AVANT-GARDE FILM & VIDEO ARCHIVES & LINKS

by Al Razutis (XAR) - In Film Distribution & exhibition - Some Titles on DVD

Al Razutis - Visual Alchemy complete film list

Avant-Garde and Experimental Films and Videos by Al Razutis
Produced in California USA and Vancouver Canada 1967 - 2002

Al Razutis - Visual Alchemy 1974  photo- click for resume summary Al Razutis

BACKGROUND INFO:

Razutis Media CV - Awards - Exhibitions - Collections

Avant-Garde Film Web Catalog

Essays and Critical Writings on Film

Works Spanning decades in the many versions of film and film culture

Video Art DVD films sales direct from Al Razutis

Available for collectors, libraries or public viewings

Quick links to Individual Film - Video Titles:

MOTION-PICTURE FILM ARCHIVES:

Motion-Picture Holographic and Web-Media Films - archived

  • 'Mimetic Glass' (1974) - holographic animation film prototype
  • 'Doing_Time' (1997) - Web-browser projection of hand-coded cyber-film
    with scrolling texts, critical-literary referencing, cache-eating windows
  • VRML 2.0 MOVIEWORLDS (1996-2000) - Web-browser with VRML plug-in (required)
    MPEG movies in Virtual Reality (VR) 3D space
  • 'What Is Cinema Now?' (1996) - Open Letter to Frameworks

Films currently in distribution on DVD:

'Amerika' (1972-1983) - 17 films YT

'Visual Essays: Origins of Film' (1973-1984) - 6 films YT

Film/videos on YOUTUBE as 1-2 min. extracts - designated YT.

Photos: Visual Alchemy studio & film tech 1972-1987

VIDEO ARCHIVES:

      Stereoscopic 3D Videos - analog / field-sequential 3D

Videos currently in distribution on DVD:

'Why Don't You Just Leave?' (1996) - with Anne Popperwell Co-Prod./Dir. YT

Film/Videos on YOUTUBE as 1-2 min. extracts - designated YT.

Essay on videosynthesizer with photos: Felix 16-channel synthesizer 1974-1976

Essays on 3D video and 3D video art in 1990-2006: What is 3D video Art?

* Avant-Garde Films Distribution Catalog                     * Film - Video Subjects Distributed on DVD

'UNDERGROUND FILMS' POSTERS - INTERMEDIA FILM CATALOG

Intermedia and Vancouver Underground Films posters and catalog excerpt

PAGE ON UNDERGROUND FILMS & WRITING

Time Lapse: FILM-RELATED STUDIO & LOCATION PICTURES 1968 - 1996

click enlarge - Al Razutis 1968  Intermedia Vancouver<         click enlarge - Al Razutis 1972 studio Crescent Beach with optical printer and animation stand         click enlarge - Al Razutis 1974 studio Vancouver with videosynthesizer         click enlarge - Al Razutis 1976  Visual Alchemy studio  Vancouver and holograms         click enlarge - Al Razutis 1977  on location in Egypt         click enlarge - Al Razutis 1980  home studio Vancouver         click enlarge - Al Razutis 1980  People's Wall'  East Vancouver         click enlarge - Al Razutis 1980  post-performance Pacific Cinematheque Vancouver         click enlarge - Al Razutis 1989  projection into refrigerator         click enlarge - Al Razutis 1996  3D VR - Saturna Island Canada

MOTION-PICTURE FILMs BY AL RAZUTIS

All listed works produced and directed by Al Razutis. These are independent creations with credit to concept, writing, cinematography, editing, sound recording and mix, optical special effects, and lab timing by Al Razutis, unless otherwise noted in credits. 'Film by' means precisely that.

See also legacy Optical Printer developed for these projects.

Originals and printing elements stored at Academy Archives, Hollywood, Calif.

click/enlarge - Mark Toscano, archivist and preservationist at Academy Archives         click/enlarge - Academy Archives         click/enlarge - film-maker Al Razutis at Academy Archives

Pictured in 2013: Mark Toscano, archivist and preservationist and film-maker Al Razutis


MOTION PICTURE FILM LIST

'2 x 2'

17 min. color sound 1967-68 - two screen film - Al Razutis prod./dir

Click for enlargement of frames from 2 x 2 a film by Al Razutis

A film on two simultaneous (side by side) screens containing a meditation on abandoned houses, psychedellic 60's, anti-war sentiments, with a 'dystopian' view of society. Filmed in Davis, California, and assembled as 'originals only' for it's first public presentation in a bar (Davis, CA). Subsequently, the originals (film) were sold to Bob Pike, Creative Film Society L.A. to pay for the film-makers trip to Vancouver, Canada. Bob Pike later distributed the film as a A-B roll superimposition (one screen) release print of the two-screen contents with optical sound track.

From the Intermedia Film Co-op Catalog (1969): "shooting up on theatered (vegetable) war, people, history, and pure color sound -- transferse journey sustaining elecronic roars that fill mind and body straining to release"(A.R.)

Starring: Anelina Calero, John Aden, Kathy Pineo, Henry Chilko.

Music from Velvet Underground and Chambers Brothers. Sound recording: Richard Anderson. Editing assistance: Kathy Razutis.

Previous distribution: Creative Film Society, Los Angeles.

In the collection of Creative Film Society / UCLA Film Archives, Los Angeles




'Mothlight Sound'

3 min. color silent 1967 - super 8mm film - Al Razutis prod./dir

no film image available


"a fascination with light bathes free-form dance of nude-ness through filters angular light she moves very beautiful...a moth" (A.R. description Intermedia Film Catalog)

This film is lost, but the search continues.

Previous distribution: Intermedia Film Co-op, Vancouver.

Intermedia Film Co-op Catalog listing 1969 text




'Inauguration'

17 min. color sound 1968 - Al Razutis prod./dir

Click for enlargement of frames from Inauguration a film by Al Razutis

A film with two superimposed screens (from A-B dual-screen film '2 x 2' by Al Razutis - see above) containing a meditation on abandoned houses, psychedellic 60's, anti-war sentiments, with a 'dystopian' view of society. Filmed in Davis, California 1967, with additional footage filmed in Vancouver 1968, and assembled as a new work for presentations/distribution in Vancouver, Canada. Containing original sound track elements from '2 x 2'.

Starring: Anelina Calero, John Aden, Kathy Pineo, Henry Chilko.

Music from Velvet Underground and Chambers Brothers. Sound recording: Richard Anderson. Editing assistance: Kathy Razutis.

Previous distribution: Intermedia Film Co-op, Vancouver, and Canyon Cinema Cooperative, San Francisco.

In the collection of the film-maker.




'Black Angel Flag...Eat'

12 min. color silent 1967-68 - Al Razutis prod./dir

Click for enlargement of frames from Black Angel Flag...Eat a film by Al Razutis

A film of shot fragments and 'black leader' (blank screen) of varying durations (anticipations). Original footage shot in 19667 (Davis, Calif.) and assembled into a film in 1968 (Vancouver, BC). Presented for a one-time only screening (which was not 'received well' by the audience) in 1968 at Intermedia film series (2nd floor, weekly underground films presented/organized by A.R.) and listed for film distribution in the Intermedia Film Catalog 1968. and Canyon Cinema Cooperative, San Francisco (1968-70's). Subtitled: "showleader to the american flag"

"film very dedicated to th android poop spherical flag/ Laura L. eats/ programmed/ @1/2&%$#'!(--/ linear theater bursting/ idolatry of the fem/ made in U.S.A. & the screen films the audience cliced cross-section of america" (A.R. description in the Intermedia Film Co-op Catalog 1969)

Film print no longer in existence (as intact film / originals). Visual sections (black leader omitted) in filmmaker's personal archive.

