List of filmmakers organised by last name from P to R
David Perlov (born on June 9th 1930 in Rio de Janeiro, Brazil and died on December 13th 2003 in Tel Aviv, Israel) was a filmmaker, writer and Israeli cinematograph. He is considered to be the founder of Israeli cinema and has received international recognition for his cinematographic essays and especially his film diary.
He spent his early childhood in Belo Horizonte, then, at the age of ten, he moved to Sao Paulo.
He made a film in Paris in 1957, entitled 'Chinese Aunt' which lasts 17 minutes. In this film, Perlov incorporates caustic drawings of the provincial bourgeoisie of a twelve year old girl from 1890.
A year later, in 1958, he emigrated to Israel and made the 33-minute documentary essay 'A Jerusalem', one of the key films in the history of Israeli cinema.
Following the completion of two academic dramas, his new projects were refused by the ideological bureaucracy. As a result, he started using the 16mm which he used to make a film divided into six parts, 'Yoman / Journal'.
Since 1973, he taught filmmaking at the University of Tel Aviv.
Yann Paranthoën was born in 1935 in Brittany, France, and died in 2005. This artist, being a stonecutter's son, is often called in french "tailleur de sons", or the "soundcutter". Yann Paranthoën listened to the radio for the first time during the nazi occupation, it was Radio Londres, Radio London in fench. The radio, it was his destiny. First, he became a radio operator in the French navy, later he worked for more over than thirty years in the "civilian" radio. In the RTF, later in France Inter and France Culture, he is sound operator, editor and, last but not least, emission author (from Oreille en coin to Papous dans la tête). His production counts about a hundred of titles, among those some milestones of history of radiophonic documentary, for example: Questionnaire pour Lesconil (1980), On Nagra (1987). He has also created his own documentaries.
Yann Paranthoën? His name symbolizes the art radio (as they say cinema or art photography). He discovered a way to tell the world through sound, inventing a language and totally renewing the basics of radio broadcasting. In its broadcasts, speech is a material carving, as well as the life of sounds or silences. Similarly, for him, the voice is primarily a music before being meaningful. In both written desecrating the image, he changed the order of things and renewed our relationship with reality. Distancing himself from the "everyday radio," he readily compared his job to paint or to the size of granite as practiced his father extract of reality sound block, mount it as the stone size , as we polish the mix. Here is how he spoke: "I compare the radio with paint. For me, radio has more to do with the visual arts. I make a painting ... a sound picture, I divided the sounds as colors. "
His death in 2005 was seen as symbolically stating the fading of some form of "creation radio" in its most demanding form. That is why it was urgent to honor him, so that his work continue its route to new listeners, confirming them to prefer the conventional radio, the sovereign liberty of sound art.
Valérie Pavia is a very active artist for a dozen of years in the international fine arts scene. She has been constantly and with maturity working in the field of video, photography, painting and writing. What we notice the most of her work, it's portraits: the ones of herself, of the others and also these of wandered cities. The mixture of reality, fiction and autobiography seems to equilibrate candor and naivity. To examine some of her works more closely, a certain cruelty comes out to confront the viewer on more intimate subjects, and which reveals an uncommon sensibility and lucidity.
David Perry (born in 1933 in Sydney, Australia) is an Australian photographer and filmmaker. Along with Albie Thomas, Aggy Read and others, he helped establish Ubu Films, named after Alfred Jarry’s play Ubu Roi, in 1965, which served as a precursor to the Sydney Filmmaker Co-operative: Australia’s first consciously avant garde filmmaking group.
A few of his 16 mm experimentals films include: ‘Walking’ (1955), ‘The Tribulations of Mr. Dupont Nomore’ (1967), ‘Bolero’ (1967), ‘A Sketch of Abigayl’s Belly’ (1968), ‘David Perry’s Album’ (1970), ‘Adam’ (1975), ‘Ubu Films’ (1965-1970) and ‘Refracting Glasses’ (1992).
Perry utilizes various formats in order to portray his ease and pleasure from moving from one media to the next, while inventing a new aesthetic expression. Similarly to other moving image artists, he worked as a painter, photographer and developed his technical understanding of photography as a printer.
