Lucille Dlugoszewski

In 1963, a magazine called Show commissioned me to make a promotion film for them. I conceived the film as a film periodical devoted to the arts. I filmed Erick Hawkins and Lucia Dlugoszewksi for the film. The Show people looked at the raw cut of the film, decided they hated it, and asked me to turn all the materials over to them. I kept the workprint and some of the outs. That accounts for the generally poor quality of the image. I should add that I consider Lucia Dlugoszewski one of the most important contemporary composers. ― Jonas Mekas

"In Spring, 1963 Show Magazine called me and asked that I make a film on arts in New York. I told them, why did they want me to make it - didn't they know I was a bit unusual? ... 'We want something unusual,' they said. So I went out and made a newsreel on arts. Show people looked at the rough cut of the film and became very angry. 'But there is nothing about Show Magazine and DuPont fabrics in the movie,' they said. 'What has that to do with the arts in New York!' I said. The battle was short. The film was destroyed. Really, I have no idea what they did with it. This workprint of the first FILM MAGAZINE OF THE ARTS is the only print in existence, as far as I know." -- J.M.

바바라는 자살을 고민하고 있다. 바바라의 애인인 그레고리와 친구들은 바바라를 말리려 한다. 50년대부터 비평, 영화 상영 기획 등 다양한 활동을 하고 있던 요나스 메카스가 처음으로 발표한 장편 영화. 분절된 내러티브, 불연속적 편집, 낯선 이미지의 삽입 등 영상으로 ‘이야기’를 전달하는 새로운 방식을 고민한 감독의 노력을 확인할 수 있다.

A voice occasionally says a word or two: "on the sidewalk" or "lithium" or a woman's name. A hand-held camera frames parts of sculptures, or moves across their surfaces, sometimes slowly, sometimes quickly, almost always in close-up. The soundtrack, in addition to the voice, is discordant music. Light and shadows are paramount. Sometimes the camera repeats up and down movements; once, a set of jump cuts brings an object closer. The music can be shrill in contrast to the sculptures. Almost entirely of wood, they are the work of Isamu Noguchi (1904-1988): Abstract, usually smooth and rounded (but not always).