Previous distribution: Intermedia Film Co-op, Vancouver, and Canyon Cinema Cooperative, San Francisco.

Intermedia Film Co-op Catalog listing 1969 text and graphics




'Poem: Elegy For Rose'

3 min. color sound 1967-68 - Al Razutis prod./dir

no film image available

"A poem written (transversely) on 16mm film with filmed sequence intervals and cacophany of sound. The film 'must be read' on a bench with rewinds, since projection-only (screen projection) delivers only partial content. A 'hands on' film."(A.R.)

From the Intermedia Film Co-op Catalog: "filmically; glimpses into the world of a hooker (filmed in s.f. chinatown) and streams of hieroglyph intestinal words -- the poem written transversely across the film -- lines forming words disintegrating ink texture sometimes recognizable and the intrinsic rhythm of strain-thought text: metaphorical poem (which can only be read by TOUCHING the film and READING words on celuloid tape transversely) and it is an elegy for Rose: streetwalker... sound: six layers of electronic music and sound poems (th poem read) amidst eerie insanity of a child's laughter assasinated by lies"(A.R.)

This film is lost, but the search continues.

Previous distribution: Intermedia Film Co-op, Vancouver .

Intermedia Film Co-op Catalog listing 1969 text and graphics




'SIRCUS SHOW FIRE'

7 min. color sound 1968 - Al Razutis prod./dir

Click for enlargement of frames from Sircus Show Fire a film by Al Razutis

"A day at the circus is rendered with multiple in-camera superimpositions, dissolves, flare-outs (accomplished by opening the film magazine in between shots, or during takes), and a spontaneous sound track. This film captures the childlike rapture of perceiving a circus spectacle as a sensorium of color, images, and sounds." (A.R.) Inspired by Jonas Mekas` film on the same subject.

From Intermedia Film Co-op Catalog: "Ectachrome dream of a child's phantasmagoria in light-color-sound free flying trapeze clowns tigerrs elephunks & memorable th bursting...CELEBRATION by fire/light to the sensual eye regenerated & (simultaneous sircus in many dissolves colored ovdrlays a visual celebration barrage -- stoned children & only a circus...)" (A.R.)

Previous distribution: Intermedia Film Co-op, Vancouver, and Canyon Cinema Cooperative, San Francisco.

Intermedia Film Co-op Catalog listing 1969 text and graphics

In the collection of Pacific Cinematheque Pacifique, Vancouver




'1967 - 1969'

12 min. color sound 1967 - 69 - Al Razutis prod./dir

Click for enlargement of frames from 1967 - 1969 films by Al Razutis

"Two-screen film featuring segments from 'Inauguration' (originally released as '2 X 2') 1967,   'Poem: Elegy for Rose' 1968,   'Black Angel Flag...Eat' 1967-68 by Al Razutis.

The tryptich of films was presented in two screen format and featured abandoned dwellings, anti-war themes, sex (and stock porno), drugs, rock and roll (Velvet Underground, Chambers Brothers), write/paint on film, black leader, special effects and 60's collage - montage techniques designed to be 'annoying' yet synaesthetic and critical of our 60`s cultures." (A.R.)

'1967-1969' in the collection of Pacific Cinematheque Pacifique, Vancouver

Components: 'Inauguration (2x2)' in the collection of Creative Film Society & UCLA Film Archives, Los Angeles, 'Black Angel Flag...Eat' in author's archive collection.




'AAEON'

28 min. color sound 1969-70 - Al Razutis prod./dir

1 min. excerpt video on YouTube:

AAEON by Al Razutis excerpt on YouTube

CLICK for image strips from AAEON a film by Al Razutis

"AAEON is based on experiments with dream recollection - it is a 'dream work' inspired directly by my dreams and the recollection of the vivid imagery and fractured time that would be recalled nightly by purposely waking myself (every hour) and audio recording my recollections of the events. This project required the construction of a film 'machine', the film optical printer, which I built in various stages in 1969-1972 in Crescent Beach and Vancouver." Photo of early version of optical printer by Al Razutis.

"The film is composed of four interwoven stages or stanzas that constantly develop and redefine mythological space/time circulating around the ideas of 're-birth' (Tibetan Buddhist ideas, the Tarot, William Blake, oriental and western mysticism were some of the influences at the time) . The film is composed and edited on an optical printer effecting distortions of motion, time, composition, and colour through extensive use of 'layering' (in bi-pack printing, matte printing, step printing, colour separation, burning the film in a projection gate, infrared photography)." (A.R.)

The film was a 'hands on' project, created in the spirit of Underground and Experimental authorship where all aspects of film production (producing, directing, cinematography, editing, lab timing, original conforming-neg cutting) were created by individual filmmakers (designating 'a film by') and not by hired technicians, as in VFX department.

Original music composed and performed by Phillip Werren. The music and imagery were created as a 'synergy' of both elements. Production assistance was also provided by Peter Jones, NFB Vancouver, one of the few individuals at the NFB who took an active interest in supporting underground and experimental films of the 60's-70's. Appearing: Jurgen Hesse, Kathy Razutis, Ed Varney, and Al Razutis. Screened at the Bellevue Film Festival (1970).

In the collections of Pacific Cinematheque Pacifique, and National Film Board of Canada, Vancouver.

AAEON (1970) film by Al Razutis - click/enlarge frame         AAEON (1970) film by Al Razutis - click/enlarge frame         AAEON (1970) film by Al Razutis - click/enlarge frame         AAEON (1970) film by Al Razutis - click/enlarge frame         AAEON (1970) film by Al Razutis - click/enlarge frame         AAEON (1970) film by Al Razutis - click/enlarge frame         AAEON (1970) film by Al Razutis - click/enlarge frame         AAEON (1970) film by Al Razutis - click/enlarge frame

All remaining release prints are now stored at the Academy Archives in Hollywood, USA.

References: Photo collage of AAEON frames and film optical printer / animation stand at Crescent Beach 1970, with Razutis making 'AAEON'.   Photo of final film optical printer at Visual Alchemy, Vancouver, 1974.




'VISUAL ALCHEMY'

8 min. color sound 1973 - Al Razutis prod./dir.

40 sec. excerpt video on YouTube:

Visual Alchemy by Al Razutis excerpt on YouTube

Click for enlargement of production stills  from Visual Alchemy film by Al Razutis

"A poetic document depicting psychological, alchemical, and physical aspects of earlier work in visual "transmutation" at the Visual Alchemy Studio, Vancouver 1973. The work depicted in this film includes early holography at this first art-holography studio in Canada and the projection of real and holographic images in space utilizing lasers and optics.

The sound track uses text fragments from my work and quotes from Carl Jung's  Psychology and Alchemy."   (A.R.)

Cinematography by Tony Westman, Al Razutis

In the collection of the National Gallery of Canada




'FYREWORKS & WATERCOLOR / ABSTRACT'

4 min. color sound 1973 - Al Razutis prod./dir.

Click for enlargement of  stills  from video hybrid films by Al Razutis


"'Fyreworks' and "'Watercolor/Abstract', two short video-film poems created in 1973 using both film and video processing as part of something I then called 'hybrids'. These hybrids, which also appeared in three film reels of my later film 'Amerika', featured combinations of film material, video processing (including colorization/keying and feedback, and bio-feedback), and optical printing. These seem to me a direct succession to underground films of the 60's (called 'Synaesthetic films' by Gene Youngblood in his book Expanded Cinema) by SF film-makers like Scott Bartlett, Tom Dewitt, and Jordan Belson (and others).


