[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F1046088:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":6,"birthday":7,"deathday":8,"gender":9,"homepage":10,"id":11,"imdb_id":12,"known_for_department":13,"name":14,"place_of_birth":15,"popularity":16,"profile_path":17,"combined_credits":18,"images":724},false,[],"Born in 1925, Ed Emshwiller studied graphic design at the University of Michigan and L'Ecole des Beaux Arts in Paris. By the late '60s Emshwiller was working as a science fiction illustrator, and had established his place in the American avant-garde cinema with such works as Relativity (1966) and Image, Flesh and Voice (1969). His early films featured collaborations with dancers and choreographers—a theme he carried over into his videoworks.\n\nAs both an artist and a teacher, Emshwiller’s pioneering efforts to develop an alternative technological language in video were enormously influential. His early experiments with synthesizers and computers included the electronic rendering of three-dimensional space, the interplay of illusion and reality, and manipulations of time, movement, and scale that explore the relationship between \"external reality and subjective feelings.\" Emshwiller was among the first artists-in-residence at the TV Lab at WNET, where he produced the groundbreaking Scape-mates (1972). Sunstone (1979) was made over a period of eight months at the New York Institute of Technology. Emshwiller passed away in 1990 and an extensive collection of his work is housed by Anthology Film Archives.","1925-02-16","1990-07-27",2,null,1046088,"nm0256680","Directing","Ed Emshwiller","Lansing, Michigan",0.5959,"\u002FfYkXS4etuNHwIaryNNDRydFFE0a.jpg",{"cast":19,"crew":145},[20,35,50,66,77,89,101,113,125,135],{"adult":4,"backdrop_path":10,"genre_ids":21,"id":23,"title":24,"original_language":25,"original_title":24,"overview":26,"popularity":27,"poster_path":28,"release_date":29,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":32,"order":33,"media_type":34},[22],99,1146127,"Home Movies 1971-81","xx","Home movies shot on Super 8mm by W+B Hein over 10 years.",1.6365,"\u002F95USeVGGGiVd8b8I3525itz3Ta.jpg","1985-01-01",0,"","649e3384c072a2010df5803d",14,"movie",{"adult":4,"backdrop_path":36,"genre_ids":37,"id":38,"title":39,"original_language":40,"original_title":39,"overview":41,"popularity":42,"poster_path":43,"release_date":44,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"character":47,"credit_id":48,"order":49,"media_type":34},"\u002FjujPMca78HK9mUDwMzaHIJ1m0bl.jpg",[22],230420,"Galaxie","en","In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests.  Preserved by the Academy Film Archive in 2001.",0.9983,"\u002F2hIp8flG7JjevHJ3YmEYowhfNP3.jpg","1966-09-03",10,1,"Self","53c835e60e0a267ffb004f9c",19,{"adult":4,"backdrop_path":51,"genre_ids":52,"id":55,"title":56,"original_language":40,"original_title":56,"overview":57,"popularity":58,"poster_path":59,"release_date":60,"softcore":4,"video":4,"vote_average":61,"vote_count":62,"character":63,"credit_id":64,"order":65,"media_type":34},"\u002FeK4e1nNd29taJ74Y88JIRvEuXro.jpg",[53,54],10749,35,161741,"Hallelujah the Hills","Jack and Leo vie for the affections of Vera – who appears a little differently to each man – over the course of a series of energetic sketches, flashbacks and homages.",1.1959,"\u002FgGKkn6IWfr43MkgVyscV46jXqdV.jpg","1963-12-16",6.2,15,"Gideon","59d541e9c3a368451b01b1fc",9,{"adult":4,"backdrop_path":10,"genre_ids":67,"id":68,"title":69,"original_language":40,"original_title":69,"overview":70,"popularity":71,"poster_path":72,"release_date":73,"softcore":4,"video":4,"vote_average":74,"vote_count":46,"character":75,"credit_id":76,"order":30,"media_type":34},[],560410,"Family Focus","Emshwiller terms Family Focus a \"family self-portrait, a stylized autobiography,\" which takes the form of an intimate collage of home movies, black-and-white videotape and photographs that have been colorized, synthesized or otherwise visually transformed in an electronic mediation by the artist. The viewer is witness to the spontaneous activities and conversations of the family's quotidian home life, which is accompanied by Carol Emshwiller's ironic, often poetic commentary. In one sequence of home movies, the children are seen \"growing\" over a span of twenty years. Using the video camera as a kind of psychological mirror, Emshwiller integrates video's intimacy, reflexivity and realism with its \"unreal\" technological manipulations to form what the artist describes as a \"documentary\u002Fvideo art transformation of self-revealing images.\"",1.7983,"\u002F1Gj3n7SgH1gDHpR3EeVOBM2Tq19.jpg","1976-05-05",7,"Himself","5be487b9c3a36810cd02fd7b",{"adult":4,"backdrop_path":78,"genre_ids":79,"id":80,"title":81,"original_language":40,"original_title":81,"overview":82,"popularity":83,"poster_path":84,"release_date":85,"softcore":4,"video":4,"vote_average":86,"vote_count":87,"character":47,"credit_id":88,"order":46,"media_type":34},"\u002Fl6pEbeeAD2spisee51dP2SN7VZP.jpg",[22],105583,"Diaries, Notes, and Sketches","Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.",1.8159,"\u002F3iyvGft8nwGJFX62H5RawllN6Gp.jpg","1968-03-01",7.3,32,"5e898869d55c3d0015531916",{"adult":4,"backdrop_path":90,"genre_ids":91,"id":92,"title":93,"original_language":40,"original_title":93,"overview":94,"popularity":95,"poster_path":96,"release_date":97,"softcore":4,"video":4,"vote_average":98,"vote_count":99,"character":47,"credit_id":100,"order":46,"media_type":34},"\u002FkULs04j6zuzx1JYw08qdKnjlfH4.jpg",[22],148807,"Lost, Lost, Lost","Drawn