Alongside other experimental filmmakers, he focused on an anti-art discourse and pursued his interest with national narrative cinema. In the early 1950s, he began experimenting with 8mm and stood out as being one of the first self-consciously artistic filmmaker in the nation. Despite his influence as a filmmaker, he quickly came to the realization that his work was a waste of time seeing that a filmmaker’s only duty was to make entertainment films which told banal stories, stripped of originality.
Perry draws his inspiration from filmmakers, such as: D.W. Griffith, Carl Theodor Dryer…
A promenade through the oeuvre of animator Suzan Pitt is like taking part in a bohemian cavalcade disguised as a dollhouse, awash with luminous colors and energetic imagery, while grinding atonal music from a Holly Hobbie record player. She’s a balls-to-the-wall art school darling; unassuming, yet filled to the brim with edifying duplicity. Pitt inspires one to glean from life what one gleans from her art. (Alfred Eaker)
The versatile Dutch artist, photographer and film maker Henri Plaat traveled a lot. Born in Amsterdam in 1936, he was fascinated by history and ancient writings. Plaat wanted to become an archeologist. He visited Greece, the Middle-East, India and Latin America, where remains of ‘places of history’, fascinated him. In 1966, Plaat got an Eumig camera and he started making short films, what became "exploded hobby". He filmed such locations and, like in his drawings and paintings, fantasy and reality supplemented each other in 8mm and 16mm footage. He describes them as "atmospheric movies, often photomontages with mixes of war sounds, airplane rumble, Zarah Leander's voice, Wagner's music... All fragments, leading to amazing effects."
Plaat made some forty different films full of fragments of reality, sometimes absurd, surreal or melancholic. He has a fascination for WW2, travelling, film music and the slow decay of things. "I want to register places and things before it gets destroyed by modernity and progression. Before it is lost forever."
Ursula Pürrer is an Austrian actress and filmmaker. She was born in 1962 in Vienna. Her best known film is Flaming Ears, made in 1991. Some of the questions posed in her films are: sex, lesbian relations, pyromania and artists; and the characteristics: fantasy, sci-fi, vitality, anti-romantism.
Sarah Pucill’s films and photographs explore a sense of self, which is transformative and fluid. At the core of her practice is a concern with mortality and the materiality of the filmmaking process. The majority of her films take place within the confinements of domestic space, where the grounded reality of the house itself becomes a portal to a complex and multi layered psychical realm. In her explorations of the animate and inanimate, her work probes a journey between mirror and surface, in which questions of representation are negotiated via the feminine, the queer or the dead.
Her films have been screened at major international film festivals including: London Film Festival, Oberhausen Short Film Festival, Ann Arbor Film Festival, Osnabruck Media Arts Festival, Berlin International Film Festival and Montreal Festival of New Cinema. Television broadcasts include: BSB TV Australia (Mirrored Measure, 1996; bought by BSB), Carlton Television (Backcomb, 95; funded by Carlton), Granada TV (You Be Mother, 1990).
Sarah Pucill lives and works in London and is a Reader at University of Westminster since 2000. Her work is distributed through leading international distributors including LUX, The British Film Institute (BFI), New York Filmmakers Co-op, Canyon Cinema, and Light Cone Paris.
The identical twin brothers Stephen and Timothy Quay were born in 1947 in Philadelphia, Pennsylvania, U.S. The studies of graphics and illustation (Stephen) and film (Timothy) were continued in the Royal College of Arts in London, U.K, there they made their first short animation films with marionettes. Unfortunately, the original copies were damaged and the films don't exist anymore. From their childhood they admired and were inspired by Jan Švankmajer, Czech director and animator. Quay brothers continue to live and work in the british capital, there they, with their film producer Keith Griffiths, founded Koninck Studios. Under this label appear all their movies. The masterpiece Street of Crocodiles (1986) became a classic of animation genre. The most of their films have few dialogues, they depend highly on the music. Numerous pieces of music for their films have been written by the Polish composer Jeszek Jankowski. The brothers Quay have also worked on various projects, like, for example, theatre decorations, opera productions directed by Richard Jones (Prokofiev's The Love of Three Oranges, Feydeau's A Flea in her Ear, Tchaikovsky's Mazeppa or Moliere's The Middle Class Gentleman), in the television (MTV), in advertising (Nikon, Coca-Cola) or in music (music video for Peter Gabriel's Sledgehammer). They're like in the middle of the abyss which separates the commercial cinema from the so called experimental cinema. Nevertheless, the brothers live hard from their art. In 1995, the Quay directed a full length film Institute Benjamenta, or This Dream People Call Human Life. Terry Gilliam, the british film director, screenwriter, comedian and member of the Monthy Pyton, considers it "visually the most beautiful film, the most bewitching and the most hilarious seen in the last three hundred years", and confesses: "I'm very jealous".