Additional experimetal works proceeding from these hybrids were incorporated in film projected images that I did for the Royal Winnipeg Ballet production of 'What To Do Until the Messiah Comes', Vancouver 1975."   (A.R.)

Originals film printing elements at the Academy Archives, Hollywood, USA




THE MOON AT EVERNIGHT...

9 min. color sound 1973 - Al Razutis prod./dir.

1 min. excerpt video on YouTube:

MOON AT EVERNIGHT excerpt on YouTube

The Moon At Evernight a film by Al Razutis - click to enlarge frames
This short film-video hybrid (film / video / film) is comprised of image cycles and haunting sound passages, each cycled preceeded by a wolf's howl in the music track. Like lava pouring into the screen, the optically printed and video synthesized then re-printed frames glow with content almost at the threshold of figurative recognition. As each cycle repeats in variation of image and motion, the "riders in the night" become rescued in our eyes from ghost like patterns.

An experimental film 'soundscape video' from 1973 and optical printing / analog videosynthesizer era. The 'band' plays in the mind.

"Built on the subliminal manipulation of forms and motion, this film's elusive, fiery images flare up and die back into the night void in recurring cycles, like the fixed but fragmentary elements of some forgotten myth or spell. Violent lyricism and lycanthropy - an optically printed spatial/temporal examination of a violent B-grade adventure film with horror-film sound elements. This series of image cycles abstracts and deconstructs the linear (melodramatic) narrative of television." (A.R. catalog entry)

All remaining release prints are now stored at the Academy Archives in Hollywood, USA.




LE VOYAGE...

8 min. color sound 1973 - Al Razutis prod./dir.

Le Voyage a film by Al Razutis - click to enlarge frames

This minimalist narrative film features extensive uses of 'pauses', or black-leader segments, suddenly interupted by image and sound sequences. (See 'Black Angel Flag...EAT' 1968 for comparison in image - pause structures.)

The repeating sequences of a 'sailing ship in a storm', lightning, and a lighthouse tower collapsing, become the basis of this punctuated narrative of image and sound. As with 'The Moon at Evernight' (above), this film is a experimental 'music-sound video' from the era of optical printing and analog video synthesis.

"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)

 

In the collection of the National Gallery of Canada

All remaining release prints are now stored at the Academy Archives in Hollywood, USA.





ÉGYPTE

12 min., 1976-7 - Al Razutis dir.

2 min. excerpt video on YouTube:

EGYPTE excerpt on YouTube

'EGYPTE a film by Al Razutis - click for enlarged photo page'

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.

The film features extensive use of time-lapse cinematography, and close-up tracking shots of hieroglyphic walls and temples, ranging in location from the Giza pyramids to the Luxor temples, and other notable locations in Egypt. The film 'poem' takes the viewer to the place of 'the ancients'. Later films utilizing similar subjects/styles, though in 70mm and using world-wide locations, include Baraka by Ron Fricke.

Produced for the National Film Board of Canada, Executive Producer Peter Jones, Producer Don Worobey.

Written, Directed, Cinemematography, Editing, Sound Editing-Audio Recording & Mixing by Al Razutis

Research, Location & Production Assistance by Catharine MacTavish

(A film by a two person production crew over 900 miles of Nile locations.)

In the collection of the National Film Board of Canada

Additional Film-maker's note: This film represents one of several themes filmed in Egypt by the filmmaker (Razutis) as assisted by Catharine MacTavish. A falling out with a new Executive Producer (John Taylor) over Razutis' insistence to exclusively edit and mix the film in post-production resulted in the remaining 3 films (as Razutis planned) to be abandoned, and the remaining footage was sold by the NFB as 'stock footage' to be featured in various documentaries on PBS (Public Broadcasting - US) documentaries on Egypt. 'That's life, when you're not a producer.' A.R.

 



PORTRAIT

9 min. color silent 1978 - Al Razutis prod./dir.

Portrait a film by Al Razutis


This silent 9 minute film is like a 'pointillist painting' come to life - where grainy shapes reveal themselves to be part of a visual jigsaw puzzle - an assembly over time - and where the film-maker's daughter serves to be the subject of this painting in time. Razutis uses re-photography and camera movements that mimick the eye's 'saccadic eye movement' in revealing the visual sequence and interaction between daughter and father. The revelation is conducted over repeating sequences whose content is 'sampled' as if in the construction of a memory as puzzle.

The use of extreme iage magnification and hi-contrast color processing results in a pointillist style of film as 'painting in time'. The sequences feature 'flare out' transitions also reminiscent of Razutis' earlier 'Sircus Show Fyre' (1968).

Recently re-discovered release print stored at the Academy Archives in Hollywood, USA.

 

 




'EXCERPT FROM MS: THE BEAST'

28 min. color sound, 1971-81 - Al Razutis prod./dir

1 min. excerpt video on YouTube:

EXCERPT FROM MS - THE BEAST excerpt on YouTube

Click for enlargement of frames from Excerpt from MS: The Beast

A complex experimental narrative based on an original screenplay by Al Razutis. The poetic language spoken by the characters Jack and Jill, a language loosely related to the forms of Finnegans Wake  and Shakespeare features puns and turns of phrases amidst a bizarre Victorian setting.

"The poetic language follows a dream vision of interpersonal and familial catastrophe that is eternally recurring amongst these archtypal characters, and their dwarf offspring. The film makes extensive use of distorting lenses and optical printing, sound overlays, to restructure the narrative, a `dreamspeak' narrative of sorts ...myth making and myth mocking. The point of view of the written and spoken language is modelled after that of childhood: listening, registering, and attempting to comprehend the language of parents. The parents, in this case, are also my literary predecessors." (A.R.)

This film was originally funded by the Canadian Film Development Corporation (a precursor to Telefilm Canada), but a falling out between the director and executive producer (of Telefilm) resulted in the completion being delayed 10 years and completion funding arranged separately by the director (Razutis).

Cinematography by Tony Westman
Written, Directed, Produced, Edited by Al Razutis
Starring: Ken Ryan, Susan Driver, Rommel

'THE BEAST': Original Screenplay by Al Razutis - Excerpts

All remaining release prints are now stored at the Academy Archives in Hollywood, USA.




'ON THE PROBLEM OF THE AUTONOMY OF ART IN BOURGEOIS SOCIETY, or... SPLICE'

23 min. color sound 1986 Prod/dir by Al Razutis / Scott Haynes / Doug Chomyn

CLICK for post-performance setting dressed by Al Razutis

In March 1986 in Vancouver, as part of National Film Week and the opening week events for the new Pacific Cine Centre, a panel presentation on "Avant-Garde Film Practice," moderated by Maria Insell, was held in front of a cinephile audience. "This film is a reconstruction, reinterpretation, and representation of this event, featuring five of the panelists offering views on 'individualism' (MICHAEL SNOW), 'new feminist narrative' (PATRICIA GRUBEN), 'erotic aestheticism' (DAVID RIMMER), and 'anti-semiotics' (JOYCE WIELAND and ROSS McLAREN). Their presentations are reconstructed using formal devices that arise in their particular film practices.