from footage shot between 1949 and 1963, Jonas Mekas’s autobiographical diary film chronicles his early years in exile, capturing the struggle to build a new life in New York and his gradual discovery of a vibrant artistic community.",1.0336,"\u002FxsPlsjF4xxh36IGKNEdJdbV3yQ8.jpg","1976-09-14",7.1,24,"5e89978260b58d0013ec6f45",{"adult":4,"backdrop_path":102,"genre_ids":103,"id":105,"title":106,"original_language":40,"original_title":106,"overview":107,"popularity":108,"poster_path":109,"release_date":110,"softcore":4,"video":4,"vote_average":74,"vote_count":111,"character":31,"credit_id":112,"order":74,"media_type":34},"\u002F8j3sxk4arubeecW7gE0MKcMjLA9.jpg",[22,104],36,96979,"Painters Painting","Painters Painting: The New York Art Scene 1940-1970 is a 1972 documentary directed by Emile de Antonio. It covers American art movements from abstract expressionism to pop art through conversations with artists in their studios. Artists appearing in the film include Willem de Kooning, Jasper Johns, Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Frank Stella, Barnett Newman, Hans Hofmann, Jules Olitski, Philip Pavia, Larry Poons, Robert Motherwell, and Kenneth Noland.",1.8707,"\u002F1iTFuI8UgzjavsFQ5ZoJtQoG2zt.jpg","1973-03-19",5,"60f4b7b7ad87f7004786f341",{"adult":4,"backdrop_path":114,"genre_ids":115,"id":116,"title":117,"original_language":40,"original_title":117,"overview":118,"popularity":119,"poster_path":120,"release_date":121,"softcore":4,"video":4,"vote_average":74,"vote_count":122,"character":47,"credit_id":123,"order":124,"media_type":34},"\u002Fw5kolt7395WeLvt4UlMdgKl6VKx.jpg",[22],295120,"Birth of a Nation","Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.",1.4647,"\u002Fy5dmMIbRZ36wTxKlwZQ5dU3ko0N.jpg","1997-08-06",4,"66fb88d3e7811ef6cba66c55",59,{"adult":4,"backdrop_path":10,"genre_ids":126,"id":127,"title":128,"original_language":40,"original_title":128,"overview":129,"popularity":130,"poster_path":131,"release_date":132,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":133,"order":134,"media_type":34},[],1418912,"Solstice and Solyanka","Super 8 film. Observations of the Institute on Film, Video & Photography, Amherst, MA, summer 1975.  Among the cast of characters, in order of appearance, are Robert Breer, John Terry, Steve Ascher, Richard Leacock, Jon Rubin, Frank Daniel, Ed Emshwiller, Ann McIntosh, Terry Lockhart, Standish Lawder, Jerome Liebling.",0.6409,"\u002Fxv6t932MHHTZIfq31MZ5iNm94h4.jpg","1975-01-04","678a13fd45f296f6011d670f",3,{"adult":4,"backdrop_path":10,"genre_ids":136,"id":137,"title":138,"original_language":40,"original_title":138,"overview":139,"popularity":140,"poster_path":141,"release_date":142,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":143,"order":144,"media_type":34},[22],972283,"Notes on the Buffalo Conference: “Autobiography in American Independent Cinema”","During the 1970s I shot, helped to make, or commissioned about ten document films, mainly about film-makers. This film is one of them. It was made with Dan Ochiva, who acted as cameraman on about half of the footage. I shot the rest, and then edited the film. It is a record of a conference held at the State University of New York at Buffalo on March 22-25, 1973. Among the participants filmed were Gerald O'Grady (who organized the conference), Will Hindle, Stan Brakhage, Jonas Mekas, Robert Creeley, Bruce Baillie, Scott Bartlett, Hollis Frampton, Ken Jacobs, Ed Pincus, Stan Vanderbeek, Ed Emshwiller, Sally Dixon, James Cox. This footage will eventually become part of my film PEOPLE, PLACES, THE 1970S. –R. H.",1.5167,"\u002Fh6Qi74NfcrWRLQ42Pi8hQgzH4NE.jpg","1973-03-26","695d5edd10e426ec9d64c03c",11,[146,157,170,182,193,206,217,222,233,244,252,263,275,285,295,306,315,320,323,334,343,346,356,366,374,384,387,390,400,403,413,422,425,434,443,452,461,470,480,483,492,501,510,513,522,532,537,546,549,552,560,569,577,587,595,603,612,620,627,630,638,646,654,662,670,679,682,690,697,700,709],{"adult":4,"backdrop_path":10,"genre_ids":147,"id":148,"title":149,"original_language":40,"original_title":149,"overview":150,"popularity":151,"poster_path":152,"release_date":153,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":154,"department":155,"job":156,"media_type":34},[],240372,"Suite 212","Suite 212 is Paik's \"personal New York sketchbook,\" an electronic collage that presents multiple perspectives of New York's media landscape as a fragmented tour of the city. Paik critiques the selling of New York by multinational corporations and the city's role as the master of the media and information industries; Collaborators Yalkut, Davis and Kubota contribute their own vibrant and punchy segments.",0.729,"\u002F4aavMY787WFLDUHxIk358zqojEH.jpg","1974-12-28","6242ad611cfe3a005cf49662","Camera","Camera Operator",{"adult":4,"backdrop_path":10,"genre_ids":158,"id":160,"title":161,"original_language":40,"original_title":161,"overview":162,"popularity":163,"poster_path":164,"release_date":165,"softcore":4,"video":4,"vote_average":166,"vote_count":167,"credit_id":168,"department":13,"job":169,"media_type":34},[159],27,109377,"Thanatopsis","Power saws and a heartbeat score this experimental light-and-color shot by Ed Emshwiller.",1.2378,"\u002FfBesnA8YEC6ytEieHOFFf9i6NoT.jpg","1963-05-25",6.4,25,"52fe4ab1c3a36847f81dc9bd","Director",{"adult":4,"backdrop_path":171,"genre_ids":172,"id":173,"title":174,"original_language":40,"original_title":174,"overview":175,"popularity":176,"poster_path":177,"release_date":178,"softcore":4,"video":4,"vote_average":179,"vote_count":180,"credit_id":181,"department":13,"job":169,"media_type":34},"\u002F6tIfQ0WUCl3l4EuejZ9U01K4MHs.jpg",[22],234331,"George