Early Monthly Segments, filmada cuando Beavers tenía 18 y 19 años, es un trabajo altamente estilizado de autorretrato que representa al cineasta y compañero Gregory J. Markopoulos en su apartamento suizo. La película funciona como un diario, capturando aspectos de la vida familiar con una atención precisa a los detalles, documentando lo cotidiano con gran amor y transformando objetos y efectos personales ordinarios en un trabajo altamente cargado de homoerotismo. (FILMAFFINITY)
Himself
Beavers shot The Hedge Theatre in Rome in the 1980s. It is an intimate film inspired by the Baroque architecture and stone carvings of Francesco Borromini and St. Martin and the Beggar, a painting by the Sienese painter Il Sassetta. Beavers’ montage contrasts the sensuous softness of winter light with the lush green growth brought by spring rains. Each shot and each source of sound is steeped in meaning and placed within the film’s structure with exacting skill to build a poetic relationship between image and sound.
The Painting intercuts shots of traffic navigating the old-world remnants of downtown Bern, Switzerland, with details from a 15th-century altarpiece, “The Martyrdom of St. Hippolytus”. The Painting intercuts shots of traffic navigating the old-world remnants of downtown Bern, Switzerland, with details from a 15th-century altarpiece, “The Martyrdom of St. Hippolytus”. The painting shows the calm, near-naked saint in a peaceful landscape, a frozen moment before four horses tear his body to pieces while an audience of soigné nobles look on; in the movie’s revised version, Beavers gives it a comparably rarefied psychodramatic jolt, juxtaposing shots of Gregory Markopoulos, bisected by shafts of light, with a torn photo of himself and the recurring image of a shattered windowpane.
(J. Hoberman, The Village Voice)
Director
An 80-hour film being printed and shown in cycles every four years at a remote location in Greece.
Self
Filmmaker Jonas Mekas films 160 underground film people over four decades.
Director
Prosopographia, 1976. 16mm film, color, sound; 10 minutes (unfinished).
Cinematography
A portrait of the British artists, two living sculptures, filmed in Paris on the occasion of their exhibition at the Sonnabend Gallery.
Editor
A portrait of the British artists, two living sculptures, filmed in Paris on the occasion of their exhibition at the Sonnabend Gallery.
Director
A portrait of the British artists, two living sculptures, filmed in Paris on the occasion of their exhibition at the Sonnabend Gallery.
Director
Dedicated to Nigel Gosling. Voice-over with Hans Richter reading a Dada text. Filmed in Locarno.
Oesterreichisches Filmmuseum, Vienna
Director
The entire film was rephotographed and edited into Eniaios Cycle V. Filmed in Mistra, Greece.
Director
Edited but unprinted. Filmed in the apartment of Alban Berg, Vienna
Himself
"From the Notebook of..." was shot in Florence and takes as its point of departure Leonardo da Vinci's notebooks and Paul Valéry's essay on da Vinci's process. These two elements suggest an implicit comparison between the treatment of space in Renaissance art and the moving image. The film marks a critical development in the artist's work in that he repeatedly employs a series of rapid pans and upward tilts along the city's buildings or facades, often integrating glimpses of his own face. As Beavers notes in his writing on the film, the camera movements are tied to the filmmakers' presence and suggests his investigative gaze.
Director
The Damnation of Damien, edited in 1968, printed in 1972.
Preserved by Anthology Film Archives, New York.
Director
Edited but unprinted. With Annigoni, Umberto Baldini, Bertolini, Carlo Bettochi, Silvio Loffredo. Filmed in Florence. Orginal reversal film in Temenos Archive, Zurich.
Director
Edited but not printed. Filmed in Zurich. Original reversal film deposted in Temenos Archive, Zurich.
Director
Filmed in the gardens of the villa La Pietra, Fiesole, Italy.
Preserved in Oesterreichisches Filmmuseum, Vienna.Original reversal film in Temenos Archive, Zurich.
Director
Edited but unprinted. Filmed in Paris. Original reversal film in Temenos Archive, Zurich.
