Al Razutis

Al Razutis

History

Al Razutis is a avant-garde and documentary film-maker, multimedia artist, educator and innovator in motion-picture film and video, stereoscopic 3D video, holographic technologies and arts, and web-digital graphics for websites and virtual reality. He has been creating and exhibiting avant-garde and documentary films and video since the late sixties, holographic displays and art since the early 70's, and web virtual reality and stereoscopic 3D video art since the 90's. During this time he developed custom-made film optical printing, video synthesizer, holographic recording and imaging technologies used in his published and exhibited works. He is a 'hands on' creator and technical innovator who freely acknowledges those 60's - 70's innovators (Moog, Buchla, Whitney, Brakhage, Cross, Benton and others) in the technologies and the arts that influenced his creativity. His films have received a number of awards, including a 1988 Los Angeles Film Critics Award, and his media art works are found in a number of international collections and have been exhibited internationally, including a 1997 stereoscopic 3D video showing at the Louvre, a 2002 film-video retrospective at the Electronic Media Arts Festival in Osnabruck, Germany, and a 2004 exhibition of 3D video, film, video at SeNef, Seoul, Korea.

Profile

Al Razutis

Movies

Visual Essays: Origins of Film
(voice)
These six essays on film/image history reconstruct cinema history by 're-imagining' its origins, and its poetries, and use historical films themselves (as 'text') to provide the meanings of their creations. Together, these film essays comprise a critical/structural investigation of silent cinema ending with Segei Eisenstein's works (for Stalin) - from Lumiere and Melies through surrealism and horros, to montage and propaganda, we 're-invent' epochs in cinema that became its language and culture.
Visual Essays: Origins of Film
Editor
These six essays on film/image history reconstruct cinema history by 're-imagining' its origins, and its poetries, and use historical films themselves (as 'text') to provide the meanings of their creations. Together, these film essays comprise a critical/structural investigation of silent cinema ending with Segei Eisenstein's works (for Stalin) - from Lumiere and Melies through surrealism and horros, to montage and propaganda, we 're-invent' epochs in cinema that became its language and culture.
Visual Essays: Origins of Film
Producer
These six essays on film/image history reconstruct cinema history by 're-imagining' its origins, and its poetries, and use historical films themselves (as 'text') to provide the meanings of their creations. Together, these film essays comprise a critical/structural investigation of silent cinema ending with Segei Eisenstein's works (for Stalin) - from Lumiere and Melies through surrealism and horros, to montage and propaganda, we 're-invent' epochs in cinema that became its language and culture.
Visual Essays: Origins of Film
Writer
These six essays on film/image history reconstruct cinema history by 're-imagining' its origins, and its poetries, and use historical films themselves (as 'text') to provide the meanings of their creations. Together, these film essays comprise a critical/structural investigation of silent cinema ending with Segei Eisenstein's works (for Stalin) - from Lumiere and Melies through surrealism and horros, to montage and propaganda, we 're-invent' epochs in cinema that became its language and culture.
Visual Essays: Origins of Film
Director
These six essays on film/image history reconstruct cinema history by 're-imagining' its origins, and its poetries, and use historical films themselves (as 'text') to provide the meanings of their creations. Together, these film essays comprise a critical/structural investigation of silent cinema ending with Segei Eisenstein's works (for Stalin) - from Lumiere and Melies through surrealism and horros, to montage and propaganda, we 're-invent' epochs in cinema that became its language and culture.
Storming the Winter Palace: 'Visual Essays: Origins of Film No. 6'
Editor
Storming the Winter Palace: 'Visual Essays: Origins of Film No. 6'
Producer
Storming the Winter Palace: 'Visual Essays: Origins of Film No. 6'
Writer
Storming the Winter Palace: 'Visual Essays: Origins of Film No. 6'
Director
Amerika
Sound
Amerika is a "feature-length experimental film which was created one reel at a time to function as a mosaic that expresses the various sensations, myths, landscapes of the industrialized Western culture (1960's -1980's) through the eyes of media-anarchism and avant-garde film techniques." (A.R.)
Amerika
Editor
Amerika is a "feature-length experimental film which was created one reel at a time to function as a mosaic that expresses the various sensations, myths, landscapes of the industrialized Western culture (1960's -1980's) through the eyes of media-anarchism and avant-garde film techniques." (A.R.)
Amerika
Cinematography
Amerika is a "feature-length experimental film which was created one reel at a time to function as a mosaic that expresses the various sensations, myths, landscapes of the industrialized Western culture (1960's -1980's) through the eyes of media-anarchism and avant-garde film techniques." (A.R.)
Amerika
Music