Dumpson's Place","Employing experimental techniques, Emshwiller magically moved through a collection of objects and artifacts in order to capture the spirit of George Dumpson and his backyard museum.",0.9894,"\u002FtnJMplBxS0KKHtK2RjapzdX3oo9.jpg","1965-07-19",6.1,8,"52fe4e31c3a36847f8282dff",{"adult":4,"backdrop_path":183,"genre_ids":184,"id":186,"title":187,"original_language":40,"original_title":187,"overview":188,"popularity":189,"poster_path":190,"release_date":191,"softcore":4,"video":4,"vote_average":180,"vote_count":46,"credit_id":192,"department":13,"job":169,"media_type":34},"\u002F727WvEfE5qeDUtspRovPRorUIst.jpg",[185],16,324663,"Dance Chromatic","Integrating film and painting, \"Dance Chromatic\" reveals that the contradiction between the desire to convey the organic growth of form and painting's lack of temporal extension led Emshwiller into filmmaking.",0.6586,"\u002F3ntn5h8G1yh4qoaSQdifxBuVRFF.jpg","1959-01-01","54d9eb4fc3a3687ab500140f",{"adult":4,"backdrop_path":194,"genre_ids":195,"id":197,"title":198,"original_language":40,"original_title":198,"overview":199,"popularity":200,"poster_path":201,"release_date":202,"softcore":4,"video":4,"vote_average":203,"vote_count":204,"credit_id":205,"department":155,"job":156,"media_type":34},"\u002F5dJ8t6CljwZ1NUXwW1nsmEpMf8x.jpg",[22,196],10402,135,"Bob Dylan – Don't Look Back","In this wildly entertaining vision of one of the twentieth century’s greatest artists, Bob Dylan is surrounded by teen fans, gets into heated philosophical jousts with journalists, and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price.",2.2503,"\u002F2kd5XfH2MhFlChq7DkjxWBLoYPF.jpg","1967-05-17",7.4,184,"631938ea0021340098fc9cad",{"adult":4,"backdrop_path":207,"genre_ids":208,"id":209,"title":210,"original_language":25,"original_title":210,"overview":211,"popularity":212,"poster_path":213,"release_date":214,"softcore":4,"video":4,"vote_average":74,"vote_count":215,"credit_id":216,"department":13,"job":169,"media_type":34},"\u002FhASTjMiQa7857W4s3mjOPzWuMjB.jpg",[185],346950,"Sunstone","Experimental computer animation from pioneering artist Ed Emshwiller.",1.6954,"\u002F5IMaRhuTCI0nm15G2aZrUW1fANr.jpg","1979-12-31",12,"55931abe9251410e92001880",{"adult":4,"backdrop_path":207,"genre_ids":218,"id":209,"title":210,"original_language":25,"original_title":210,"overview":211,"popularity":212,"poster_path":213,"release_date":214,"softcore":4,"video":4,"vote_average":74,"vote_count":215,"credit_id":219,"department":220,"job":221,"media_type":34},[185],"55931ad7925141645a001ba0","Writing","Writer",{"adult":4,"backdrop_path":223,"genre_ids":224,"id":225,"title":226,"original_language":40,"original_title":226,"overview":227,"popularity":228,"poster_path":229,"release_date":230,"softcore":4,"video":4,"vote_average":231,"vote_count":180,"credit_id":232,"department":13,"job":169,"media_type":34},"\u002FlgJWcEERspRhxrolR2qycF4NXSc.jpg",[53,22],354266,"Carol","Ed Emshwiller’s tender portrait of his wife, avant-garde science fiction writer Carol Emshwiller.",1.593,"\u002FyDeuMm6m9bzOqo5WaHyqkqbHHOS.jpg","1970-06-17",6,"55cc329fc3a368055e000702",{"adult":4,"backdrop_path":234,"genre_ids":235,"id":236,"title":237,"original_language":40,"original_title":237,"overview":238,"popularity":239,"poster_path":240,"release_date":241,"softcore":4,"video":4,"vote_average":242,"vote_count":111,"credit_id":243,"department":13,"job":169,"media_type":34},"\u002F6j0apogttF5w1xczBQkBEQAl1k9.jpg",[185],354265,"Lifelines","A combination of animated line drawings with live photography of a nude model. A play on the title (living lines, life model, procreation and hand life line).",0.834,"\u002FqXwClNTD9tWWjv4o1RbX6SOlxPu.jpg","1960-08-13",5.8,"55cc321cc3a36856f9001fa8",{"adult":4,"backdrop_path":10,"genre_ids":245,"id":246,"title":247,"original_language":40,"original_title":247,"overview":248,"popularity":249,"poster_path":10,"release_date":250,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":251,"department":13,"job":169,"media_type":34},[],918453,"The Thing from Back Issues","A film by Ed Emshwiller made with writers from the Original Milford Science Fiction Writers Conference. Silent film. Mid 1950s.",0.6922,"1956-11-02","61c1c022bb1057001ab98dc2",{"adult":4,"backdrop_path":10,"genre_ids":253,"id":254,"title":255,"original_language":40,"original_title":255,"overview":256,"popularity":257,"poster_path":258,"release_date":259,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":260,"department":261,"job":262,"media_type":34},[22],596778,"Report","Shot during the 1968\u002F69 school year at University of California Berkeley, Report was created as part of Norman Jacobson’s experimental political science course “Toward an Expression of the Idea of Freedom.” The film, which features cinematography by avant-garde filmmaker Ed Emshwiller, merges fiction and documentary as it portrays the widening generation gap within the university, and in society at large. At the center of the film is an uncertain teacher and the students who challenge him.",1.6062,"\u002Fz3ovvQqdgqOypCWcgv9YYA16aWd.jpg","1970-05-05","61ea4a7c944a570043589477","Sound","Sound Recordist",{"adult":4,"backdrop_path":264,"genre_ids":265,"id":267,"title":268,"original_language":40,"original_title":268,"overview":269,"popularity":270,"poster_path":271,"release_date":272,"softcore":4,"video":4,"vote_average":273,"vote_count":180,"credit_id":274,"department":13,"job":169,"media_type":34},"\u002FudgzvQJ9AklFiHOSDACpJbPP0fY.jpg",[266],18,385149,"Relativity","Emshwiller made this film on a Ford Foundation grant, and in his original proposal to the Ford Foundation, he outlined the film as \"something that deals with subjective reality, the emotional sense of what one's perception of the total environment is -- sexual, physical, social, time, space, life, death.