Director
Edited but unprinted. Filmed in Paris.
Original reversal film in Temenos Archive, Zurich.
Director
Based upon the theme of Faust. Filmed in Paris and London.
Director
Filmed in Mistra, Greece. Preserved in Anthology Film Archives, New York.
Director
Filmed in London. Preserved in Oesterreichishces Filmmuseum, Vienna.
Cinematography
Set to music by Beethoven, this lyrical portrait moves from a chilled and misty exterior to the crystalline interior of the Swiss chateau that King Ludwig II built for Wagner.
Editor
Set to music by Beethoven, this lyrical portrait moves from a chilled and misty exterior to the crystalline interior of the Swiss chateau that King Ludwig II built for Wagner.
Director
Set to music by Beethoven, this lyrical portrait moves from a chilled and misty exterior to the crystalline interior of the Swiss chateau that King Ludwig II built for Wagner.
Self
Includes 'portraits' of Marianne Faithfull, Thelonious Monk and 28 others, some known, some less so.
Self
An epic portrait of the New York avant-garde art scene of the 60s.
Cinematography
Portrait of novelist Alberto Moravia filmed in Rome.
Editor
Portrait of novelist Alberto Moravia filmed in Rome.
Producer
Portrait of novelist Alberto Moravia filmed in Rome.
Editor
Dedicated to Dieter Meier. voice-over by Gregory Markopoulos, reading an excerpt in English translation of Paul Valéry’s L’Homme et la nuit (Man and the Night).
Cinematography
Dedicated to Dieter Meier. voice-over by Gregory Markopoulos, reading an excerpt in English translation of Paul Valéry’s L’Homme et la nuit (Man and the Night).
Narrator (voice)
Dedicated to Dieter Meier. voice-over by Gregory Markopoulos, reading an excerpt in English translation of Paul Valéry’s L’Homme et la nuit (Man and the Night).
Director
Portrait of novelist Alberto Moravia filmed in Rome.
Director
Dedicated to Dieter Meier. voice-over by Gregory Markopoulos, reading an excerpt in English translation of Paul Valéry’s L’Homme et la nuit (Man and the Night).
Writer
Woman sitting in a chair.
Director
Woman sitting in a chair.
Director
(A)lter (A)ction, 1968. Videotape, black-and-white, sound; 65 minutes (director's edit: 57 minute television version).
Producer
Gammelion 1968, filmed at Il Castello Roccasinibalda in Rieti, Italy, is a major work in Markopoulos’s oeuvre, marking the transition into his late period and anticipating his epic final film, Eniaios 1947–91. Shot with only two rolls of film, the work extends seven minutes of footage to almost one hour of viewing time using hundreds of fades in and out. - Tate Modern
Editor
Gammelion 1968, filmed at Il Castello Roccasinibalda in Rieti, Italy, is a major work in Markopoulos’s oeuvre, marking the transition into his late period and anticipating his epic final film, Eniaios 1947–91. Shot with only two rolls of film, the work extends seven minutes of footage to almost one hour of viewing time using hundreds of fades in and out. - Tate Modern
Cinematography
Gammelion 1968, filmed at Il Castello Roccasinibalda in Rieti, Italy, is a major work in Markopoulos’s oeuvre, marking the transition into his late period and anticipating his epic final film, Eniaios 1947–91. Shot with only two rolls of film, the work extends seven minutes of footage to almost one hour of viewing time using hundreds of fades in and out. - Tate Modern
Director
Gammelion 1968, filmed at Il Castello Roccasinibalda in Rieti, Italy, is a major work in Markopoulos’s oeuvre, marking the transition into his late period and anticipating his epic final film, Eniaios 1947–91. Shot with only two rolls of film, the work extends seven minutes of footage to almost one hour of viewing time using hundreds of fades in and out. - Tate Modern
Writer
"In my film I suggest that there is no greater mystery than that of the protagonists. War and Love are simply equated for what they are; the aftermath is inevitable, and a normal human condition, for which like the ancients one can only have pity and understanding. In this lies the mystery. All else is irrelevant. That there are other sub-currents of equal power in The Mysteries goes without saying; and, those who are capable of the numerous visual visitations and annunciations which the film offers them will realize what is the Ultimate Mystery of my work."
