Hy Hirsh: Difference between revisions

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Line 26: ==Film technique== Hirsh led a disorderly life, maintaining little interest in preserving or completing his own work. Every film screening was a [[happening]] with Hirsh as its cinematographic choreographer. He treated films as malleable objects by constantly editing and re-editing them, using live music instead of pre-recorded soundtracks. As a result, his [[filmography]] has been difficult to compile, and many of Hirsh's films have been lost or damaged. According to [[William Moritz]], upon Hirsh's death in 1961 in Paris, the police found hashish in his apartment, and impounded all of Hirsh's property ,including finished and unfinished films. When the police released the material three years later, many films and papers were missing.<ref name="UbuWeb: Hy Hirsch [sic]" /> Hirsh's tendency to leave work unfinished was often the result of moving ahead toward something new. For his first film, 1951's ''Divertissement Rococo'' (1951), he employed an oscilloscope to create his animation.<ref name="Handmade Cinema: Hy Hirsh">{{cite web\|last=Zinman\|first=Gregory\|title=Hy Hirsh\|url=http://handmadecinema.com/mobileview.php?id=24\|publisher=Handmade Cinema\|accessdate=31 July 2013}}</ref> In ''Come Closer'' (1952), he dipped into the then-current fad of [[3-D film]] by layering multi-colored rotating three-dimensional objects, intended to be viewed with 3-D glasses. For ''Chasse de touches'' ("The Chase of Brushstrokes", 1957), Hirsh ran his fingers through layers of colored oils, and in 1958's ''Autumn Spectrum'' (1958), used the movement of water and light to create special effects. From 1958 to 59 he filmed a [[Montage (filmmaking)\|montage]] of peeling walls and pieces of old posters for ''Defense d'Afficher'' ("Post No Bills"). In 1960, he scratched animated images into live-action stock footage for his last film ''Scratch Pad''.<ref name="UbuWeb: Hy Hirsch [sic]" /> ==Selected filmography==