\"",2.0883,"\u002F6Zna6hVB89ErPtHJlvc9uqNZrg.jpg","1966-08-17",5.5,"56d468279251410bd1002bf5",{"adult":4,"backdrop_path":276,"genre_ids":277,"id":278,"title":279,"original_language":40,"original_title":279,"overview":280,"popularity":281,"poster_path":282,"release_date":283,"softcore":4,"video":4,"vote_average":273,"vote_count":122,"credit_id":284,"department":13,"job":169,"media_type":34},"\u002FqFiUHmb86DuSlB0m1JLkQ0fGnQ6.jpg",[196],385565,"Film with Three Dancers","In this spin-off from his original plan for Relativity (1966), Emshwiller continued with his desire to penetrate “space in a kind of flying camera, a dream of flying, a kind of sensual, sexual imagery where you were constantly going into an unknown space.”  A trio of dancers (Carolyn Carlson, Emery Hermans, Bob Beswick) appear \"first in leotards, then in bluejeans, then naked, as they “pass through rituals of movement.”",1.218,"\u002Fw47EWjcbYi2vYcoW8I5oq9exdMO.jpg","1971-03-11","56d82f6092514162b7005b56",{"adult":4,"backdrop_path":10,"genre_ids":286,"id":287,"title":288,"original_language":40,"original_title":288,"overview":289,"popularity":290,"poster_path":10,"release_date":291,"softcore":4,"video":4,"vote_average":74,"vote_count":111,"credit_id":292,"department":293,"job":294,"media_type":34},[54],385789,"The Existentialist","A delightful short film shot in reverse in which the main protagonist enjoys a day on the town.",0.7415,"1963-01-01","56d99d49925141340201ee60","Crew","Cinematography",{"adult":4,"backdrop_path":296,"genre_ids":297,"id":298,"title":299,"original_language":40,"original_title":299,"overview":300,"popularity":301,"poster_path":302,"release_date":303,"softcore":4,"video":4,"vote_average":304,"vote_count":45,"credit_id":305,"department":155,"job":156,"media_type":34},"\u002FgZBMdZ98sAcSROQHnSeC6YOVzS5.jpg",[54],247838,"The American Way","A comedy short which pokes merry anarchistic fun at such quintessential American institutions as mom, baseball, and apple pie. It features an early appearance from actor John Cazale.",1.1123,"\u002Ff1NKYzmvXcN9th5kfYv2mLtZ83Y.jpg","1962-04-12",5.3,"573b1f78c3a3682a330007e6",{"adult":4,"backdrop_path":10,"genre_ids":307,"id":308,"title":309,"original_language":40,"original_title":309,"overview":310,"popularity":311,"poster_path":312,"release_date":313,"softcore":4,"video":4,"vote_average":74,"vote_count":46,"credit_id":314,"department":13,"job":169,"media_type":34},[],402874,"Eclipse","Made for Roger Reynolds's Voicescapes performance, containing elements from Emshwiller's previous film \"Sunstone.\"",1.5527,"\u002FftZhRVAv0gUnsOFdhuktzpIPZD0.jpg","1979-06-20","57678745c3a3685f75001369",{"adult":4,"backdrop_path":223,"genre_ids":316,"id":225,"title":226,"original_language":40,"original_title":226,"overview":227,"popularity":228,"poster_path":229,"release_date":230,"softcore":4,"video":4,"vote_average":231,"vote_count":180,"credit_id":317,"department":318,"job":319,"media_type":34},[53,22],"579086e1c3a3685b500086e7","Editing","Editor",{"adult":4,"backdrop_path":223,"genre_ids":321,"id":225,"title":226,"original_language":40,"original_title":226,"overview":227,"popularity":228,"poster_path":229,"release_date":230,"softcore":4,"video":4,"vote_average":231,"vote_count":180,"credit_id":322,"department":293,"job":294,"media_type":34},[53,22],"579086da9251414b03002bd4",{"adult":4,"backdrop_path":324,"genre_ids":325,"id":326,"title":327,"original_language":40,"original_title":327,"overview":328,"popularity":329,"poster_path":330,"release_date":331,"softcore":4,"video":4,"vote_average":332,"vote_count":134,"credit_id":333,"department":13,"job":169,"media_type":34},"\u002F85vHKCav5KlHGbdc7ba5IoHJg7V.jpg",[22],408318,"Scape-Mates","In one of his first experiments in video, Emshwiller creates an electronic landscape of both abstract and figurative elements, where colorized dancers are chroma-keyed into a mutable, computer-animated environment. Working with the \"Scan-i-mate,\" an early analog video synthesizer, Emshwiller choreographs an architectural, illusory video space, in which frames proliferate within frames, disembodied heads and hands move within a collage of animated forms, and the dancers and their environment are subjected to constant transformations through image processing. With its witty interplay of the \"real\" and the \"unreal\" in an electronically rendered videospace, and the skillful manipulation and articulation of a sculptural illusion of three-dimensionality, Scape-mates introduced a new vocabulary of video image-making.",1.4789,"\u002FtuKYqHgOXm7R4Mc9zAWMKEcopfg.jpg","1972-07-27",6.3,"57986d3e9251410b54001571",{"adult":4,"backdrop_path":10,"genre_ids":335,"id":336,"title":337,"original_language":40,"original_title":337,"overview":338,"popularity":339,"poster_path":340,"release_date":341,"softcore":4,"video":4,"vote_average":74,"vote_count":46,"credit_id":342,"department":13,"job":169,"media_type":34},[22],464306,"Scrambles","This biker documentary was selected for screening at the 1964 Flaherty Film Seminar. Emshwiller described it as \"a roaring picture of motorcyclists in action. Modern Lancelots and their ladies-in-waiting go wide open for a day at the races. An impressionistic film of guys and gals who get their kicks in direct physical action.