Cinematography
"In my film I suggest that there is no greater mystery than that of the protagonists. War and Love are simply equated for what they are; the aftermath is inevitable, and a normal human condition, for which like the ancients one can only have pity and understanding. In this lies the mystery. All else is irrelevant. That there are other sub-currents of equal power in The Mysteries goes without saying; and, those who are capable of the numerous visual visitations and annunciations which the film offers them will realize what is the Ultimate Mystery of my work."
Editor
"In my film I suggest that there is no greater mystery than that of the protagonists. War and Love are simply equated for what they are; the aftermath is inevitable, and a normal human condition, for which like the ancients one can only have pity and understanding. In this lies the mystery. All else is irrelevant. That there are other sub-currents of equal power in The Mysteries goes without saying; and, those who are capable of the numerous visual visitations and annunciations which the film offers them will realize what is the Ultimate Mystery of my work."
Director
Die Schachtel (The Box), 1968. 35mm film transfer to videotape, black-and-white, sound; 29 minutes.
Director
"In my film I suggest that there is no greater mystery than that of the protagonists. War and Love are simply equated for what they are; the aftermath is inevitable, and a normal human condition, for which like the ancients one can only have pity and understanding. In this lies the mystery. All else is irrelevant. That there are other sub-currents of equal power in The Mysteries goes without saying; and, those who are capable of the numerous visual visitations and annunciations which the film offers them will realize what is the Ultimate Mystery of my work."
Producer
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound , finds the personalities of his characters to have a timeless universality.
Writer
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound , finds the personalities of his characters to have a timeless universality.
Editor
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound , finds the personalities of his characters to have a timeless universality.
Cinematography
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound , finds the personalities of his characters to have a timeless universality.
Narrator / The Filmmaker
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound , finds the personalities of his characters to have a timeless universality.
"Winged Dialogue details with growing clarity the desperate beauty and sexuality of the body animated by its soul, essence blindly reaching out, touching, in brilliant patterns through and beyond those of the vanishing images, expressed vividly in the after-image on the mind, on the soul’s eye." (Tom Chomont)
Director
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound , finds the personalities of his characters to have a timeless universality.
Portrait studies of Mrs. Hodges, Gail Beavers (the filmmaker’s sister) and Gregory J. Markopoulos.
Producer
The young hero seems the essence of maleness, yet he's troubled by vaguely feminine objects. Soon his masculine and feminine selves are intercut, as each of his identities appears to look and gesture at the other. The film, at once melancholy and transcendent, consists of a shimmering, nearly plotless evocation of gender identity in flux through haunting, densely interlaced images.
Editor
The young hero seems the essence of maleness, yet he's troubled by vaguely feminine objects. Soon his masculine and feminine selves are intercut, as each of his identities appears to look and gesture at the other. The film, at once melancholy and transcendent, consists of a shimmering, nearly plotless evocation of gender identity in flux through haunting, densely interlaced images.
Cinematography
The young hero seems the essence of maleness, yet he's troubled by vaguely feminine objects. Soon his masculine and feminine selves are intercut, as each of his identities appears to look and gesture at the other. The film, at once melancholy and transcendent, consists of a shimmering, nearly plotless evocation of gender identity in flux through haunting, densely interlaced images.
Writer
The young hero seems the essence of maleness, yet he's troubled by vaguely feminine objects. Soon his masculine and feminine selves are intercut, as each of his identities appears to look and gesture at the other. The film, at once melancholy and transcendent, consists of a shimmering, nearly plotless evocation of gender identity in flux through haunting, densely interlaced images.
Director
The young hero seems the essence of maleness, yet he's troubled by vaguely feminine objects. Soon his masculine and feminine selves are intercut, as each of his identities appears to look and gesture at the other. The film, at once melancholy and transcendent, consists of a shimmering, nearly plotless evocation of gender identity in flux through haunting, densely interlaced images.
