H. Gantt. Distributed by D. De Boer, Nutley, N.J.

Cover Picture: Oskar Fischinger (Courtesy of Mrs. Elfriede Fischinger. All Rights Reserved.)

Contents

1. Vision Is My Dwelling Place, by Jay Leyda (on Sidney Meyers)

2. The Films of Oskar Fischinger, by William Moritz

3. Edgar G. Ulmer, An Interview, by Peter Bogdanovich

4. Edgar G. Ulmer Filmography

5. Marion Davies’ Niece, by Louise Brooks

6. Filmexpo and the New English Canadian Cinema, by Seymour Stern

7. Ilia Frez and Russian Children’s Films, by Steven P. Hill

8. Books Received (Ken Kelman, Kirk Bond)

Index of Images

Oskar Fischinger’s designs of the dynamics of Fritz von Unruh’s play, Der Platz, Frankfurt (1921-2).

Fischinger’s wax-slicing machine, Munich (1922-7).

Scenes from Wax Experiments (ca. 1921-26).

Scene from Staffs (1923-27).

Stills from Pierrette #1 (1924):
– Close-up of old villain laughing.
– Scene #7, the old villain laughing in back of Pierrette’s bedroom.
– Scene #6 or #9, Harlequin, Polichinelle and Pierrette beat Scaramouche who is disguised as a villain.

Storyboard of sketches from the Munich period (ca. 1926).

Storyboard sketches from the Munich period (ca. 1926).

Scene from Spirals (ca. 1926).

Two film strips from Spirals (ca. 1926).

Oskar Fischinger at his animation stand in his Munich studio (ca. 1926).

Oskar Fischinger in his Munich studio (ca. 1926). On the wall in back hang Fischinger’s drawing of the dynamics of Fritz von Unruh’s Geschlecht and the charcoal sketch of a head which appears in Spiritual Constructions.

Still showing title Fieber (1926-27) matted together with the wax and liquid imagery.

Still of animals entering the ark from special effects for Sintflut (1927).

A special effect scene of two pagan gods gloating over the earth from feature film Sintflut (1927).

Six original charcoal animation drawings from Liebesspiel (1931).

Original charcoal animation drawings for Study #7 (1931).

Preliminary sketches for Study #11 (1932).

Preliminary sketches for Study #11 (1932).

Publicity still from Composition in Blue (1935).

Oskar Fischinger working at Disney Studios (1939).

Six photographs from Study #13 (ca. 1933).

Oskar Fischinger’s Berlin studio, with employees working on synthetic sound drawings. At the table on the left are Hans and Elfriede Fischinger (1932).

Oskar Fischinger with scrolls of synthetic sound drawings, Berlin (1932).

Scene from an unidentified cigarette commercial (ca. 1934).

A production still showing the set-up on which the cigarette films were made (1934). From test reel: cigarettes stand on hill worshipping a moonrise. Worker crouches at lower right.

Six photographs of original poser color animation drawing from Circles (1933).

Oskar Fischinger working on Optical Poem (1937). He is holding a long stick with which he pushed the cut-out figures that were suspended on wires. The rows of lights are carefully arranged to cast the strong even shadows.

Fischinger’s pencil sketch showing breakdown of motion for waves from Bach section of Dsiney’s Fantasia (1939).

Preliminary storyboard sketch from the Bach section of Disney’s Fantasia (1939) showing early form of a wave. (poster color)

Storyboard sketches by Fischinger for the Bach section of Disney’s Fantasia (1939).

Fantasia collage by Oskar Fischinger (ca. 194?). Mickey Mouse cut-out from a Walt Disney comic book pasted over a Rudolf Bauer print from a Guggenheim museum catalogue (1938).

One of colored cells from Organic Fragment (1941).

Oskar Fischinger working on American March with bottles of cell color and open sheet music in background (1941).

Film strips from Radio Dynamics and Color Rhythm (1942).

Document #3 from Radio Dynamics (ca. 1942).

Six photographs from Muntz TV Commercial (1952).

Fischinger’s painting, Space Spiral (1957), oil on canvas, 48″ x 36″.

Fischinger’s stereo painting Distant Rectangular Forms (1951), photgraphed by Fischinger himself on his easel, with an image of Buddha and a horseshoe beneath.

Pepi Lederer (1910-1935). Ruth Harriet Louise portrait, MGM 1927.

Louise Brooks (1906-) Edward Steichen portrait for Vanity Fair, 1929.

Marion Davies (1897-1961) — M.G.M., 1928 (with her own hair, eyebrows, lashes, and mouth).

Marion Davies, Hearts Divided (1936, Warner Brothers, Frank Borzage — Dick Powell) (Her final period — wigs, eyebrows, lashes, mouth, and costumes by Orry-Kelly.)

George Marshall — Redskins (1896-1969). Photo (taken in 1960) sent by Chester Minter (secretary) on July 23rd, 1964.

Louise Brooks and Fritz Kortner, Pandora’s Box (G. W. Pabst, Berlin, 1929). Scene still — opening sequence in Lulu’s apartment.

Louise Brooks, Diary of a Lost Girl (G. W. Pabst, Berlin, 1929. Cameraman, Stepp Allgeier). Scene still, cabaret sequence.

Louise Brooks and George Charlia, Prix De Beaute (Augusto Genina, Paris, 1930; camera, Rudy Mate). Scene still.

Ilia Frez (1967).

Traveller With Baggage. Volodia Kostin.

Crew and cast of Vyborg Side (1939): Middle row (from left): Frez 3rd, Trauberg 5th, Kozintsev 6th. Shostakovich is directly behing Trauberg. Front row: Kobardina and Tolubeyev 2nd and 3rd from right.

Redhead. Serge Zolotarev.

Dimka, Alex Zagorsky.

Unusual Journey of Mickey Strekachev, Alex Borzunov.

The First Grader, Natasha Zashchipina.

Veteran cameraman, Mikhall Kirolov with Frez.