\"",0.552,"\u002FurQ3CPKscgG0ZVva2KRaBEOK5LR.jpg","1964-04-17","59591625c3a368253c021dc0",{"adult":4,"backdrop_path":51,"genre_ids":344,"id":55,"title":56,"original_language":40,"original_title":56,"overview":57,"popularity":58,"poster_path":59,"release_date":60,"softcore":4,"video":4,"vote_average":61,"vote_count":62,"credit_id":345,"department":293,"job":294,"media_type":34},[53,54],"59d540e29251414b4501ce92",{"adult":4,"backdrop_path":10,"genre_ids":347,"id":348,"title":349,"original_language":40,"original_title":349,"overview":350,"popularity":351,"poster_path":352,"release_date":353,"softcore":4,"video":4,"vote_average":354,"vote_count":9,"credit_id":355,"department":13,"job":169,"media_type":34},[],520565,"Image, Flesh and Voice","This independent underground feature films two dancers (Carolyn Carlson and Emery Hermans) in silhouettes and shadows. Other couples discuss their relationships and lives in a candid display of self revelation. Street dances and conversations combine in a collage of people and places in this black and white film.",0.6962,"\u002Fj9lGnq91u3R9lbPVQJlzcWIxTC3.jpg","1969-04-18",6.5,"5ae098550e0a26155d01632e",{"adult":4,"backdrop_path":10,"genre_ids":357,"id":358,"title":359,"original_language":40,"original_title":359,"overview":360,"popularity":361,"poster_path":362,"release_date":363,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":364,"department":155,"job":365,"media_type":34},[],970839,"Oysters Are in Season","Oysters Are in Season feautures the improvised humor of Swede Sorenson, Dean Preece and Molly Parkin as they play out sharply satiric situations. Utter foolishness abounds in short skits that range from an employment interview with an applicant whose previous experience has left him physically uncontrollable, and an unsuspecting golfer who arrives for a first lesson, to scenes of mayhem with a hammock and a chinese lantern masquerading as an artificial kidney.",0.7157,"\u002Fh7EZITY6uKzmcibhPZQyJg95Dsu.jpg","1966-01-01","668311ca8f772be8a8bc5037","Director of Photography",{"adult":4,"backdrop_path":10,"genre_ids":367,"id":368,"title":369,"original_language":40,"original_title":369,"overview":370,"popularity":371,"poster_path":372,"release_date":191,"softcore":4,"video":4,"vote_average":74,"vote_count":46,"credit_id":373,"department":13,"job":169,"media_type":34},[185],532901,"Transformation","The pointillist score accompanies changing line, form, and color to create an animated film painting, achieved through the exploration of spontaneous abstractions. Utilizes evolving changes style, technique and rhythm.",0.629,"\u002F3ciOHpfqE9fgtwkIjFj5IefhIFi.jpg","5b3701ffc3a368532003029a",{"adult":4,"backdrop_path":375,"genre_ids":376,"id":377,"title":378,"original_language":40,"original_title":378,"overview":379,"popularity":380,"poster_path":381,"release_date":382,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"credit_id":383,"department":155,"job":365,"media_type":34},"\u002Fzj8G0bViDxmYT7o4ayfKFkD6qsP.jpg",[196],533424,"Totem","A filmic interpretation of a modern dance ballet by Alvin Nikolais. Earth, fire, water and primordial mysteries in a cine-dance.",0.8763,"\u002FcixGe0BSgWBSwexIdudsiI9dCzK.jpg","1963-12-30","5b3aae7f9251413cab043cad",{"adult":4,"backdrop_path":375,"genre_ids":385,"id":377,"title":378,"original_language":40,"original_title":378,"overview":379,"popularity":380,"poster_path":381,"release_date":382,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"credit_id":386,"department":13,"job":169,"media_type":34},[196],"5b3aad5ec3a36845fb0180a9",{"adult":4,"backdrop_path":375,"genre_ids":388,"id":377,"title":378,"original_language":40,"original_title":378,"overview":379,"popularity":380,"poster_path":381,"release_date":382,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"credit_id":389,"department":318,"job":319,"media_type":34},[196],"5b3aae70925141676d016652",{"adult":4,"backdrop_path":391,"genre_ids":392,"id":393,"title":394,"original_language":40,"original_title":394,"overview":395,"popularity":396,"poster_path":397,"release_date":398,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":399,"department":13,"job":169,"media_type":34},"\u002FwLIFkWtpJmloIdcde4hRgAnictS.jpg",[],543270,"Crossings and Meetings","A lone man walking across the video screen is the starting point for this dynamic formal exercise. This image and its accompanying sound are subjected to increasingly complex and proliferating configurations to arrive at what Emshwiller calls a \"visual fugue\" in time and space, structured like musical or mathematical sequences. The walking figure and its de-synchronized footsteps are multiplied, slowed down, accelerated, reversed, syncopated, overlapped and otherwise altered in multifarious variations on a theme, building in a kinetic, almost narrative progression of compositional relationships. The screen is finally transformed into a dance of motion by male and female figures in an abstracted, colorized space. Rather than an analysis of movement a la Muybridge, Crossings and Meetings is a celebration of the potential for representing movement in time and space through