Producer
The life of painter, dancer and poet Mark Turbyfill, seen in his 70th year, is evoked through Markopoulos’ unique form of cinematic portraiture.
Producer
The first film made by Markopoulos after moving to Europe, Bliss was shot over the course of two days using only available light to create a lyrical study of the interior of the Church of St. John on the island of Hydra.
Editor
The life of painter, dancer and poet Mark Turbyfill, seen in his 70th year, is evoked through Markopoulos’ unique form of cinematic portraiture.
Cinematography
The life of painter, dancer and poet Mark Turbyfill, seen in his 70th year, is evoked through Markopoulos’ unique form of cinematic portraiture.
Editor
The first film made by Markopoulos after moving to Europe, Bliss was shot over the course of two days using only available light to create a lyrical study of the interior of the Church of St. John on the island of Hydra.
Cinematography
The first film made by Markopoulos after moving to Europe, Bliss was shot over the course of two days using only available light to create a lyrical study of the interior of the Church of St. John on the island of Hydra.
Director
The life of painter, dancer and poet Mark Turbyfill, seen in his 70th year, is evoked through Markopoulos’ unique form of cinematic portraiture.
Director
The first film made by Markopoulos after moving to Europe, Bliss was shot over the course of two days using only available light to create a lyrical study of the interior of the Church of St. John on the island of Hydra.
Producer
Structured in nine tableaux each a study of a simple action or situation involving a lone, naked figure, the blind Eros, searching for fulfilment, for self. The objects he touches - books, paintings - can be seen as icons of the creative spirit; there is also a motor cycle and film equipment. In succeeding scenes he appears to try on identities offered by institutional doctrines of religion and social traditions of (overt) masculinity. Much of the film was constructed in-camera with a small amount of editing afterwards. An innovation was the use of in-camera fade-outs as phrase markers, not as terminal points, within a single set-up or shot.
Director
Structured in nine tableaux each a study of a simple action or situation involving a lone, naked figure, the blind Eros, searching for fulfilment, for self. The objects he touches - books, paintings - can be seen as icons of the creative spirit; there is also a motor cycle and film equipment. In succeeding scenes he appears to try on identities offered by institutional doctrines of religion and social traditions of (overt) masculinity. Much of the film was constructed in-camera with a small amount of editing afterwards. An innovation was the use of in-camera fade-outs as phrase markers, not as terminal points, within a single set-up or shot.
Cinematography
Structured in nine tableaux each a study of a simple action or situation involving a lone, naked figure, the blind Eros, searching for fulfilment, for self. The objects he touches - books, paintings - can be seen as icons of the creative spirit; there is also a motor cycle and film equipment. In succeeding scenes he appears to try on identities offered by institutional doctrines of religion and social traditions of (overt) masculinity. Much of the film was constructed in-camera with a small amount of editing afterwards. An innovation was the use of in-camera fade-outs as phrase markers, not as terminal points, within a single set-up or shot.
Editor
Structured in nine tableaux each a study of a simple action or situation involving a lone, naked figure, the blind Eros, searching for fulfilment, for self. The objects he touches - books, paintings - can be seen as icons of the creative spirit; there is also a motor cycle and film equipment. In succeeding scenes he appears to try on identities offered by institutional doctrines of religion and social traditions of (overt) masculinity. Much of the film was constructed in-camera with a small amount of editing afterwards. An innovation was the use of in-camera fade-outs as phrase markers, not as terminal points, within a single set-up or shot.
Producer
Markopoulos’ first attempt at making a 35mm feature film, clearly inspired by the cinema of Jean Cocteau, was left unfinished and the materials were lost for many years.
Writer
Markopoulos’ first attempt at making a 35mm feature film, clearly inspired by the cinema of Jean Cocteau, was left unfinished and the materials were lost for many years.