Mark Rappaport, a native of New York, worked as a film editor before making his own films, including The Scenic Route (1978), Impostors (1980), Postcards (1990) and Exterior Night (1994). His film-essays include Rock Hudson's Home Movies (1992), From the Journals of Jean Seberg (1995) and The Silver Screen / Color Me Lavender (1998). Many of his articles on cinema have been published in Trafic over the years, as well as in Cinema. The spectator who knew too much is the first collection of his writings. In 2008, his photomontage film was screened for the first time at the Lincoln Center in New York, as part of the New York Film Festival. Mark Rappaport currently lives in Paris.
Man Ray (born the 27th of August in Philadelphia, United States and died the 18th of November in Paris, France) was a painter, photographer, filmmaker and a key player in the Dada movement in New York and Surrealism in Paris.
Ray’s career was distinctive from his peers because he gained notoriety both in the United States and Europe. He started in the center of American modernism in the 1910s and then made his way to Paris in the 1920s and 1930s, he then went back to the United States.
Ray’s art ranged from painting, sculpture, film, prints and poetry and was influential in a variety of different movements, such as: Cubism, Futurism, Dada and Surrealism.
Furthermore, Ray successfully navigated the world of commercial and fine art, and then became a popular fashion photographer. Despite seeing himself first and foremost as a painter, he is most remembered for his photographs of the inter-war years, especially his camera-less pictures he called ‘Rayographs’.
Jacky Raynal is French directress, actress and film editor. She's born in 1940 near Montpellier. The film maker has a diploma in Linguistics. In the early 60's, already a photographer, young Jacky Raynal starts working in the field of cinema. She's assistent film editor for the documentarys of G. Patriss and F. Vienne. After that, she edits the first films of E. Rohmer. In 1965 J. Raynal gets the license of senior film editor for feature films in CNC (National Cinema Center). Now she's working with the film directors of the New Wave. She edits all of the skecthes of Six in Paris, directed by Jean Douchet, Jean Rouch, Jean-Daniel Pollet, Eric Rohmer, Jean-Luc Godard and Claude Chabrol. Jacky Raynal continues to work in editing till the end of 70's.
In 1968, with S. Boissonas and O. Mosset, she's the founder of the Zanzibar group. She works with Philippe Garrel, Serge Bard, Daniel Pommereulle, Alain Jouffroy and Patrick Deval. J. Raynal shoots her first feature film Two Times in Barcelona. In 1972, the movie wins the Grand Prix in the Festival of Hyères/Toulon. At that time she's already living in New York. There, between 1975 and 1992, she's responsible for the programs of Carnegie Hall Cinema and Bleeker Street Cinema. She shows there numerous independent international films. Her job in New York is appreciated by F. Truffaut (he compares it with the French Cinematheque) and awarded twice by the Village Voice in 1981 and 1991.
J. Raynal directs New York Story (Grand Prix in Melbourne) and Hotel New York. In the same time, she plays in several movies, organises numerous international cinema festivals, like Colombian Film Festival, Israel Film Festival or Avignon Film Festival. From 1973 to 1986, with Sid Geffen, they're publishing the independent international cinema review 1000 Eyes Magazine.
From 2000, Jacky Raynal directs numerous documentarys, like Notes on Jonas Mekas (2000) or Eric Rohmer, the Film Maker (2010).