video.",0.7788,"\u002FzudNLrbeJvQtVThPxLGqmpZzmL6.jpg","1974-12-26","5b79692e925141295b02a341",{"adult":4,"backdrop_path":102,"genre_ids":401,"id":105,"title":106,"original_language":40,"original_title":106,"overview":107,"popularity":108,"poster_path":109,"release_date":110,"softcore":4,"video":4,"vote_average":74,"vote_count":111,"credit_id":402,"department":293,"job":294,"media_type":34},[22,104],"5be47c76c3a36810c6035017",{"adult":4,"backdrop_path":10,"genre_ids":404,"id":405,"title":406,"original_language":40,"original_title":406,"overview":407,"popularity":408,"poster_path":409,"release_date":410,"softcore":4,"video":4,"vote_average":411,"vote_count":180,"credit_id":412,"department":293,"job":294,"media_type":34},[22],42496,"Millhouse","Emile de Antonio's film decimates Richard Nixon and exposes him as a paranoid, power mad lunatic... de Antonio compiles (via video and film) what amounts to the \"best of\" one of the worst political figures of the 20th century. Nixon was a shameless self-promoter while trying desperately to convince everyone that he wasn't. Through Alger Hiss and the \"Checkers\" speech to the character assassination of Helen Gahagan Douglas (among others), there are few stones left unturned.",1.3698,"\u002Fa8KaAwvujc3kgBjIYSQeiJ0WTSV.jpg","1971-09-28",6.9,"5be47cc6c3a36810c10314e4",{"adult":4,"backdrop_path":10,"genre_ids":414,"id":415,"title":416,"original_language":40,"original_title":416,"overview":417,"popularity":418,"poster_path":419,"release_date":420,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":421,"department":13,"job":169,"media_type":34},[],560382,"Fusion","A kaleidoscopic collage of colours and dehumanised modern dancers, making subtle use of double exposure and electronic music. Shapes move and grow to form designs which are reflected. turned. twisted and finally fragmented. to reveal an understanding for the infinitude of design.",0.6258,"\u002FmHqqR99BElXQBHgHoF0L7bxGjgH.jpg","1967-01-01","5be47629c3a36810d203086b",{"adult":4,"backdrop_path":10,"genre_ids":423,"id":68,"title":69,"original_language":40,"original_title":69,"overview":70,"popularity":71,"poster_path":72,"release_date":73,"softcore":4,"video":4,"vote_average":74,"vote_count":46,"credit_id":424,"department":318,"job":319,"media_type":34},[],"5be4881a0e0a2614b1031f68",{"adult":4,"backdrop_path":10,"genre_ids":426,"id":427,"title":428,"original_language":40,"original_title":428,"overview":429,"popularity":430,"poster_path":431,"release_date":432,"softcore":4,"video":4,"vote_average":180,"vote_count":46,"credit_id":433,"department":13,"job":169,"media_type":34},[],560428,"Paintings by Ed Emshwiller","The first film by Ed Emswhiller",0.5665,"\u002F57kzBsR1eGw8Aj8NmgiAeeS9YkW.jpg","1958-06-06","5be494ae0e0a2614b303388b",{"adult":4,"backdrop_path":10,"genre_ids":435,"id":436,"title":437,"original_language":40,"original_title":437,"overview":438,"popularity":439,"poster_path":440,"release_date":441,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"credit_id":442,"department":13,"job":169,"media_type":34},[],560413,"Dubs","Dubs is a somewhat abstract, experimental video without a clearly defined plot. It focusses mostly on the relationships between men and women and the lies they tell each other.",0.7484,"\u002FeqhWKIbywMiYsYpeqwxBYzp7yjN.jpg","1978-06-06","5be489569251415c72031a14",{"adult":4,"backdrop_path":10,"genre_ids":444,"id":445,"title":446,"original_language":40,"original_title":446,"overview":447,"popularity":448,"poster_path":449,"release_date":450,"softcore":4,"video":4,"vote_average":180,"vote_count":46,"credit_id":451,"department":13,"job":169,"media_type":34},[],560419,"Hungers","Emshwiller introduces this work as a \"tapestry of images and sounds suggestive of the hungers that human beings all share for food, love, sex, power, security and so forth.\" With collaborator Morton Subotnick, the noted electronic composer, and performer Joan La Barbara, Emshwiller weaves together sophisticated electronic and digital technology in conjunction with live performance and music, bringing his distinctive sensibility to a work of contemporary electronic theater.",0.6893,"\u002F6bkca2LVLMOqWbXHEqyC5zTlOhb.jpg","1987-09-25","5be48ba70e0a2614c30345c7",{"adult":4,"backdrop_path":10,"genre_ids":453,"id":454,"title":455,"original_language":40,"original_title":455,"overview":456,"popularity":457,"poster_path":458,"release_date":459,"softcore":4,"video":4,"vote_average":180,"vote_count":46,"credit_id":460,"department":293,"job":294,"media_type":34},[22],560400,"The Streets of Greenwood","THE STREETS OF GREENWOOD (1962), looks at voter registration efforts by the Student Non-Violent Coordinating Committee (SNCC)and a concert in a cotton field in the Mississippi Delta. One of the first films made about the southern civil rights movement",0.8712,"\u002FjrE3IdPE4ji96Z4bI72Hs5Z3GjR.jpg","1962-09-05","5be484e2c3a36810cd02fa25",{"adult":4,"backdrop_path":10,"genre_ids":462,"id":463,"title":464,"original_language":40,"original_title":464,"overview":465,"popularity":466,"poster_path":467,"release_date":468,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":469,"department":13,"job":169,"media_type":34},[185],560396,"Thermogenesis","\"A film version of a videotape. In it my drawings are animated and colorized by using computers. Walter Wright and Richard Froeman were on the computers. John Godfrey helped with the video editing. I did the sound score. The original tape was done on 2\" high-band color videotape, two computers, a Paik-Abe video-synthesizer, with studio chroma-keying and multi-generation video editing.