Texts of film-maker panel presentations - published in SPEED Spring 1987
as 'Echoes in the Museum of An Official Canadian Avant-Garde':

Maria Insell - organizer - Introduction and contexts - click to enlarge
Maria Insell
Introduction and contexts

Michael Snow - presentation text  - click to enlarge         Patricia Gruben - presentation text  - click to enlarge         David Rimmer - presentation text  - click to enlarge         Joyce Wieland and Ross McLaren - presentation / performance text  - click to enlarge         Al Razutis  - presentation / performance text  - click to enlarge

Prior to the pro-filmic event, Al Razutis asked Maria Insell, the organizer of the event, to be placed 'last' in order of presentation

The second half of the film ( 'SPLICE' ) is devoted to the film-destruction screening / performance / "direct action" conducted by AL RAZUTIS, which was titled 'SPLICE', in reference to the film projection 'spliced' to the simultanous performance in front of projection screen with dummy by Razutis. (Razutis admits to 'turning on the projector' as well as carrying a replica gun in the dummy's suitcase.)

This film re-creation contains traces of the original film, which was destroyed (except for splices) in the projector bleach bath as it was projected. It also presents fragments of Razutis's performance with a ventriloquist's dummy (the Lacanian "subject of semiotics"), and his concluding graffiti sprayed on the front wall of the Cine Centre theatre.

This film is 'despised' by some, and highly praised by others. It is certainly about 'next gen' avant-gardes responding to 'old' and 'theoretical' avant-gardes. As an intervention against film orthodoxy and film theory (of the time) conceits, this film encapsulates within its production methods the 'praxis' of avant-garde responses to art, culture, and politics. A re-deconstruction document of the various 'interpretations' of 'What is Avant-Garde Cinema?" (A.R.)

Film Credits: Collaborative work by Al Razutis, Scott Haynes, Doug Chomyn,
also containing footage and source material by Fumiko Kiyooka, Oliver Hockenhull.
Edited and released on film by Al Razutis.

More on SPLICE.. and AMERIKA ' Between Agonism and the Autonomy of Art: The Case of Al Razutis' by William C. Wees
(Originally published in The Cantrills Filmnotes, 1989) - HTML

All original printing elements and remaining release prints are now stored at the Academy Archives in Hollywood, USA.




'WALKABOUT'

5 min. color sound 1986/92 Prod/dir by Al Razutis

Walkabout  a film by Al Razutis


'Walkabout' 5 min. shot on 16mm. film, in the 80's, with long tracking shots along walls of Vancouver, Expo 86 days, Socreds in power, Amerika released, 'with Al, a tourist in his own zone'. Visual essays as political graffiti. The meaner, the better; the uglier, the prettier. A walkabout in dreamlines of political piss.

Silent and sound with the music 'Burning Down the House' by Talking Heads added later.The sequences feature long tracking shots reminiscent of Razutis' earlier 'Egypte' film. Particular graffiti texts are un-credited.

Recently re-discovered release print now stored at the Academy Archives in Hollywood, USA.

"If we're gonna talk the talk, then we have to walk the walk Vancouver, BC."
WALKABOUT 5 min. sound on Razutis' FACEBOOK pages >>

WALKABOUT - 5 MIN. - on Razutis Facebook page

'THE TILTED X'

15 min. B&W silent 1986 prod/dir by Al Razutis - performance with film/slides/voice-synthesizer and set/props

THE TILTED X   by Al Razutis - performance at Pacific Cinematheque Pacifique 1987

Wearing a professorial suit (without pants), poised at a podium (with magnifying screen), Professor Al Razutis proceeds to "instruct" with the pointer, read from the text (writings based on Frederick Jameson, Arthur Kroker, Deleuze, Benjamin and others) while a series of slides were projected with superimposed projected 16mm film cross-hair - the tilted X.

The film-performance by Razutis of The Tilted X - Essay on Postmodernism was featured at The Funnel, Toronto, Ontario (December 19, 1986), and the Pacific Cinematheque, Vancouver, B.C. ( May 10, 1987), shortly after his resignation and shortly before departure from Simon Fraser University (September, 1987).

The Tilted X Performance Kit

PERFORMANCE KIT containing a dildo pointer, 600' film, slide tray of "famous modernist paintings" (US, Canada, Europe), prepared lecture text, large magnifyer screen, and voice synthesizer (not pictured).

The Tilted X Performance Text

PERFORMANCE TEXT, containing spoken text, stage direction, and cues.

You can view the text as a large TEXT - Jpeg or for better reading as TEXT - PDF Adobe Acrobat file.

The Tilted X Slides List

PERFORMANCE SLIDES LIST, containing handwritten list of famous artist works as slides to be projected as per script.

You can view the text as a large TEXT - Jpeg or for better reading as TEXT - PDF Adobe Acrobat file.

The Tilted X Slides List

INFORMATION TO DISTRIBUTOR, containing January 12, 1988 handwritten list instructions by Al Razutis to the Experimental Film Officer, Mike Hoolboom, at the Canadian Filmmakers Distribution Centre, Toronto, concerning of TILTED X performance requirements, rental and sales prices and other relevant information. You can view the text as a large TEXT - Jpeg or for better reading as TEXT - PDF Adobe Acrobat file.

Note: This PERFORMANCE KIT features all of the elements from the performance piece, with the undertaking for the user to perform the piece.

More on avant-garde practice ' Between Agonism and the Autonomy of Art: The Case of Al Razutis' by William C. Wees
(Originally published in The Cantrills Filmnotes, 1989) - HTML




'METALEPSIS' (On Censorship)

35mm film strips 1987 prod/dir by Al Razutis
performance with 35 mm film strips, overhead projector, cigarette lighter

METALEPSIS   by Al Razutis - performance at Pacific Cinematheque Pacifique 1987

A blind-folded with shattered glasses character is poised at an overhead projector with 35mm film strips and a cigarette lighter.

The film-performance by Razutis of Metalepsis (on censorship) was featured at the Pacific Cinematheque, Vancouver, B.C. ( May 10, 1987), shortly after his resignation and before his departure from Simon Fraser University (September, 1987).

PERFORMANCE TEXT - METALEPSIS - PDF file




'THE FAR SHORE'

1987 prod/dir by Al Razutis
Performance with block of ice and audience on the making of Canadian films

THE FAR SHORE  by Al Razutis - performance at Pacific Cinematheque Pacifique 1987

A 'director' with basebal cap encourages audience to participate as time-lapse film camera shoots melting block of ice.

The performance by Razutis of The Far Shore was featured at the Pacific Cinematheque, Vancouver, B.C. ( May 10, 1987), shortly after his resignation and before his departure from Simon Fraser University (September, 1987).

 



'FINAL FILM PERFORMANCE' (May 10, 1987)

Final Film Performance   by Al Razutis - performance at Pacific Cinematheque Pacifique 1987

This film-performance (excluding 'The Far Shore') by Razutis was first performed in 1986 in Toronto at The Funnel, as part of "KALLING ALL KANADIAN KRITICS" and performed in total at the Pacific Cinematheque, Vancouver, B.C. ( May 10, 1987) in a modified form and shortly after his resignation and before his departure from Simon Fraser University (September, 1987).


Top of Page - Index List


* Avant-Garde Film Catalogue         * Current DVD Film - Video Subjects Distributed


VIDEO ART ARCHIVE LIST

All listed works produced and directed by Al Razutis. These are independent creations with credit to concept, writing, videography, editing, sound recording and mix, video special effects and rerecording by Al Razutis, unless otherwise noted in credits. 'Video by' means precisely motion-pictures for TV screen authored in video.