In 2010, Jacky Raynal is rewarded for her work in arts the Légion d'Honneur (Knight in the Order Arts and Letters).
Joost Rekveld (1970) is a Dutch artist and experimental filmmaker. Since 1991 he has been making abstract films and light installations. In his early days he worked intensively with the medium of film, experimenting with all aspects of the process from printing, to manipulating, to developing the images himself. In 1994 he was already using a computer to make an animation film by writing his own software; a practice he returned to later on in his career.
His works display an intimate and embodied understanding of our technological world. They are deeply inspired by science and technology and the systematic dialogue between man and machine. By exploring the various spatial and sensorial aspects of light projection his works intrinsically relate to the early history of optics and perspective and, in many ways, can be understood as a type of visual music. His animated films are often mechanical compositions whereby the computer acts as a controller, orchestrating the precise movement of each optical element of the film-work or installation.
J. Reble was born in 1956 in Düsseldorf, Germany. In the late 70's and 80's Jürgen Reble was member of Schmelzdahin film group. In the early 80's he began his own film projects, performance and installation often rooted in manual processing of film footage using mechanic and chemical influences and reconstruction of the cinematographic apparatus. Since 1992 he works together with the sound artist Thomas Köner in the field of cinema, instalation and performance. His work had shows in the MoMA, in the Auditorium of the Louvre, in the Filmmuseum in Amsterdam, in the Walker Art Center in Minneapolis. In 1997 he has got a scholarship from the Art Foundation in Bonn. Jürgen Reble lives and works in Bonn, Germany.
Nicolas Rey is a French filmmaker, born in 1968 (do not confuse with Nicolas Ray, american director). Since 1993, Rey usually shootes on expired Super-8 or 16mm films. In 1995, he contibuted to the founding of the L'Abominable, a collective workshop in Paris, a place to develop and edit films. His first two films, the short Terminus for You (1996) and Opera Mundi or the Time of Outerwear (1999), are 16mm in black and white. The third film The Soviets More Electricity, directed in 2001, which is Super-8 swelled to 16mm and his first full length feature (170 min.) and there he retraces his father communist, Nicolas Rey shot in colour. According to Christa Blümlinger, cinema and contemporary art critic, Rey "renews thus the artistic and artisanal traditions of cinema, finding in ancient technics and materials the opportunity of a plastic renewal, this film finds itself making a kind of reconciliation of the two avant-gardes, separated for a long time and ignoring each other mutually: the one of the experimental cinema, originated in fine arts environment and coming from New York, and the other which shaped itself in Europe, as a result of post-war modernist cinema, which we could call essayist." Then Nicolas Rey was interested by the economic decline of the industry and showed Schuss! (2005), set in the Alps. His last movie Differently, Molussia (2012), from adapted Günter Anders' tales about fascism, has been paid attention severel times: it was selectioned in the Berlinale (Forum Expanded), it took the Grand Prix in the festival Cinema of the Real in Paris, it entered in competition in Brussels for the Prix de l'Âge d'or (Golden Age Prize).
Hans Richter (born 1888 in Berlin, Germany - dead 1976 in Locarno, Switzerland) was painter, sculptor and one of the most important filmmakers of avant-garde. He studied in Germany and was searching for his artistic way between expressionism and cubism. In 1916, he becomes member of Dada in Zurich, where he discovers the spirit of revolt and abstract forms. From 1920 Richter researches for animated abstract rythms. First, he paints with a roll. Next year he makes his first film Rhythmus 21 followed by others inspired by the same subject. In 1941 he exiles to the states and devotes himself to cinema and education. He is naturalized U.S. citizen. From 1944 to 1947 he directs what later is to become classic of the surrealist cinema: Dreams that Money Can Buy. He works with Marcel Duchamp, Man Ray, Max Ernst, Fernand Léger and Alexander Calder. His own biography's elements and his ideological view is playing a major role in his work.
Jay Rosenblatt is internationally recognized filmmaker. Since 1980 he has over 25 films in his account. His work explores our emotional and psychological cores. They're personal in their content yet universal in their appeal.