\"  A version of Computer Graphics #1, one of Emshwiller's very first video works.",0.5776,"\u002F2JvR2uBHYRWrc0VVXXngGUMjC0l.jpg","1972-01-01","5be47fc79251415c7e02f52b",{"adult":4,"backdrop_path":471,"genre_ids":472,"id":473,"title":474,"original_language":40,"original_title":474,"overview":475,"popularity":476,"poster_path":477,"release_date":478,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":479,"department":13,"job":169,"media_type":34},"\u002FvrdkUOc44NSb4AmD6ztcL46GhlQ.jpg",[],560395,"Chrysalis","Made in collaboration with Alvin Nikolais, featuring the Nikolais dance company. CHRYSALIS is the result of structuring a series of cinematic and dance ideas Nikolais and I had. The film involves the dancers in improvised choreography, varied costumes, and cinema techniques from slow motion (400FPS) to pixilation. I did the sound score, using the voices of the dancers.-E.E.",0.732,"\u002FsrRdv0qcNwCqAG583kkoGTDBoOU.jpg","1973-12-13","5be47ec1c3a36810ca03696d",{"adult":4,"backdrop_path":471,"genre_ids":481,"id":473,"title":474,"original_language":40,"original_title":474,"overview":475,"popularity":476,"poster_path":477,"release_date":478,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":482,"department":293,"job":294,"media_type":34},[],"5be47ecb9251415c72030c39",{"adult":4,"backdrop_path":10,"genre_ids":484,"id":485,"title":486,"original_language":40,"original_title":486,"overview":487,"popularity":488,"poster_path":489,"release_date":490,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":491,"department":13,"job":169,"media_type":34},[],560403,"Skin Matrix","Emshwiller writes that the visually complex and densely textured Skin Matrix is a \"video tapestry... a layering of different manifestations of energy: electronic (light, video, computer), inorganic (dunes, rocks, mud), organic (wood, plants), human (skin, hair), individual (faces, eyes), imagination (sculpture, robot).\" His intricate electronic transformations of tactile surfaces, landscapes and human faces signify a metaphysical process that simultaneously masks and reveals; he achieves an uncanny spatial illusion of depth through layering and movement. Creating sophisticated image patterns and structures with the simple Bally Arcade computer (used for playing video games), Emshwiller weaves together the lush textures and kinetic energy of the organic and the technological.",0.8236,"\u002FolKcWYqELJUmhDYj6E4KBM5WgMN.jpg","1984-05-05","5be4859c0e0a2614ba031b8c",{"adult":4,"backdrop_path":10,"genre_ids":493,"id":494,"title":495,"original_language":40,"original_title":495,"overview":496,"popularity":497,"poster_path":498,"release_date":499,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":500,"department":13,"job":169,"media_type":34},[],560407,"Pilobolus and Joan","Pilobolus and Joan is a dance\u002Fnarrative journey of transformation, a theatrical search for self and love based on Carol Emshwiller's story Metamorphosed. In this inversion of Kafka's Metamorphosis, a cockroach awakens as a man — actually a four-man being, as enacted here by members of the Pilobolus Dance Theatre. Within this serio-comic narrative format, the sculptural configurations of the antic Pilobolus dancers find their video correlative in Emshwiller's inventive imaging juxtapositions and surrealistic manipulations of time and scale. Emshwiller achieves a video theater of the imagination, applying the transformative properties of the electronic medium as a visual counterpoint to the literary text, the gymnastic choreography of Pilobolus, and the musical performances of Joan McDermott.",0.5603,"\u002FAoXy9yYaUM0yBkVkhIQuJJjEN3U.jpg","1973-05-05","5be486f6c3a36810cd02fcaa",{"adult":4,"backdrop_path":10,"genre_ids":502,"id":503,"title":504,"original_language":40,"original_title":504,"overview":505,"popularity":506,"poster_path":507,"release_date":508,"softcore":4,"video":4,"vote_average":74,"vote_count":46,"credit_id":509,"department":13,"job":169,"media_type":34},[],560389,"Branches","Featuring Bill Weidner and Connie Brady, BRANCHES was made in a filmmaking workshop at Cornell University during the summer of 1970. The film was improvised around the theme of Branches of Possibilities real or imagined in Bill's pursuit of Connie. It is an attempt to structure a film out of the concerns of the time, using the college environment and student sexual drives as the principles focus. –E. E.",0.5049,"\u002F2t97miQjEr5V0rtl8InfZNcfo1u.jpg","1970-11-06","5be479980e0a2614c3032d65",{"adult":4,"backdrop_path":471,"genre_ids":511,"id":473,"title":474,"original_language":40,"original_title":474,"overview":475,"popularity":476,"poster_path":477,"release_date":478,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":512,"department":261,"job":261,"media_type":34},[],"5be47ed8c3a36810c6035353",{"adult":4,"backdrop_path":10,"genre_ids":514,"id":515,"title":516,"original_language":40,"original_title":516,"overview":517,"popularity":518,"poster_path":519,"release_date":520,"softcore":4,"video":4,"vote_average":45,"vote_count":46,"credit_id":521,"department":13,"job":169,"media_type":34},[],560411,"Sur Faces","Emshwiller writes that Sur Faces is a \"stylized collaborative videotape in which actors working with (the artist) explore sexual politics as expressed in styles of drama from Shakespeare to 19th-century social theater, early 20th-century Freudian work, and contemporary fictional autobiographical improvisation. A video collage juxtaposing different ways of using video to express psychological states and conflict.