| |
| | Mary Ellen Bute: Seeing Sound |
 | | In Mary Ellen's weakest works, like the 1951 Color Rhapsodie, she is betrayed precisely by this problem, using gaudily-colored, percussive images of fireworks explosions during a soft, sensuous passage--perfectly timed mathematically, but unsuited to mood and tone color. |
 | | In the 1970s, feminists "rediscovered" Mary Ellen as a pioneer woman filmmaker, but by that time many of her abstract films were no longer available in good prints, and the original nitrates were dispersed to archives in Wisconsin, Connecticut and New York. |
 | | Mary Ellen also proudly announced that she had used combs and collanders and whatever else to make the imagery in her films, encouraging a delight in simplicity and novelty of experimentation. |
| www.awn.com /mag/issue1.2/articles1.2/moritz1.2.html (1600 words) |
|