Cinematography
Markopoulos’ first attempt at making a 35mm feature film, clearly inspired by the cinema of Jean Cocteau, was left unfinished and the materials were lost for many years.
Editor
Markopoulos’ first attempt at making a 35mm feature film, clearly inspired by the cinema of Jean Cocteau, was left unfinished and the materials were lost for many years.
Paul
Markopoulos’ first attempt at making a 35mm feature film, clearly inspired by the cinema of Jean Cocteau, was left unfinished and the materials were lost for many years.
Director
Markopoulos’ first attempt at making a 35mm feature film, clearly inspired by the cinema of Jean Cocteau, was left unfinished and the materials were lost for many years.
Producer
This portrait of the filmmaker's apartment, painted in the color of the title, was made a few months before his departure from New York. It is dedicated to the filmmaker Stan Brakhage and was shot without a scenario and edited entirely in the camera.
Cinematography
This portrait of the filmmaker's apartment, painted in the color of the title, was made a few months before his departure from New York. It is dedicated to the filmmaker Stan Brakhage and was shot without a scenario and edited entirely in the camera.
Editor
This portrait of the filmmaker's apartment, painted in the color of the title, was made a few months before his departure from New York. It is dedicated to the filmmaker Stan Brakhage and was shot without a scenario and edited entirely in the camera.
Director
This portrait of the filmmaker's apartment, painted in the color of the title, was made a few months before his departure from New York. It is dedicated to the filmmaker Stan Brakhage and was shot without a scenario and edited entirely in the camera.
Producer
In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests.
Editor
In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests.
Cinematography
In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests.
Director
In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests.
Director
Temenos Archive, Zurich
Narrator (voice)
Shot in thirty-two hours at the abandoned Baybridge Theater in Brooklyn, in cinemascope and Eastman color. The film was based on the one-act play of the same name by George Christopoulos, who also commissioned it.
Director
Shot in thirty-two hours at the abandoned Baybridge Theater in Brooklyn, in cinemascope and Eastman color. The film was based on the one-act play of the same name by George Christopoulos, who also commissioned it.
Himself
In 1964 Film Culture magazine chose Andy Warhol for its annual Independent Film award. The plan was to show some of Andy's films and have Andy come on stage and hand him the award. Andy said, no, he didn't want a public presentation.
Director of Photography
In 1964 Film Culture magazine chose Andy Warhol for its annual Independent Film award. The plan was to show some of Andy's films and have Andy come on stage and hand him the award. Andy said, no, he didn't want a public presentation.
Cinematography
In 1963 Boultenhouse wrote, produced, and directed Dionysius,which he described as a “free treatment of Euripides' The Bacchae.”It starred the dancers Louis Falco, Anna Duncan, and Nicolas Magallanes as Dionysius, Agave, and Pentheus respectively, and the experimental filmmakers Charles Levine, Willard Maas, Gregory Markopoulos, Marie Menken, Lloyd Williams and William Wood as the Chorus of Cameras. The film's score was by Teiji Ito.
In 1963 Boultenhouse wrote, produced, and directed Dionysius,which he described as a “free treatment of Euripides' The Bacchae.”It starred the dancers Louis Falco, Anna Duncan, and Nicolas Magallanes as Dionysius, Agave, and Pentheus respectively, and the experimental filmmakers Charles Levine, Willard Maas, Gregory Markopoulos, Marie Menken, Lloyd Williams and William Wood as the Chorus of Cameras. The film's score was by Teiji Ito.
Director
Preserved by the Museum of Modern Art, New York.
Editor
A reworking of the myth of Hippolytus, in which a chaste youth rejects the incestuous advances of his mother and is saved from death by a caring physician.
Cinematography
A reworking of the myth of Hippolytus, in which a chaste youth rejects the incestuous advances of his mother and is saved from death by a caring physician.
Producer
A reworking of the myth of Hippolytus, in which a chaste youth rejects the incestuous advances of his mother and is saved from death by a caring physician.
Director
A reworking of the myth of Hippolytus, in which a chaste youth rejects the incestuous advances of his mother and is saved from death by a caring physician.
