List of filmmakers organised by last name from U to W
American experimental filmmaker Stan Vanderbeek began his career in the 1950’s after having studied art and architecture in New York and North Carolina.
His earliest period (1955-1965) is marked by his animated painting and collage films which the artist and critic Daryl Chin regarded as having an “enormous vitality, bounding inventiveness and incendiary wit which was shared by such other collagists as Robert Breer, Bruce Conner, Dick Preston.” Films such as Science Friction (1959, 10’), Breathdeath (1963, 15’), A la Mode (1959, 7’) and Achoo Mr. Kerrooschev (1960, 2’) are from this period.
In the 1960’s, in the context of his expanded cinema research, Vanderbeek started his audacious project of the “Movie Drome” theater, a space that allowed him to create an appropriate environment for his synesthetic works, which included film, performance and dance among other disciplines. The filmmaker spent about 10 years developing this project, which consisted of a huge dome that surrounded the audience and engulfed them in the images projected all around them.
From the mid-1960’s, Vanderbeek ‘s appetite for exploring new technologies increased and tools such as video played a major part in the filmmaker’s work. This can be seen in his computer-animated films from this period such as Symmetricks (1972, 6’) and the Poemfield series of 8 computer generated animations (1966-1971). His work with computers and experiments with holograms reflected his desire to use the most complex technology to get as close as possible to the functioning of the human nervous system.
In addition to his creative work in the fields of film and video art, Vanderbeek was a faculty member and artist-in-residence at a number of major universities. He died in 1984.
Floris Vahoof is interested in the hybrid forms of music, visual art, and film.
His first projections -experimental films on 16 millimeter- evolved towards purely visual experiences which questioned our viewing patterns.
Inspired by structural film and early electronic music, he builds installations, creates expanded cinema performances, and releases his music.
Vanhoof makes his own instruments to explore the border between image, light, and sound.
As media-archaeologist, he confronts the digitally-spoiled audience with flickering 16mm films and 35mm slide installations - formats doomed to disappear.
He often chooses analog technology because of the greater transparency of the workflow, and because of its rich dynamic range. Cut loose from all nostalgia, he experiments with what used to be considered "hightech."
Vanhoof searches for new ideas with old media. He translates sound to image and vice-versa by connecting different incompatible media. He is especially curious about the effects his work elicits in the viewer:
How does our perception operate? Which new perspectives appear?
He performed at ISSUE Project Room New York, Café OTO London, Aural Mexico City, ZKM Karlsruhe, Donaufestival Krems, Liquid Architecture Melbourne, International Filmfestival Rotterdam, Hangar Bicocca Milano, Les Urbaines Lausanne, Xing Bologna, Electrónica en Abril Madrid, Meakusma Eupen & Bozar Brussels and was reviewed in The Wire and H_ART.
Floris Vanhoof combines homemade musical circuits and abandoned projection technologies for installations, expanded cinema performances and music releases.
Translating the one medium to the other to find how our perception operates and which new perspectives appear.
Bart Vegter was a Dutch experimental film-maker. He was born in 1940 in Ferwerderadeel, Holland. In the 1950's and 60's, Vegter studied electronic engineering in Eindhoven and in the following years he kept working in this area.
Between 1976 and 1979, however his career turns over towards the experimental cinema. At this point, he studies cinema at the Free University of The Hague (Vrije Akademie) and get in contact with the work of other Dutch experimental film-makers such as Frans Zwartjes, Paul de Mol and Jacques Verbeek as well as with American experimental cinema.
Its first experimental film was HORIZONTALEN (Horizontales, 6', n/b), made in 1981. During his first years as a film-maker, Vegter worked mainly with traditional animation techniques. From the 1990's he started to use computer generated images in his films, the first one was NACHT-LICHT (Night Light, 13', couleur). All long his career, he made a lot of films using this technique.
Bart Vegter died in 2011.
Dziga Vertov (1896-1954) was born in 1896 in Bialystok, a city that nowadays belongs to Poland, but that was then part of the Russian Empire. Vertov is known as one of the leading names of Soviet avant-garde cinema along with Eisenstein, Pudovkin and Dovzhenko.
