Using popular pieces of classical music as a foundation, such as Copland’s “Hoedown” and Saint-Saëns’ “Danse Macabre,” Mary Ellen Bute and her alternating cast of collaborators (among them Norman McLaren and her husband Ted Nemeth) created an unprecedented cinematic sensation: an animated synthesis of music and abstracted impulses that pulsed and gyrated in organic ecstasy. There is such unbridled joy in her films — as though the images themselves were an elastic and ever-expanding dance — as well as an irresistible sense of humor...
Read my full essay on Mary Ellen Bute online here at The L Magazine.
Notes for the End of the World
1 month ago