Parábola (1937) Poster

(1937)

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They got so much out of just light and camera angles.
planktonrules25 August 2011
This is just one of many strange films from the DVD collection "Unseen Cinema: Early American Avant-Garde Film 1894-1941" and it's from Disc 3. This is the third film on the disc in which Mary Ellen Bute participated--this time accompanied by Rutherford Boyd and Theodore Nemeth. Boyd created a sculpture and Bute and Nemeth filmed, frame by frame, this process.

It all begins with some words on the screen about parabolas and art. What followed were various non-anamorphic sculptures (almost as if modeled after Spirograph pictures) that appeared to move slinky-like to the music. Through the use of expert lighting, they were able to get so much out of so little and while I think the average person would NOT love this film, it is pleasant and watchable.
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10/10
A beautiful treat in experimental film
andreipisces13 January 2021
This film is outstanding. The camera, light and soundtrack are all phenomenal. It has no plot at all, being just a visual ode to a form the author deemed beautiful - the parabola - and it spends around eight minutes dazzling the viewer with it.

The atmosphere created by this short over but a shape is surreal and majestic. Surely a great watch.
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Something Completely Different
Michael_Elliott26 May 2018
Parábola (1937)

*** (out of 4)

I guess the best way to describe this type of film is that it's spirograph animation. Hopefully that makes sense but there's virtually no plot here but instead you're treated to the use of light and how it shows up against shadows. I'll be honest and admit that I'd probably never watch this film from Mary Ellen Bute a second time but at the same time I don't mind saying that the picture was quite impressive for what it was. This certainly isn't my favorite type of animation but it is visually like poetry and I thought for the most part that it was entertaining. It's a bit stretched out at nine-minutes but there's no question that it was worth watching once.
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