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Expressive Motion in the Early Films of Mary Ellen Bute

Research output: Contribution to journalArticle

Original languageEnglish
Pages (from-to)102-116
Number of pages15
JournalAnimation
Volume14
Issue number2
DOIs
DateAccepted/In press - 10 Jun 2019
DatePublished (current) - 1 Jul 2019

Abstract

Between 1935 and 1938, Mary Ellen Bute began her career as a filmmaker with a series of mostly animated films, including Rhythm in Light (1935), Synchromy No. 2 (1936), Parabola (1938) and Escape (1938). This article examines how these films offered an innovative, subtle and purposeful investigation of the potentials of animation to create artistic and expressive motion. Paying close attention to Bute’s own writing, the article explores how these films related to Bute’s expansive vision of cinema as a new form of kinetic art that was both composed and free-flowing. Drawing upon painting, music, sculpture and chronophotography, Bute’s work was highly intermedial, investing these arts and media with the dynamic potentials of filmic and animated motion. Tracing how Bute composed motion, displayed motion and used motion expressively, this article aims to develop our understanding of a pivotal 20th-century filmmaker, while at the same time investigating the distinctive ideas of the aesthetics, forms and effects of animated motion that were articulated in her filmmaking practice and theoretical writing.

    Research areas

  • animation theory, avant-garde animation, intermediality, Mary Ellen Bute, motion aesthetics

Documents

Documents

  • Full-text PDF (accepted author manuscript)

    Rights statement: This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Sage at http://journals.sagepub.com/doi/10.1177/1746847719859194. Please refer to any applicable terms of use of the publisher.

    Accepted author manuscript, 323 KB, PDF document

DOI

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