Writer
A reworking of the myth of Hippolytus, in which a chaste youth rejects the incestuous advances of his mother and is saved from death by a caring physician.
Producer
Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens.
Editor
Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens.
Cinematography
Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens.
Director
Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens.
Writer
Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens.
Writer
The dreamlike Eldora describes love’s fragmenting effects on the consciousness of an adolescent girl.
Editor
The dreamlike Eldora describes love’s fragmenting effects on the consciousness of an adolescent girl.
Cinematography
The dreamlike Eldora describes love’s fragmenting effects on the consciousness of an adolescent girl.
Director
The dreamlike Eldora describes love’s fragmenting effects on the consciousness of an adolescent girl.
Director
Suggested music to be played during film : “Concerto Grosso” by Ludwig van Beethoven. With John Markopoulos, Maria Markopoulos, Andrew Markopoulos, Elaine Markopoulos and others. Filmed in Toledo, Ohio. ( This film contains footage from Jackdaw and Christmas U.S.A. Preserved by Temenos, Zurich & New York.
Producer
Swain is inspired by Nathaniel Hawthorne’s Fanshawe, features a dreamlike narrative of a young man’s ritualized rejection of heterosexuality, as a mysterious woman in white gossamer pursues him through a ruined landscape.
Writer
Swain is inspired by Nathaniel Hawthorne’s Fanshawe, features a dreamlike narrative of a young man’s ritualized rejection of heterosexuality, as a mysterious woman in white gossamer pursues him through a ruined landscape.
Cinematography
Swain is inspired by Nathaniel Hawthorne’s Fanshawe, features a dreamlike narrative of a young man’s ritualized rejection of heterosexuality, as a mysterious woman in white gossamer pursues him through a ruined landscape.
Editor
Swain is inspired by Nathaniel Hawthorne’s Fanshawe, features a dreamlike narrative of a young man’s ritualized rejection of heterosexuality, as a mysterious woman in white gossamer pursues him through a ruined landscape.
the protagonist, Swain
Swain is inspired by Nathaniel Hawthorne’s Fanshawe, features a dreamlike narrative of a young man’s ritualized rejection of heterosexuality, as a mysterious woman in white gossamer pursues him through a ruined landscape.
Director
Swain is inspired by Nathaniel Hawthorne’s Fanshawe, features a dreamlike narrative of a young man’s ritualized rejection of heterosexuality, as a mysterious woman in white gossamer pursues him through a ruined landscape.
Director
Jackdaw does not exist in this form; footage may have been incorporated into Flowers of Asphalt.
Writer
Things spin: amusement park rides, a phonograph record. A man wakes, shaves, and takes a phone call. Another man, in a kimono, walks in the woods, stops, and opens a small decorative box on the forest floor. People at an amusement park called Little Harlem enjoy themselves. A man walks through another amusement park, called Cavalcade Worlds, as midway rides spin. At a house, an older woman cleans; a pre-teen girl sets the table; a teenaged boy showers. After he dresses, he holds a candle high above his head and walks swiftly toward a young man standing bare-chested, his arms extended. A man arrives home where the girl has set the table. The youth sleeps. Christmas?
Cinematography
Things spin: amusement park rides, a phonograph record. A man wakes, shaves, and takes a phone call. Another man, in a kimono, walks in the woods, stops, and opens a small decorative box on the forest floor. People at an amusement park called Little Harlem enjoy themselves. A man walks through another amusement park, called Cavalcade Worlds, as midway rides spin. At a house, an older woman cleans; a pre-teen girl sets the table; a teenaged boy showers. After he dresses, he holds a candle high above his head and walks swiftly toward a young man standing bare-chested, his arms extended. A man arrives home where the girl has set the table. The youth sleeps. Christmas?
