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EXPERIMENTAL AMIMATION & PUBLIC TELEVISION |
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ROTATING
CUBIC GRID 1975. 2 minutes. Jarnow's primary motif is a grid which controls the shapes and motions of forms contained within the framework of a rotating cube. Constructed from interlocking cycles, the film explores branches and loops along paths laid down by geometric logic. -Thelma Schenkel, Harvard Film Archives |
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FOUR QUADRANT EXERCISE One of my intentions in FQE was to design an "animation machine." I adapted a perspective system that enabled me to render complex motions almost automatically. I made the film before having access to the pleasures of computer graphics technology. Both the film and I remain committed to the joy of making marks on paper. |
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AUTOSONG 1976. 10 minutes. Music by Brenda Murphy. Animation assistant: Peter Crosman "AUTOSONG'S remarkable spatial dimensional uses cartoon freedom to abolish the laws of physics inventing long, impossible tracking shots, Jarnow creates an inexorable forward movement sweeping over, around, into the window and out the rear-view mirror of a driverless Volkswagon as it careens down an empty-world autobahn." -J. Hoberman, Village Voice |
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SHORELINES "An inventory of a morning's
shell gathering develops into a comment on how we screen nature
through art. Jarnow programs his natural souvenirs (found objects)
through delightful scalar patterns in which we see all sequential
components at once. The result reveals the animation process
in a most delightful way." |
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CUBITS "CUBITS fuses the use of
plastic visual concerns and logic with animation. Every aspect
of the animation is measured and systematic. The filmmaker has
set up a closed visual system based upon a total visual analysis
of the single, simple geometric form, the cube. The music composed
especially for CUBITS by Brenda Murphy, lends a feel ing of humor." |
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PLANS & ELEVATIONS 1980. 4 minutes. 'The 'plan' becomes a projection into the future, as the 'elevation' materializes into the present, concluding with the arch leaping playfully out of the paper's surface, as if to escape the exigencies of physical laws." -Thelma Schenkel, Harvard Film Archives |
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INCIDENCE
OF THE NORTHERN MOON 1981. 4 minutes A study of a seashell, using animated and stop-motion techniques. The filmmaker explores phenomena of virtual and real space/time, analyzing and finally synthesizing the growth of a spiral shell. |
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JESSE:
THE FIRST YEAR 1979. 2 minutes. With the help of Jill and Jesse Jarnow and Peter Crosman. "For one year I photographed sequences of our son Jesse growing into and out of his bassinet. At the same time, Jill and I made recordings of his increasingly rich vocabulary of sounds. The immediate result is a time-lapse film of Jesse's first year." -Al Jarnow |
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CELESTIAL
NAVIGATION 1985. 15 minutes. "In this complex blend of philosophical and technical enquiry, the filmmaker plots the seasonal procession of the sun from equinox to equinox using stop motion, time-lapse photography and drawn animation. Jarnow watches the shadows cross his studio wall and travels to Stonehenge to view the summer solstice. A film by a master animator which captures, first person, the experience of being, in the words of Buckminster Fuller, 'a passenger on Spaceship Earth." -John Luther Schofill Experimental Film Coalition |