\" In a synthesis of densely processed, textural images with documentations of dramatic role-playing from sources as varied as Richard III, Strindberg, and the Open Theater, Emshwiller undertakes an inventive inquiry into the transformation and representation of male\u002Ffemale relationships, via video and theater.",0.6027,"\u002FrkldKxh4uTPsDj5MNFnirWd9TIs.jpg","1977-05-05","5be488c80e0a2614ac032127",{"adult":4,"backdrop_path":523,"genre_ids":524,"id":525,"title":526,"original_language":40,"original_title":526,"overview":527,"popularity":528,"poster_path":529,"release_date":530,"softcore":4,"video":4,"vote_average":180,"vote_count":9,"credit_id":531,"department":318,"job":319,"media_type":34},"\u002F1JtHTZMtJXR7OLLUdJolzGUmSRV.jpg",[266],560398,"Time of the Heathen","In New York four years after the bombing of Hiroshima, a bible-carrying drifter who witnesses the rape and murder of a black woman is framed and pursued by locals while left as the sole protector of the woman’s young son.",1.397,"\u002F2PltrJgiGUtaAABV4PyU4dUT07s.jpg","1962-03-05","5be482ee9251415c750305ae",{"adult":4,"backdrop_path":523,"genre_ids":533,"id":525,"title":526,"original_language":40,"original_title":526,"overview":527,"popularity":528,"poster_path":529,"release_date":530,"softcore":4,"video":4,"vote_average":180,"vote_count":9,"credit_id":534,"department":535,"job":536,"media_type":34},[266],"5be4830dc3a36810bf03259b","Art","Art Direction",{"adult":4,"backdrop_path":10,"genre_ids":538,"id":539,"title":540,"original_language":40,"original_title":540,"overview":541,"popularity":542,"poster_path":543,"release_date":544,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":545,"department":13,"job":169,"media_type":34},[],560397,"Choice Chance Woman Dance","A subjective film song of awareness; woman alone, woman with child, woman as scientist, woman as artist, woman with woman, woman with man. Paradox and dilemma, the human state as seen through today's suburban woman. The filmmaker explored with several women their conditions and sought ways of relating and structuring those states in a film.",0.5756,"\u002FenIgzpSLjrNG2wJtGf6lss286uF.jpg","1971-01-01","5be48033c3a36810c1031990",{"adult":4,"backdrop_path":523,"genre_ids":547,"id":525,"title":526,"original_language":40,"original_title":526,"overview":527,"popularity":528,"poster_path":529,"release_date":530,"softcore":4,"video":4,"vote_average":180,"vote_count":9,"credit_id":548,"department":293,"job":294,"media_type":34},[266],"5be482c7c3a36810ca036f5d",{"adult":4,"backdrop_path":10,"genre_ids":550,"id":68,"title":69,"original_language":40,"original_title":69,"overview":70,"popularity":71,"poster_path":72,"release_date":73,"softcore":4,"video":4,"vote_average":74,"vote_count":46,"credit_id":551,"department":293,"job":294,"media_type":34},[],"5be488110e0a2614b1031f5d",{"adult":4,"backdrop_path":10,"genre_ids":553,"id":554,"title":555,"original_language":40,"original_title":555,"overview":556,"popularity":557,"poster_path":558,"release_date":363,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":559,"department":13,"job":169,"media_type":34},[],560385,"Art Scene USA","A look at painting, sculpture and the dance in the United States today, as represented by works of many of its best-known artists - Andrew Wyeth, Andy Warhol, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, Robert Motherwell, Jackson Pollock, Ben Shahn, Jack Levine, Robert Indiana, Larry Poons, Alexander Calder, Marisol, Edward Keinholz, Larry Rivers, Claes Oldenburg, the Martha Graham Dancers, Merce Cunningham and Dance Company, the Alwin Nikolais Dance Company, the Once Group (a happening), etc.",0.4878,"\u002FetnGSdNfnDZIyXiCGxeI9r9BSPz.jpg","5be477c7c3a36810c1030f93",{"adult":4,"backdrop_path":10,"genre_ids":561,"id":562,"title":563,"original_language":40,"original_title":563,"overview":564,"popularity":565,"poster_path":566,"release_date":567,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":568,"department":13,"job":169,"media_type":34},[],560414,"Skin Matrix S","Skin Matrix S is a short version of the piece Skin Matrix.",0.4727,"\u002FaNsyY7p3sNJGQy2hw0rxx1V4Wtf.jpg","1984-09-09","5be489e50e0a2614b6032a7b",{"adult":4,"backdrop_path":10,"genre_ids":570,"id":571,"title":572,"original_language":40,"original_title":572,"overview":573,"popularity":574,"poster_path":10,"release_date":575,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":576,"department":13,"job":169,"media_type":34},[],560434,"In Three Zones","A film based on play by Wilford Leach",0.6187,"1966-06-06","5be497339251415c7a02fbf3",{"adult":4,"backdrop_path":578,"genre_ids":579,"id":580,"title":581,"original_language":40,"original_title":581,"overview":582,"popularity":583,"poster_path":584,"release_date":585,"softcore":4,"video":4,"vote_average":74,"vote_count":46,"credit_id":586,"department":13,"job":169,"media_type":34},"\u002FcuHg5oXZwNxSdvL1pklw5LUKQrE.jpg",[22],560437,"Project Apollo","A film by Ed Emshwiller that surveys, without narration, the vast human and material resources committed to the U.S. space program. Uses recurring images and sounds to depict the past dreams and doubts, the planning and engineering, the hardware, the construction and transport, the teams and the astronauts, the definition of the moon voyage, the launch of the rocket, and visions for the future.",0.6292,"\u002FhRbhr3gwpYpBa01S95D7RmIWZnd.jpg","1968-08-08","5be498bfc3a36810ca039230",{"adult":4,"backdrop_path":10,"genre_ids":588,"id":589,"title":590,"original_language":40,"original_title":590,"overview":591,"popularity":592,"poster_path":10,"release_date":593,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":594,"department":13,"job":169,"media_type":34},[],560444,"Images","A video piece by Ed 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