See also legacy Video Synthesizer developed for these projects - photos and historical photo page.

'VIDEOGRAPHICS: SELECTED WORKS' (1972 - 1974)

('Software', 'Vortex', 'Aurora', 'Moon at Evernight', '98.3 KHz: Bridge at Electrical Storm' - 40 min. )

VIDEOGRAPHICS: SELECTED WORKS 1972 - 1974 by Al Razutis

1-2 min. excerpt videos from this work on YouTube:

VORTEX excerpt on YouTube   AURORA excerpt on YouTube   MOON AT EVERNIGHT excerpt on YouTube   BRIDGE AT ELECTRICAL STORM excerpt on YouTube

VIDEOGRAPHICS is a collection of film - video 'hybrids' representing the crossing over from film to video (back and forth) image processing - synthesizing techniques that involved both the video-synthesizer (Razutis - Armstrong FELIX) and Razutis' personally built film optical printer. Neither exclusively 'film' nor 'video', these groundbreaking works represented the first Canadian experimental film-videos that challenged the oppressive critical orthodoxies of (what is) 'film' or 'video' art that were rampant in their respective 'scenes' at that time.

The individual works contained in this tape are Software/3min., Vortex, Aurora, The Moon at Evernight, and 98.3 KHz: (Bridge at Electrical Storm. Some of the individual works were incorporated in Razutis' avant-garde feature film 'AMERIKA', and were individually screened, awarded and subject of critical essays.

Analog video-synthesisis and film optical printing were the precursors to modern-day digital effects which carried the early formal vocabulary into more 'refined' (digital) forms that are commonplace today. All picture, sound, and processing elements contained within these works were created by Al Razutis at Visual Alchemy (1972 - 1974).

Previous distribution: Video Out, Vancouver

In the collection of the National Gallery of Canada, Nova Scotia College of Art and Design (NSCAD)

Collection copies available on DVD DVD sales of  works by Al Razutis




'HYBRID' (1973)

Co-created with Gary Lee-Nova - 60 min.

HYBRID 1973  by Al Razutis and Gary Lee-Nova

HYBRID is a video featuring some of the earliest experiments (done on 1" tape) in synaesthetic video art and 'hybrid' forms of film and video. It is an assemblage of 16mm film and video content that integrates both film (pre-existing film material by Razutis and Lee-Nova) and video intermediates which re-interpret this material using video synthetic processes (feedback, colorization, quantizing, abstracting). Razutis and Lee-Nova travelled to Evergreen State College, Olympia, Washington and Portland City College in Portland Oregon and engaged their supportive staffs to create this experimental video art piece over a number of months in 1972-1973.

click for image - text page on HYBRID appearing in Ats Canada 1973 Issue of Video Art - essay by Gary Lee-Nova and Al Razutis

The merging of film optical printing techniques (based on Razutis' film optical printer) and video synthetic techniques ( see also the page on Felix video-synthesizer) of 're-composition' are the informing concepts of this work, which was experimental and video-synthetic. The resulting 'hybrid' film-video is a precursor to further work in experimental video which was primarily continued by Razutis in his further pieces. The optical printer, at this point, became a pro-filmic image technology which became subordinated to analog video re-processing.

Film material (for video synthesis) includes image loops and short sequences from the works of Gary Lee-Nova ('Box-o-Rama', and color studies) and image loops / sequences from films by Al Razutis.


Production assistance provided by Evergreen State College (Washington), Portland City College, and Jim Cox.

Previous distribution: Video Out, Vancouver

In the collection of the Vancouver Art Gallery

click for enlargement of Arts Canada 1973 Video Issue - 'Hybrid' by Gary Lee Nova and Al Razutis
Arts Canada 1973 Video Issue - 'Hybrid' essay & graphics (large JPEG) -- Higher resolution PDF file

click for separate window  of Arts Canada 1973 Video Issue in JPEG file format
Arts Canada 1973 Video Issue - Full Section on Vancouver Video Art (large JPEG)
Higher resolution PDF FILE




'FIREWORKS & WATERCOLOR / ABSTRACT'

4 min. color sound 1973 - Al Razutis prod./dir.

Click for enlargement of  stills  from video hybrid films by Al Razutis


"'Watercolor/Abtsract', a short video-film poem created in 1973 using both film and video processing as part of something I then called 'hybrids'. These hybrids, which also appeared in three film reels of my later film 'Amerika', featured combinations of film material, video processing (including colorization/keying and feedback, and bio-feedback), and optical printing. These seem to me a direct succession to underground films of the 60's (called 'Synaesthetic films' by Gene Youngblood in his book Expanded Cinema) by SF film-makers like Scott Bartlett, Tom Dewitt, and Jordan Belson (and others).


Additional experimetal works proceeding from these hybrids would be incorporated in film projected images that I did for the Royal Winnipeg Ballet production of 'What To Do Until the Messiah Comes', Vancouver 1975."   (A.R.)

Originals film printing elements at the Academy Archives, Hollywood, USA




'SYNCHRONICITY' (1974)

Created by Tundra Co-op: Jerry Barenholtz, Audrey Doray, Victor Doray, Barry Ferris, Al Razutis, Doug Seeley, Barry Truax ( sound, 8 min. )

SYNCHRONICITY video and film by Tundra Co-op - Al Razutis

SYNCHRONICITY is a analog videosynthetic work incorporating early computer graphics (monocrome subjects), film loops subject to colorization, quantizing and feedback and was collaboratively created by Tundra Co-op, Vancouver, with Jerry Barenholtz and Doug Seeley providing the computer graphics and Al Razutis providing video synthetic mixing, and video editing. The electronic music track was composed and created by Barry Truax. Post production editing faciilities were donated by BCIT and Gene Lawrence.

It has been recently added to the film archives after a single film print was discovered. This is a rare example of some of the earliest computer graphics work in Vancouver mixed with videosynthesis and video-effects with a electronic soundtrack. The work was completed on videotrape then transfered to 16mm film for distribution.

Film printing elements at the Academy Archives, Hollywood, USA



'ANTHOLOGY' 1972-1974

Featuring the following: 'Bio Portraits' and Visual Alchemy studio tours,
excerpts from hybrid film-video works: 'Vortex', '98.3 KHz: (Bridge at Electrical Storm', 'Le Voyage', 'Moon at Evernight...'
and the following films: 'AAEON', 'The Beast', 'Visual Alchemy', 'Melies Catalogue'
approx. duration: 46 min. )

ANTHOLOGY 1974 a videotape by Al Razutis

ANTHOLOGY 1974 documents and presents film and video art created by Al Razutis at Visual Alchemy 1972 - 74. Beginning with an assembly of bio-rhythm / synthesizer experimental sequences, this highly ideosyncratic documentary includes excerpts from several films and videotapes by Razutis (listed above), studio 'tours', meditations, and strange digressions. Some of the sequences represent the only surviving video documentation from that era of avant-garde video at Visual Alchemy in Vancouver, Canada.

Original elements (difficult to preserve) include footage shot on a 1/4" AKAI color portapak, 1" IVC studio sessions, and 1/2" SONY portapak and SONY AV-3650 and AV-5000 early color tapes.

Production assistance provided by Evergreen State College (Washington) and Jim Cox.

Previous distribution: Video Out, Vancouver




'AURORA' (1974)

( sound, 6 min. )

1-2 min. excerpt videos from this work on YouTube:

AURORA excerpt on YouTube

AURORA 1974 by Al Razutis

AURORA is a analog videosynthetic work incorporating film loops subject to colorization, quantizing and layering and was created by Razutis at the video facilities of Evergreen State College (where he taught in 1972) and Vancouver (Visual Alchemy) utilizing his 'Felix' video synthesizer.

