| Description |
1 online resource (14 minutes) |
| Summary |
Viva La Dance is part of the film retrospective Unseen Cinema that explores long-forgotten American experimental cinema. The use of human hands as characters in a dance inspired narrative are used to explore female experience and representation. By drawing upon experimental traditions found in international art, film, and photography movements of the 1920s, Simon transforms a simple melodramatic love story into an avant-garde feminist short film. --Jennifer Wild. Stella Simon began her formal training in "straight photography" at the Clarence White School of Photography, NYC, in 1923, at the age of 45. While studying filmmaking at Technische Hochschule in Berlin (1926-1929), Simon made her only film, "Hände", with Miklos Bandy. Simon later practiced commercial photography and volunteered during WW II. --Jennifer Wild. Miklos Bándy, a Hungarian writer, was a friend and collaborator of the late Viking Eggeling. --Jean Epstein 1926. In the mid-1920s, Marc Blitzstein continued his classical music training with Schoenberg in Berlin, and in Paris with N. Boulanger. His film scores for "Hände" (1927) and "Surf and Seaweed" (1931) were composed in close collaboration with the filmmakers. He also worked on "Valley Town" (1940) and "Native Land "(1937-41). --Jennifer Wild. Alternate title: "Hände: Das Leben unde die Liebe eines Zuartlichen Geschlechts". 35mm 1.33:1 black and white silent with music 13:00 minutes. Production assistance: Han Richter |
| Notes |
"Early American avant-garde film 1893-1941" |
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Title from resource description page (viewed July 24, 2020) |
| Credits |
Music, Marc Blitzstein ; photography, Leopold Kutzleb |
| Genre/Form |
Experimental films
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Silent films
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Experimental films.
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Silent films.
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Films expérimentaux.
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Films muets.
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| Form |
Streaming video
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| Author |
Bándy, Miklós, director
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Cineric (Firm), presenter.
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