Camera Dance Volume I: Transport, Dervish, Element, Tides

Sale Format(s): DVD

"Amy Greenfield and Stan Brakhage are two artists who at times seem to imply a deeply religious conception of the body and its relation to nature. Still, I think that the epistemological is so foregrounded in (the) artists' treatment of the body . . . Consistent with Artaud's theories, most of Greenfield's works present some kind of ordeal or crisis."
- Bruce Elder, " The Body In Film"

FOR GOD WHILE SLEEPING 2 minutes. Color Sound
Camera: Sandy D'Annunzio
Poet and speaker: Anne Sexton. Performers: Lee Vogt, Amy Greenfield

Broadcast in WNET program on the life of Anne Sexton.

Poet Anne Sexton is heard reading her poem, "For God While Sleeping" as Greenfield's jagged imagery, evoking the Vietnam War protest, makes a cinema counterpoint to Sexton's dark personal imagery.

TRANSPORT. 1971. 6 minutes. Color. Sound.
Camera: Sandy D'Annunzio Performers: Lee Vogt, Amy Greenfield

Premiere: The Whitney Museum Of American Art
Prize-Winner: Atlanta Film Festival
Broadcast: WNET

"The camera shoots from below, plunging upward into the center of motion as if it were avid to join the messy tangle of struggling bodies lifting upward . . .The screen itself becomes a metaphor." Jennifer Dunning, The New York Times.

Made from the same shoot as For God While Sleeping, the wordless Transport is a visual poem in which a young man and woman move from dead weight (death) to transcendent flight (rebirth) distilling the energy of extremes of the early 1970s, from the Vietnam war to space exploration. The film has been screened at Columbia University, the Austrian (Oesterreichischef) Film Museum and more as exemplifying the relation of post-modern dance and minimalism to the politics of the 1970s

DERVISH. 1972. 15 minutes. Black and White. Sound.
Camera: Willson Barber Performer: Amy Greenfield

Premiere: The Kitchen Center For Video, Music and Dance

One of the first experimental videodance tapes made.
" Extraordinary! In Amy Greenfield's Dervish, a nude woman whirled continuously till exhausted#the only sounds were the motion of her feet, the rustle and flap of drapery, and the increasingly labored rhythm of her breathing. Images were superimposed and dramatic patterns of light and form appeared with repeated close-ups of her body."
- Carol Zemel, Arts Canada.

" Within a minimalist aesthetic context, Amy Greenfield's videotape transmits kinesthetic activity as pulses of pure energy acting immediately on our nerves, expanding our awareness."
- Richard Lorber, Arts In Society.

ELEMENT (1973). 11 ½ minutes. Black and White. Silent. (4:3 vintage version).
Camera: Hilary Harris. Performer: Amy Greenfield

Premiere: Toulon Festival Of Young Cinema, Toulon and Paris.
Featured; The Whitney Museum of American Art "The Color Of Ritual The Color Of Thought: Women Avant-Garde Filmmakers In America, 1930-2000

An avant-garde classic. Turning herself into moving sculpture, " Greenfield rolls and seethes and plunges in a field of mud, her hair, her face not just slathered with mud but become part of it."
- Deborah Jowitt, Village Voice

Like female artists in other forms - Tina Mendotta, Carolee Schneeman, Versuchka, Charlotte Moorman, who covered their bodies with earth and paint and chocolate - Greenfield in Element reveals a femaleness both transgressive and erotic. She unites complex associations of death and birth in a daring visceral act as both film-maker and which becomes a rite uniting complex associations of death and birth.

"Forceful originality."
- Christine Temen, Boston Globe

TIDES (1982) Color. Sound.
Camera: Hilary Harris. Performer: Amy Greenfield
Premiere: 36th Edinburgh Film Festival

" Introduced by a quote fofrm Isadroa Duncans essay Dance of The Future and proceeds to visualize the woman - first rolling into the heart of the waves, then moving with, against, under them, until her whole body shouts with joy."
- Edinburgh Film Festival

Shot from between 48 and 250 fps, Tides reverses Maya Deren's At Land, with the first shot instead of spewing Deren up onto the beach, instead sweeps Greenfield into the sea to turn words of Neitchze into a cinematic experience of "Far out glitter space and time
. . . joy, deeper than heart's agony. . . for all life wants eternity, wants deep eternity."

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