In 1923, he published his most influential manifesto "Kino-Eye" in which he stands up against dramatic and literary cinema and comes up with the proposal of a cinema free from other artistic influences. According to such a proposal, the camera, or 'mechanical eye', should show how "life itself " and "the new men" reconciled with the machine. His best-known film, "Man with a Movie Camera" (1929), illustrates these ideas.
In 1930, "Enthusiasm" was released. It is a documentary written, edited and directed by Vertov and was one of the first Soviet feature films to use sound.
With the rise of Socialist Realism (an art movement that would become official from the 1930s), Vertov would gradually move away from the Russian film scene, although he never abandoned cinema. His films and his theories have had a lasting mark on cinema history, especially through directors like Jean Rouch (cinema verité) or Jean-Luc Godard and Jean-Pierre Gorin (Dziga Vertov group).
Virgil Widrich is an Austrian film-maker and multimedia artist.
He started his film-making career very early at the age of 13 by shooting on a super-8 camera.
In the mid-1980's he began to take interest in computer generated images. At this time, he set up his own distribution company, Classic Films, which was focused on artistic films. After spending some time in Hollywood in late 1980's, he went back to his home country where he founded in 1993 the Diagonale Film Festival, intended to draw attention to the Austrian cinema by being a forum for the presentation and discussion of films from his home country.
In 2001, Widrich co-founded the production company Amour Fou Film, mainly engaged in art house films by young directors.
Paul Winkler is an internationally renowned filmmaker who lives and works in Sydney, Australia. Together with Corinne and Arthur Cantrill, Albie Thoms and David Perry, Winkler for many years was among the nucleus of the once thriving Australian experimental filmmaker scene.
Born 22 June 1939 in Hamburg, Germany Winkler underwent a bricklaying apprenticeship before he relocated to Australia in 1959. His self education in film and film history began in 1962 when he also commenced filmmaking, initially working in 8mm on Bell & Howell and Canon cameras. In 1967 he switched to 16mm and a Bolex camera which he used ever since.
Winkler's approach to filmmaking is primarily an organic one. His films are a synthesis of the intellect and emotion all filtered through the plastic material of film, balancing delicately between form and content.
These images in his films are clearly marked by the use of devices to create them. Winkler may briefly show the unaltered image in the beginning of a film. But inevitably processing will occur, and Winkler's "low-tech invention pushes the possibilities of comparatively simple mechanics and long-known camera devices to their outer limits and beyond" (Petzke). Mostly, these are still and moving mattes and the optical printer also some inventions of his own. They always result in refreshingly new images full of sensual impressions.
In 1995, the Museum of Contemporary Art and Sydney Intermedia Network honored Winkler with a retrospective screening of a total of 30 of his films. The following year, Harvard Film Archive at the Carpenter Centre for the Visual Arts, Harvard University Cambridge, Boston USA screened 30 films in a three-day retrospective.
The Museum of Modern Art in New York hold 15 of his films in their collection. Prints are also available from Canadian Filmmakers Distribution Centre in Toronto, Canada, the New York Filmmakers Coop, Light Cone in Paris, Red Avocato Films in Germany, the National Film+Sound Archive, Canberra, Australia and many other outlets the world over.
Winkler won many Australian awards but also in the US: at the Black Maria, Ann Arbor, Chicago and Baltimore Film Festivals.
(Source: Red Avocado Film)
Steven Woloshen has been passionately creating handmade abstract films and time-based installations for more than 30 years. Woloshen has been a lecturer, juror, technician, animator, craftsman and recently, the author of Recipes for Reconstruction, the filmmaker's manual for decay, renewal and other handmade, analogue film techniques.
2 DVD set with 8 films
2 DVD set with 8 films by Australian experimental filmmaker Paul Winkler
2 DVD set with 6 films by Australian experimental filmmaker Paul Winkler
A 2 DVD set with 4 films by Paul Winkler
Special Book and DVD Set on experimental film-making by Steven Woloshen
Blu-ray of 3 films by Pierre-Luc Vaillancourt. Includes a essay on the filmmaker, written by M. Kitchell.