Inspired by witnessing the 'aurora borealis' over Vancouver in the early 1970's, this short work is an early example of 'visual music' combining film sources (time lapse clouds, slow motion volcanic erruptions, water reflections) and videosynthesis, and was released as part of Videographics: Selected Works (1972-1974).

In February 2014, a sound film print was found, making this work now available on film, as well as video. This print is to be deposited with the Academy Archives, Hollywood, USA to join the other film-video hybrids and films by Razutis at the Archives.

Previous distribution: Video Out, Vancouver




'WAVEFORM' (1974 - 1976)

('Waveform' and other shorts - 26 min. )

WAVEFORM 1974 - 1976 by Al Razutis

WAVEFORM documents and interprets art created using bio-feedback experiments conducted by Razutis and colleagues in Evergreen State College (where he taught in 1972) and Vancouver (Visual Alchemy). Artist was plugged into bio-monitoring devices (Beckman EEG, ECG) which performed 'voltage controlled' keying of looped film-video imagery in real-time synthesis. The resulting 'loop' (artist - real-time display - artist) became a 'feedback loop' which depended on artist's ability to affect change (breathing, heartbeat, brainwaves) on the synthesis process.

The analog video era, which is celebrated graphically with ocean waves, oscilloscope waveforms and colorizing / keying techniques, along with white noise soundtrack elements, was certainly displaced by the digital video era. But in our universe, there can not be only digital binaries binary streams, but necessarily analog waveforms and functions that allow for propagation of energy and mind. This piece, like analog video feedback, is an analog composition celebrating waveforms.

WAVEFORM is an early and unique example of 'interactive art' which nowadays includes virtual reality interactive interfaces, bio-scanning, and other technologies. In the 1970's analog era, these innovative approaches to art creation were limited only by available (borrowed or built) technologies.

Production assistance provided by Evergreen State College (Washington) and Jim Cox.

Previous distribution: Video Out, Vancouver

In the collection of the National Gallery of Canada




'SYNAPSE' (1976)

Bio-feedback Performance Video 60 min., 1976
Distribution Edit version with titles, 28 min., 1979

40 sec. excerpt video on YouTube:

Synapse by Al Razutis excerpt on YouTube

click for collage of SYNAPSE - BIO-FEEDBACK VIDEO PERFORMANCE - 1976 by Al Razutis

Before Virtual Reality (VR), before interactive digital graphics, there was bio-feedback and interaction with analog signals (video, audio, any waveform). And the 'medium' for this real-time interaction was the analog video-synthesizer, like the Felix, which was custom-built at Visual Alchemy by Jim Armstrong and Al Razutis.

SYNAPSE (live broadcast bio-feedback performance piece on February 13, 1976, 8 p.m. Channel 10 Vancouver) is there to remind us of what happens when artist plugs himself into the bio-feedback machine in the 70's - artist as videosynthesizer, amplified by feedback loops, resulting in brain theta waves and accelerating and dangerous bio-rhythms.

The earlier (WAVEFORM 1974 ) experiments with trying to achive 'alpha state' (brainwaves in the alpha region - EEG), a strange form of 'synthesizer assisted meditation', became less interesting (boring) than engaging with bio-feedback in a range of brainwave and bio activity. The feedback-loop (projected images mixed with modulated video syntheszer interpretations in real-time mix with the artist's response and ECG/EEG and galvanic skin reponse) went 'everywhere', including a 'broadcast failure' (the station went black for a minute after someone spilled coffee onto their broadcast 1" deck), attests to this being a 'work in progress' (later continued with CANADIAN SUNSET (1978) which featured synthesized 'biofeedback' with an office plant.)

"I brought my 'performance' device (FELIX video synthesizer) into the broadcast studio at Channel 10 Vancouver one night for a live bio-feedback prime-time broadcast." (A.R.)

SYNAPSE Performance assisted by: Tom Osborne, Jim Cox, Donna Graf, Jerry Barenholtz, Jim Bescott, Jeff Howard, Ron McInnis, Colin Wedgewood, Martin Truax, and Cable-10 Vancouver staff.

Previous distribution: Video Out, Vancouver

In the collection of the National Gallery of Canada

Original 60 min. program on 1 inch tape archived at the Academy Archives, Hollywood, USA

Collection (edited from U-Matic) copies of 28 min. edit version (picture), with added titles, available on > DVD DVD sales of works by Al Razutis




'CANADIAN SUNSET' (1978)

Plant Video-synthesis Installation Video, 30 min., 1978

Canadian Sunset plant video-synthesis installation - 1978/Al Razutis

CANADIAN SUNSET featured a wired-up installation of Beckman EEG brain-wave monitor with electrodes attached to branch and stem of a office plant (a big leafy one!) in my faculty office at Simon Fraser University, 1978. The EEG sensor output was connected to voltage amplifiers and modulators which performed color keying fx on the output of the B&W video camera that looked 'out the window' at the sky in motion and light.

The installation ran for 24 hrs, 7 days, as academic business was conducted 'as usual'. It was recorded by a time-lapse VCR in composite color (recording 'the performance', which included the plant-synthetic color keying.

I had recently returned from Samoa ('the jungle'), had read 'Do Plants Have Feelings?' (don't laugh, it's a very interesting thesis), and decided to see for myself if a 24/7 recording of a plant's bio-potential readings (microvolts) could detect changes in 'attitude' (in the plant - certainly, there would be changes in my attitude towards the plant), and whether these could be used in a video-synthesis tape as 'art' or 'performance' or 'installation'.

There were witnesses, including the Director of the Centre for the Arts, Dr. Evan Alderson (my boss), to the events: The common 'office' plant changing potentials and sensitivities (heightened during photo-synthesis daylight hours), sudden spikes of bio-potential ocurring and recorded by the EEG machine when I confronted it with scizzors, ready to "hack off a limb!". These events and this experimental installation certainly re-defined what a 'plant' is, especially in a university 'arts department', of which I was a new member.

This tape was never distributed (attempts were made) and it marked a point of departure (from synaesthetic formalism) for me, one that would lead to future interests in 'political agitation' and 'avant-garde practices' (and the aesthetics of that which is 'ugly' to the 'fine arts'). This tape is referenced in Ghosts in the Machine: "This could have been a big-time money maker!"

See also: Felix video synthesizer




"ANTHOLOGY 1980"

30 min., sound - Produced and Directed by Al Razutis, 1980

Frame from Anthology 1980 by Al Razutis

This tape was independently and 'with poetic license' produced in a 30 minute format for broadcast on CBC - TV (Vancouver) as part of 'Independent Filmmakers Showcase'. It features a number of films by Al Razutis presented in short extracts, fish-eye lens walking shots, digressions, bio-graphical voice overs and anti-commercial monologues deliberately constructed to 'offend' the viewer's sense of watching TV.

It was broadcast in it's entirety, and subsequently distributed for several years as a off-the-wall 'infomercial' tape on Razutis' films. 'Kind of like burning your bridges before they happen, which was the intention'. (A.R.)

Excerpts from 20 films by Razutis spanning the 70's is presented along with real-time analog mixing interpretations and fragments from rarely seen works.