Amerika is a "feature-length experimental film which was created one reel at a time to function as a mosaic that expresses the various sensations, myths, landscapes of the industrialized Western culture (1960's -1980's) through the eyes of media-anarchism and avant-garde film techniques." (A.R.)
Amerika
Producer
Amerika is a "feature-length experimental film which was created one reel at a time to function as a mosaic that expresses the various sensations, myths, landscapes of the industrialized Western culture (1960's -1980's) through the eyes of media-anarchism and avant-garde film techniques." (A.R.)
Amerika
Director
Amerika is a "feature-length experimental film which was created one reel at a time to function as a mosaic that expresses the various sensations, myths, landscapes of the industrialized Western culture (1960's -1980's) through the eyes of media-anarchism and avant-garde film techniques." (A.R.)
Amerika
Amerika is a "feature-length experimental film which was created one reel at a time to function as a mosaic that expresses the various sensations, myths, landscapes of the industrialized Western culture (1960's -1980's) through the eyes of media-anarchism and avant-garde film techniques." (A.R.)
For Artaud: 'Visual Essays: Origins of Film No. 5'
Editor
For Artaud: 'Visual Essays: Origins of Film No. 5'
Producer
For Artaud: 'Visual Essays: Origins of Film No. 5'
Writer
For Artaud: 'Visual Essays: Origins of Film No. 5'
Director
Ghost: Image: 'Visual Essays: Origins of Film No. 4'
Writer
Ghost: Image: 'Visual Essays: Origins of Film No. 4'
Director
Lumiere's Train (Arriving at the Station)
Editor
The subject of the first essay is cinema itself: an apparatus of representation wherein fact and fiction are recreated. As such, the pro-filmic facts are necessarily drawn from two of cinema's "pioneers": Louis and Auguste Lumière and Abel Gance (La Roue), with additional material provided from a Warner Brothers featurette, Spills for Thrills.
Lumiere's Train (Arriving at the Station)
Producer
The subject of the first essay is cinema itself: an apparatus of representation wherein fact and fiction are recreated. As such, the pro-filmic facts are necessarily drawn from two of cinema's "pioneers": Louis and Auguste Lumière and Abel Gance (La Roue), with additional material provided from a Warner Brothers featurette, Spills for Thrills.
Lumiere's Train (Arriving at the Station)
Writer
The subject of the first essay is cinema itself: an apparatus of representation wherein fact and fiction are recreated. As such, the pro-filmic facts are necessarily drawn from two of cinema's "pioneers": Louis and Auguste Lumière and Abel Gance (La Roue), with additional material provided from a Warner Brothers featurette, Spills for Thrills.
Lumiere's Train (Arriving at the Station)
Director
The subject of the first essay is cinema itself: an apparatus of representation wherein fact and fiction are recreated. As such, the pro-filmic facts are necessarily drawn from two of cinema's "pioneers": Louis and Auguste Lumière and Abel Gance (La Roue), with additional material provided from a Warner Brothers featurette, Spills for Thrills.
Egypte
Director
ÉGYPTE is a meditation on ancient time and space. Inspired by the Tibetan Tantric chants of the Lamas (which also comprises the sound track), this impressionistic piece presents the ancient sense of 'mystery' without recourse to narration or didactic (historical) interpretation.
Sequels in Transfigured Time: 'Visual Essays: Origins of Film No. 3'
Editor
Sequels in Transfigured Time: 'Visual Essays: Origins of Film No. 3'
Producer
Sequels in Transfigured Time: 'Visual Essays: Origins of Film No. 3'
Writer
Sequels in Transfigured Time: 'Visual Essays: Origins of Film No. 3'
Director
98.3 KHz (Bridge at Electrical Storm)
Director
A repeating journey across the San Francisco Bay Bridge becomes a journey into disintegrating visuals, video transformation, with an accompanying sound track taken from "40 years of Radio". As a film, it anticipated the end of the film medium, and the emergence of the video medium.
Le Voyage...
Director
"A rich visual elaboration, through optical printing, of an archetypal realm characterized by the opposition/interplay of consciousness and matter in discontinuous time. The central image is of a ghost-ship in a storm, and the entire film contains only four basic images. It is composed of "Le Voyage" (the visual 'passage') and "et, les Elements" (the afterimages/aftershock). In homage to Méliès." (A.R. catalog entry)
Méliès Catalogue: 'Visual Essays: Origins of Film No. 2'
Editor
Méliès Catalogue: 'Visual Essays: Origins of Film No. 2'
Producer
Méliès Catalogue: 'Visual Essays: Origins of Film No. 2'
Writer
Méliès Catalogue: 'Visual Essays: Origins of Film No. 2'
Director
Software
Director
In 'Software', the pixel lights of the industrialized world (electrical power) are re-formed in the speckles and patterned light of the video screen: a metaphor for energy as information transfer, but still at the service of the power structure. This short film is also used as head title of Amerika (1983) and is presented as placeholder, with video screens awaiting programs.
Vortex
Director
In 'Vortex', the intense subjectivity of techno-psychedelia converges with the technological gamesmanship of the space race. The subject matter, however, is 'space' and extinction.
Aaeon
Director
AAEON is based on experiments with dream recollection, and features the first optical printer technology developed in Vancouver and used in many of Razutis’ later films.