Editor
Things spin: amusement park rides, a phonograph record. A man wakes, shaves, and takes a phone call. Another man, in a kimono, walks in the woods, stops, and opens a small decorative box on the forest floor. People at an amusement park called Little Harlem enjoy themselves. A man walks through another amusement park, called Cavalcade Worlds, as midway rides spin. At a house, an older woman cleans; a pre-teen girl sets the table; a teenaged boy showers. After he dresses, he holds a candle high above his head and walks swiftly toward a young man standing bare-chested, his arms extended. A man arrives home where the girl has set the table. The youth sleeps. Christmas?
Director
Things spin: amusement park rides, a phonograph record. A man wakes, shaves, and takes a phone call. Another man, in a kimono, walks in the woods, stops, and opens a small decorative box on the forest floor. People at an amusement park called Little Harlem enjoy themselves. A man walks through another amusement park, called Cavalcade Worlds, as midway rides spin. At a house, an older woman cleans; a pre-teen girl sets the table; a teenaged boy showers. After he dresses, he holds a candle high above his head and walks swiftly toward a young man standing bare-chested, his arms extended. A man arrives home where the girl has set the table. The youth sleeps. Christmas?
Producer
Based on Plato's dialogue Charmides.
Director
Based on Plato's dialogue Charmides.
Producer
Markopoulos called Lysis “a study in stream-of-consciousness poetry of a lost, wandering, homosexual soul” and felt that the film foreshadowed The Illiac Passion.
Director
Markopoulos called Lysis “a study in stream-of-consciousness poetry of a lost, wandering, homosexual soul” and felt that the film foreshadowed The Illiac Passion.
Producer
Psyche 1947, made while a student at USC, shows Markopoulos’ developing style and his sensuous use of colour and composition. Shot in the Hollywood hills, the film was inspired by an unfinished novella by Pierre Louÿs. - Tate Modern
Writer
Psyche 1947, made while a student at USC, shows Markopoulos’ developing style and his sensuous use of colour and composition. Shot in the Hollywood hills, the film was inspired by an unfinished novella by Pierre Louÿs. - Tate Modern
Editor
Psyche 1947, made while a student at USC, shows Markopoulos’ developing style and his sensuous use of colour and composition. Shot in the Hollywood hills, the film was inspired by an unfinished novella by Pierre Louÿs. - Tate Modern
Cinematography
Psyche 1947, made while a student at USC, shows Markopoulos’ developing style and his sensuous use of colour and composition. Shot in the Hollywood hills, the film was inspired by an unfinished novella by Pierre Louÿs. - Tate Modern
Director
Psyche 1947, made while a student at USC, shows Markopoulos’ developing style and his sensuous use of colour and composition. Shot in the Hollywood hills, the film was inspired by an unfinished novella by Pierre Louÿs. - Tate Modern
The Wanderer
The trilogy 'Of Blood, of Pleasure and of Death' (1947-1948), which began with Psyche (1947), the first film, produced by Gregory Markopoulos in 16mm, based on an unfinished novel by Pierre Louÿs, is completed with Lysis and Charmides, both based on Platonic dialogues. Addressing themes of homosexuality, these three films illustrate a symbolic use of colour and composition. (Centre Pompidou)
Director
The trilogy 'Of Blood, of Pleasure and of Death' (1947-1948), which began with Psyche (1947), the first film, produced by Gregory Markopoulos in 16mm, based on an unfinished novel by Pierre Louÿs, is completed with Lysis and Charmides, both based on Platonic dialogues. Addressing themes of homosexuality, these three films illustrate a symbolic use of colour and composition. (Centre Pompidou)
Camera Operator
A young man desperately seeks out the fleeting image of a female companion, and though he never quite catches her, he discovers much more through the surreal explorations of his own sexuality.
Ebenezer Scrooge
Based on the story by Charles Dickens. Filmed in Toledo, Ohio, U.S.A. Preserved by the Oesterreichisches Filmmsuem, Vienna and Temenos Archive, Zurich.
Director
Based on the story by Charles Dickens. Filmed in Toledo, Ohio, U.S.A. Preserved by the Oesterreichisches Filmmsuem, Vienna and Temenos Archive, Zurich.