Previous distribution: Canadian Fimmakers Distribution West (CFDW) / Moving Images,
and Video Out, Vancouver




"INVESTIGATION OF A CITIZEN ABOVE SUSPICION"

60 min., stereo snd. - Produced and Directed by Al Razutis (with Mike Hoolboom) 1990

Mike Hoolboom on the Hot Seat

A sixty-minute one shot. Michael Hoolboom is interviewed / interrogated by Razutis in a Venice Beach apartment in 1980. The topic: the 'demise' of experimental film in Canada and the usurping of film production, exhibition, distribution, curating and critical history by an individual(s) normally protected from public scrutiny.

Rather than skirting around the issues, this tape examines the facts behind this debacle, revealing for the 'first time' the intrigues, manipulations, intimidations that surrounded the Toronto film scene in the 80's. Hoolboom, as Experimental Film Officer at the Canadian Filmmakers Distribution Center in the 80's and privy to many of it's files and correspondences, is interrogated as a captive eye-witness to these events.

Videotape also distributed as 'open letter' to Chicago, San Francisco, New York filmmakers.


Previous distribution: Canadian Fimmakers Distribution West (CFDW) / Moving Images, Vancouver




GHOSTS IN THE MACHINE

22 min. Prod./Dir. Al Razutis 1994-1996

2 min. 40 sec. excerpt video on YouTube:

Ghosts in the Machine by Al Razutis excerpt on YouTube

GHOSTS IN THE MACHINE

Within all histories of media (computer graphics, video, film), there are predecessor forms, influences, prior works. This context, including anti-censorship battles of the 80's in Ontario, Canada, is remarked on in a 20 minute video-compilation of works and interviews by Razutis titled   "GHOSTS IN THE MACHINE".

This is a tape compiled from various broadcast and original art sources. It features a illustrated narration (by Razutis) touching on media art, history, and anarchist film art practices as evidenced in his works. Video synthetic film art and avant-garde art practices are the topics of this subjective anthology-documentary.

This videotape contains short excerpts from 12 films and videos by Razutis, spanning 1970 to 1990, contains film and tv interview fragments, and features a collage of voice-over commentary by Razutis that covers film culture politics, avant garde works, analog video and film technology and bio-feedback experiments of the 1970's-80's.

Selected interview material from 'THROUGH THE LENS' (Prod. G. Jordan-Bastow, F. Kiyooka), a history of independent film-making in Canada, by permission of the producers.

Previous distribution: Video Out, Vancouver; V-Tape, Toronto

Original distribution copies on 3/4 inch U-matic format. - 22 min. edit version.

Collection copies of (pic >) 22 min. distribution version, from 3/4" Umatic, available on (sales >) DVD DVD sales of works by Al Razutis




VR: A MOVIE

16 min., VIDEOTAPE, 1996

1 min. excerpt video on YouTube:

VR A MOVIE excerpt on YouTube

'VIRTUAL GODDESS' - VR:A MOVIE

VR: A Movie takes up where AMERIKA and 'A Message From Our Sponsor' left off, and is a compilation (stock/appropriated footage) from 20 features, particularly those that depict or deal with 'virtual reality' and synthetic worlds of shifting metaphors. It is also a critique of VR mythologies, especially as they depict women and slaves to a tech ego, and a criticism of the narcissism, power-tripping, and the collective fascination that Hollywood film has with its own techno-dick. 

Sections by theme: Part 1: 'The Set up', Part 2: 'Virus Activation', Part 3: 'Cut to the Chase', Intermission: 'Off World', Part 4: 'Punishment Park', Part 5: 'Meet Your Maker'

Taking as a further trip into 'metalanguage', where previous films in 'Amerika' had left us, and now taking it into virtual reality, the tech and their worlds, right from screen to a 'situationist' re-mix, with some new and extreme forms of both psycho and semiotics, this extreme example of montage and appropriation delivers us to a dystopian view of VR.

The required (purchase) agreement stipulated that once this video was obtained and viewed by the buyer, it "must be copied, added to, and re-distributed (on the net, or elsewhere)":.

"There was only one buyer of this work before it was retired from distribution. That one buyer was William C. Wees, whose essay on 'Amerika' stunned me with his insight into the film and its function in avant-garde art. Maybe he was curious 'what happens next?' He's got a one-of-a-kind to add to his collections and thoughtful interventions on behalf of montage film artists, and us agonists of the avant-garde." (XAR)

VR: A MOVIE frame capture - compilation video by Al Razutis 1996         VR: A MOVIE frame capture -  compilation  video by Al Razutis 1996         VR: A MOVIE frame capture -  compilation  video by Al Razutis 1996

VR: A MOVIE frame capture - compilation video by Al Razutis 1996         VR: A MOVIE frame capture -  compilation  video by Al Razutis 1996         VR: A MOVIE frame capture -  compilation  video by Al Razutis 1996         VR: A MOVIE frame capture -  compilation  video by Al Razutis 1996

Previous distribution of VR: A MOVIE:
Video Out, Vancouver; V-Tape, Toronto; film-maker self distribution




EURO - TRIPTYCH / 2002

19 min., various original elements, 2002

1 min. excerpt on YouTube:

LEARNING TO WALK  excerpt on YouTube

'EURO - TRYPTYCH / 2002 - click and enlarge

EURO - TRYPTYCH/2002 was completed after the conclusion of Razutis' 20002 retrospective shows at EMAF - Osnabruck, Germany'. There are three-shorts contained withing this tape, each with different subject matter and form.

1946 - 2002 / LEARNING TO WALK - 7 min.
Razutis makes a first visit back to the place of his birth, 56 years ago, Bamberg, Germany. The camera just hangs out, always on, free to 'relearn' everything.

'AMERIKA' x 3 - NANTES 1997 - 9 min.
Excerpts from a rare 3-SCREEN presentation of AMERIKA, rarely presented in Europe in 3-Screens and never presented in the U.S. and Eastern Canada in this version. We're there at Panonika for the film along with some details inserted in post for good measure.

'99 CODE RED BALOONS' 2002 - 4 min.
Anarchist tune to the visuals of cyber virus: To the tune '99 Baloons' performed by Goldfinger, we view spread 'Code Red Worm' across 350K computers, in 14 hours, throughout the world wide web. The party's getting bigger.

Collection copies of 19 min. distribution version, from various original elements , available on (sales >) DVD DVD sales of works by Al Razutis




Stereoscopic 3D Video Art Archives

VIRTUAL IMAGING

3-D stereoscopic video, 36 min., stereo snd. - Produced and Directed by Al Razutis, 1996-7

5 min. excerpt on YouTube:

VIRTUAL IMAGING - Al Razutis performs discourse on 'Virtual space' and 'virtual reality' with projections and monitor  -   excerpt on YouTube
3 min. excerpt on YouTube:

VIRTUAL IMAGING - Al Razutis  shows his holographic works in 3D excerpt on YouTube
3 min. excerpt on YouTube:

VIRTUAL IMAGING - Melissa Crenshaw shows her holographic works and darkroom techniques in 3D excerpt on YouTube
2 min. excerpt on YouTube:

VIRTUAL IMAGING - Gary Cullen takes us on a tour of his 3D camera and images collection -   excerpt on YouTube
2 min. excerpt on YouTube:

VIRTUAL IMAGING - Gary Cullen shows his holographic works in 3D excerpt on YouTube

CLICK FOR 'VIRTUAL IMAGING' 3D IMAGE GALLERY
3D-ANAGLYPH Use red/blue glasses - click for image gallery

The subject is 'virtual space' and imaging, via 3D stereoscopic photography, holography, and virtual reality; the host is Al Razutis and a 'twisted' take on Alice in 'wonderland'. This videotape is rich in imagery, complexity, strange juxtapositions of stereoscopic 3-D space and the more familiar 2-D space.  It is both a 'narrative' about stereoscopic 3D technology and viewing, holographic image creations (featuring lab tours and holographic works by Melissa Crenshaw, Gary Cullen, Al Razutis - Vancouver), and a strange 'poetic narrative' about what happened when a fictional 'Alice' went through the 'looking glass' and discovered.....'virtual reality'.