His films have been awarded over 100 times and have screened throughout the world. A selection of his films had theatrical runs at the Film Forum in New York and at other theatres of the U.S. His latest films have screened for a week at MoMA.
Most of his films have been at the Sundance Film Festival or have shown on HBO/Cinemax, the Independent Film Channel and the Sundance Channel. Articles about Jay Rosenblatt and his work have been published in The Sunday NY Times Arts & Leisure section, the LA Times, the NY Times, Filmmaker magazine and the Village Voice.
Jay Rosenblatt is recipient of a Guggenheim, USA Artists and a Rockefeller Fellowship.
Jay Rosenblatt is originally from New York and is living in San Francisco for many years. For 20 years he was a film and video production instructor at film schools in the San Francisco Bay Area, including Stanford, S. F. State Universitys and San Francisco Art Institute. Currently Jay Rosenblatt is responsible for the Program of San Francisco Jewish Film Festival. He has a Master's Degree in Counselling Psychology, and, before cinema, he worked as a therapist.
Since 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.
Ken Paul Rosenthal is an award winning independent filmmaker, photographer, educator and activist. His films are visually sensual, emotionally intelligent works of art that also function as tools for personal and societal transformation. He has received the Kodak Cinematography Award, numerous festival awards, and is recognized for his media work in mental health advocacy. He holds an MA in Creative & Interdisciplinary Arts, an MFA in Cinema Production, and has taught film as a means of cultivating personal vision in workshops and universities in North America and abroad. Currently he has been working on poetic mental health documentaries in which we experience personal and political stories through natural and urban landscapes, home movies and archival mental hygiene films. His film Crooked Beauty has been invited to 35 film festivals, won 16 awards, and been presented in person at dozens of peer support networks, hospitals, universities, mental health symposia and community events worldwide. Over 2,500 Crooked Beauty DVDs have been distributed, including 160 academic libraries.
Jacques Perconte is a French Filmmaker and new media artist born 1974 and living in Paris. Since 1999 his films and new media projects explore the digital medium.
Born in 1974 in Grenoble (France), Jacques Perconte lives and works in Paris. He is well known as one of the pioneers of French internet art. He is among the first artists to have worked on compression codecs. Jacques made his debuts with internet and video art. His first films date back from 1995 and his first internet artworks from 1996. The website technart.net is the core of his work, showcasing all his activities (notes, articles, performances... the web is endless). He frequently works with other artists, including Michel Herreria (painter), Didier Arnaudet (poet), Marc Em (musician), Hugo Verlinde (film maker), Léos Carax in "Holy Motors", Jean-Benoit Dunckel, Julie Rousse, Eddie Ladoire, Simonluca Laitempergher, Hélène Breschand, Jean-Jacques Birgé, Vincent Segal, Antonin-Tri Huang et Jeff Mills.
Even though his works become less and less theoretical, the relation between form and substance remains crucial. Jacques Perconte works on the forms of fiction on various medias as well as a formal research, focused on the body and the landscape.
Jacques Perconte apparently has a good knowledge of his technology, which serves him when dealing with frame and color. He tries to transform digital technology into a new media, which can be esthetically as rich as any other classical art.
Martine Rousset is a French filmmaker. She was born in 1951 in Montpellier, southern France. M. Rousset studied philosophy and cinema in the University of Paul Valéry in Montpellier. She has been making films since 1977. She experiments the relations of written text and cinematographic picture. From 1978, Martine Rousset works in the audiovisual department of Modern Art Museum of Paris.
A film by David Perlov in a 7 DVD boxset For orders destined for institutional use in North America, please contact GARTENBERG MEDIA.
Six recent 16 mm film works by British artist Emily Richardson
Five films by Peter Rose
4 DVD boxset of over 50 classic experimental films from 1900-1998
A poetic documentary by Ken Paul Rosenthal. 30min b&w/color 2011
8 films by Dada artists For orders for institutional use in North America, please contact GARTENBERG MEDIA.
A film by Jürgen Reble with a 32 page booklet with texts by Olivier Schefer.
2 DVD set with 15 films by the Australian experimental filmmaker David Perry