Приз института Майи Дерен. Один из классиков американского авангарда Джеймс Броутон использует кино как поэтическое воспевание любви, секса, человеческого тела, снов. Первый диск относится к 50 годам, фильмы , представленные на нем похожи на фильмы Майи Дерен. На втором диске фильмы 70-х годов. В них много красивых нудистских инсталляций, где показаны мужские и женские обнаженные тела с точки зрения искусства. По сравнению с современными режиссерам Броутон не опускается до уровня порнографии, а филигранно чувствует грань эротики и пошлости, возводя «ню» в высокое искусство. For the first time on DVD, the best films of avant-garde pioneer James Broughton have been assembled for this magnificent three-disc set. A poet, author, and filmmaker, Broughton, who was christened the "great and wise master of the American avant-garde" by critic Amos Vogel, attempted to use cinema as kind of poetic statement. He took as his subject matter love, sex, the human body, and dream imagery, rendered with a playful, whimsical, and sometimes erotic touch. Featuring such seminal titles as MOTHER’S DAY (1948), DREAMWOOD (1972), and TESTAMENT(1974), this three-disc set organizes 17 of Broughton’s films into three distinct eras to capture the breadth and evolution of his themes and subject matter. Disc 1: THE EARLY YEARS Disc 1: THE EARLY YEARS Broughton’s first films focused on the themes of romantic love and human behavior. A highlight in this collection includes THE PLEASURE GARDEN, which was named Best Fantastic-Poetic Film at the Cannes Film Festival. This group of black and white shorts include: MOTHER’S DAY(1948), LOONY TOM (1951), FOUR IN THE AFTERNOON (1951), and THE PLEASURE GARDEN (1953). Disc 2: A MIDDLE PERIOD During the 1960s and 1970s, Broughton’s imagery became more erotic while his subject matter explored the landscape of dream and the mysteries of Zen poetry. A highlight in this collection is TESTAMENT, a self-portrait that depicts Broughton’ |