This tape covers some of the aspects of the history of stereoscopy, the lab technologies and arts of holography, and includes social commentary on the "narcissisms" and violence inherent in commercial cinema's virtual-reality landscape.

'West-Coast Artists in Light' Vo. 3 3D video of holographic artists (featured above)

'Virtual Imaging' 3D Gallery of Stills

Prize Winner at 1997 So. Calif. 3D film/video fest.

Previous distribution: Video Out, Vancouver; V-Tape, Toronto




"DEAN FOGAL:  CORPOREAL ART"

3D stereoscopic video, 1997 12 min.
Produced and Directed by Al Razutis, in collaboration with Dean Fogal


1 min. excerpt on YouTube:

WALKING ON AIR  excerpt on YouTube

CLICK FOR 'CORPOREAL ART' 3D IMAGE GALLERY
3D-ANAGLYPH of video frame - Use red/blue glasses - click for image gallery


Stereographic video documentation and interpretation of two "corporeal mime" performances by Dean Fogal. Mr. Fogal is an accomplished mime artist and teacher, who studied corporeal mime with Etienne Decroux and Marcel Marceau in Paris.

This tape contains two short mime performances - 'Chairing' and 'Walking on Air' - and forms the basis of an ongoing collaboration in 3D video between a mime choreographer-performer and 3D video-maker.

A unique blend of studied movement within a stereoscopic 'space' where 'words no longer suffice to convey meaning.'

Prize Winner at 1997 So. Calif. 3D film/video fest.

Previous distribution: Video Out, Vancouver, V-Tape, Toronto




"DISCOVERY OF LOSS"

3D stereoscopic video, 12 min., 1997
Produced and Directed by Al Razutis, in collaboration with Dean Fogal

CLICK FOR 'DISCOVERY OF LOSS' 3D IMAGE GALLERY 3D-ANAGLYPH of Video Frame

Performance by Dean Fogal and Anthony Artibello.
This performance is set in a 'primal' outdoor location. Two figures 'discover each other's presence' and engage in an archtypal male ritual: combat and death, and loss.

A fusion between studied movement and 3D stereographic forms with an emphasis on the physical body mapping space and emotion.

Videotaped on location on Saturna Island, BC, Canada.

Prize Winner at 1997 So. Calif. 3D film/video fest.

Previous distribution: Video Out, Vancouver; V-Tape, Toronto


'SHADOWS OF LOVE'

3D stereoscopic video, 12 min., 1997
Produced and Directed by Al Razutis, in collaboration with Dean Fogal


1 min. excerpt on YouTube:

SHADOWS OF LOVE excerpt on YouTube

Performance by Daniel Lomas and Sue Biely.

This tape features a strange 'love duet' set to 'funeral' music; two characters, as shadow figures in front of a light orb, recreate aspects of 'relationship', the coming together and coming apart.

In its minimal set and choreography of poses, this dance piece expresses a surrealism of an 'embossed living cut-outs' engaged in the poses of life and love.

Previous distribution: Video Out, Vancouver; V-Tape, Toronto




ARCHIVED 3D VIDEO ART SHORTS 1996-1999

Exhibited internationally including a 1977 exhibition at the Louvre Auditorium, Paris,
and film retrospectives at 2001 EMAF at Osnabruck, Germany and 2004 SENEF at Seoul, Korea.

Click panel frames for individual title and descriptions/photos.

click frames for tape detailed descriptionsMeditationsVirtual FleshFrance 1997NagualStatues Virtual Imaging

MEDITATIONS (1996):

Meditations description photo page

Links to clips on YouTube:

'Meditations' (1996) - Stereoscopic 3D

Following the tradition of 'film-visual poetry' this 3-dimensional stereoscopic video tape is composed as a allegorical journey via image, sound, memory to an "island" - a time and a place at 'the edge of 'Euclid's two-dimensional sea'.
Shot with Toshiba 3D camera on Saturna Island, BC, Canada. Music borrowed from Michael Stearn's tracks for 'Baraka'.


1 min. excerpt from VIRTUAL FLESH on YouTube:
VIRTUAL FLESH end section  excerpt on YouTube

'Virtual Flesh' (1996) - Stereoscopic 3D

This work concern itself with physical form and its mutations as kinetic sculptures in a 3D space that 'pushes out' from the screen 'breathing' into the viewer's space. In this 3D video, nude female and male figures occupy a womb-like field of light, shadow and form, with each movement, gesture, thrusting out towards the viewer. The television screen, or projection surface (if video-projected) becomes elastic and sculpture-like, The female/male figures appear as forms in an ever changing sculptural form which through movement and image 'morphing' makes real the sexual, androgynous and erotic forms.

2 min. excerpt from STATUES - MINUS MUSIC - on YouTube:
STATUES  excerpt on YouTube

'Statues' (1998) - Stereoscopic 3D

"The statues speak of memory and time..." is the invocation to this impressionistic view of the famous/timeless classics inside the Louvre Museum (Paris) and the performance artist outside the museum. This strange meditation on time, space, and the meanings of 'being mortal' features features a blend of motion time-smear` fx and and stereoscopic 3-dimensional composition.
Released as a separate tape, it is also contained within 'FRANCE 1997'

1 min. excerpt from FRANCE 97
on YouTube:
WALKING ON AIR  excerpt on YouTube

'France 97' (1998) - Stereoscopic 3D

This 3D videotape presents a stereoscopic - impressionistic journey and visual interpretation of the many sights of France - Paris scenes and performers, and Marseille and Nantes - during the videomaker's exhibition journey in 1997. This is experimental video, with poetic videography organized around specific and metaphoric themes that are contained within inter-titled sections. Image dissolve, overlay, colorize in post-production techniques used to evoke the land and cityscapes of France - a 'land of the impressionists'. Visual effects featuring 'echoes' and time-delay produce startling juxtapositions of stereoscopic 3D depth and 2D images 'in motion'.

1 min. excerpt from NAGUAL on YouTube:
NAGUAL  excerpt on YouTube

'Nagual' (1999) - Stereoscopic 3D

The title refers to Carlos Castaneda's term and the 'warrior's' preparation and response to the 'Nagual' (Tales of Power, 1976). Shot at the videomaker's 'Los Serpientes' at 'Land's End' (Los Cabos, Mexico), this four part work takes one on an imagistic journey (through metaphor and interplay of co-incident selections from the music of Brian Eno/David Byrne - 'My life in the Bush of Ghosts') - from shipwreck to bone totems, from totem to dance, a dance with the 'Old Men' of Saguaro groves, climaxing with a intense stroboscopic sequence pitting the voice of a christian 'exorcist' against the spirit 'of possession'.

3D Video Art Main Page

Avant-Garde Films by Razutis on YouTube
Xalrazutis Channel


Xalrazutis channel on YouTube - avant-garde and experimental video clips

3D videos by Razutis on YouTube
XAR3D Channel


XAR3D channel on YouTube - stereoscopic 3D video and experimental video clips

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