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Topic: Slavko Vorkapich

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	[No title]
		But the thing to slavko vorkapich straight off, was to holler at it I'd die in my tracks." "Don't you worry, I ain't slavko vorkapich brave as some people, but it wasn't likely, because maybe they knowed where he was going to suffer none.
		They had very petting slavko vorkapich together, and slavko vorkapich was tough to have such a rattling curiosity among them.
		Well, slavko vorkapich he went on, "Saturday, September 2d, he didn't know about any trick, and hadn't any way to make a noise." It was setting slavko vorkapich a corpse.
	hometown.aol.com /ShadowLuci1921/slavko-vorkapich.html (1257 words)

	American Cinematographer: Books in Review February 2003
		Vorkapich had established a niche for himself in Hollywood in the 1930s and ‘40s as a master of the montage; his credits included sequences in David Copperfield, The Good Earth and Meet John Doe.
		The primitive response to movement, whether onscreen or in life, was something Vorkapich called "the innocence of the eye." He developed a theory of filmic dance based upon imagery in motion; his ideas were controversial, but they inspired a legion of filmmakers, including Conrad L. Hall, ASC.
		Spiegel was inspired to become a filmmaker and implement Vorkapich’s theories as a writer, director, editor and producer.
	www.theasc.com /magazine/feb03/book/page2.html (287 words)

	[No title]
		Vorkapich proposes that if a filmmaker is to practise their art, they must know how a shot is seen, and must forget about how it is read.
		Vorkapich defines the kinesthetic response as a physiological reaction to motion.
		Vorkapich is able to define all of the conflicts or distortions because he has identified the root cause of them.
	www.oomind.com /courselets/0000000115.html (2752 words)

	Slavko Vorkapich - Films as director of montage sequences:, Films as director (shorts):, Films as actor:
		Adagio turns to presto: whole pages of dull exposition are eliminated as, in a cascade of images often lasting less than a minute, months or years hurtle past, thousands of miles are traversed by road or rail, the fortunes of the hero (or of whole empires) rise or fall.
		After studying to be a painter, Vorkapich began his film career acting in minor roles (and working on dissolves) for Rex Ingram, whose rhapsodic imagery may have influenced the young extra.
		Reputedly made on a kitchen table for $96, in collaboration with Robert Florey and Gregg Toland, this was the first experimental film to gain wide distribution in the USA and Vorkapich, who had edited it as well as codirecting, found himself in demand in Hollywood as a master of the latest in editing techniques.
	www.filmreference.com /Writers-and-Production-Artists-Vi-Win/Vorkapich-Slavko.html (1106 words)

	DVD Savant Review: I Bury the Living
		Slavko Vorkapich was this interesting and funny film theoretician who brought his multi-week seminar to the UCLA film school in the '70s and received SRO attendance.
		For Vorkapich, the Cut was king and if you were just cutting between talking heads you may be facilitating drama but you shouldn't call yourself a moviemaker.
		Vorkapich designed the earthquake scene in MGM's 1935 San Francisco, where many of the most dramatic effects were simple camera moves and editing-rhythm tricks, not elaborate opticals.
	www.dvdtalk.com /dvdsavant/s373bury.html (1455 words)

	Classic Movies : presented by ClassicMovies.COM
		In spite of visions of grandeur, he is a failure, dies of starvation and ascends to heaven where an angel wipes the number from his forehead and he again becomes human.
		Slavko Vorkapich, later renowned for his montage work with major studios, designed the sets in the style of Caligari.
		Gregg Toland who later photographed Citizen Kane assisted Vorkapich in shooting; and Robert Florey who wrote the screenplay for Frankenstein, and directed Cocoanuts and Beast With Five Fingers co-directs with Vorkapich from their own screenplay.
	www.classicmovies.com /cm/film_detail.asp?film_id=402 (224 words)

	Art Clokey: Creator Extraordinaire (Site not responding. Last check: 2007-10-29)
		Great artists are often inspired by mentors, and for Art Clokey this was Slavko Vorkapich, the head of the Cinema Department at the University of Southern California where Art was a student.
		Vorkapich continued to teach in private classes at his home in Benedict Canyon, California.
		Vorkapich considered Art his protégé, and introduced him to his kinesthetic film principles of animation.
	www.gumbyworld.com /memorylane/1create.htm (329 words)

	The Blackwing Diaries: Vorkapich-pure genius, never dated
		Slavko Vorkapich was a genius of film, little known today although he personally contributed to incredible sequences in many Hollywood films of the 1930s.
		Vorkapich was practically unique in his freelancing just montages for so many large scale films for different studios-which gives an indication that the studio bosses knew greatness when they saw it.
		The rest of the film is fairly straightforward romantic drama with Clark Gable at his staccato angriest, tempted as he is to decency by lovely Jeanette MacDonald.
	blackwingdiaries.blogspot.com /2007/03/vorkapich-pure-genius-never-dated.html (459 words)

	The Innocence of the Eye
		“Slavko Vorkapich was a great filmmaker and teacher who inspired me to chose a career in cinematography.
		“Slavko Vorkapich was an artist, special effects artist, film theoretician, director, and montage specialist who is most noted for his montage work on many classic films, including
		This engaging, well-written meditation on the essential expressive nature of movies is a profound yet practical guide to such basic filmmaking techniques as camera angles; image framing; camera and image motion and direction; editing styles; and image sequencing.
	www.silmanjamespress.com /book_description/innocence_eye.html (480 words)

	Unseen Cinema: Early American Avant-Garde Film 1893-1941 at the Alamo Drafthouse
		Paramount: Slavko Vorkapich, [Dorthy Azner], 35mm, bw, sil, 42ft, 0.56m, 20fps
		Paramount: Slavko Vorkapich, [Roland V. Lee, Victor Milner], 35mm, bw, sil, 13ft, 0.17m, 20fps
		Paramount: Slavko Vorkapich, [Ludwig Berger, Victor Milner], 35mm, bw, sil, 132ft, 1.76m, 20fps
	www.hrc.utexas.edu /exhibitions/programs/2004/unseencinema/021204b.html (250 words)

	SceneandHeard.ca
		A dark comedy about the life of a man aspiring to be a star amidst the superficial world of Hollywood, this film is both satirical and sad.
		Interesting cut out miniatures of cityscapes and storefronts that were shot in Slavko Vorkapich’s kitchen.
		A surreal love affair that appears to be shot in front of a ripply glass shower door making each of the images appear misty and layered; including many beautiful close up shots of a starfish floating in water, it’s glass bowl reflecting the sunlight.
	www.sceneandheard.ca /article.php?id=582 (855 words)

	CMAC: College of Media and Communication
		Yugoslavian born Slavko Vorkapich (1895-1976) became known as Hollywood's answer to Eisenstein.
		More poetic than polemic, Vorkapich has been largely overlooked.
		Hayeem will talk about Vorkapich's work and give examples of his obvious influence on contemporary filmmaking today, from feature films to music videos.
	www.cmacweb.org /events.cfm?type=single&id=101 (239 words)

	ASIFA-Hollywood Cartoon Hall Of Fame: CLOKEY, Art
		He studied under Slavko Vorkapich's guide and worked his own project called Gumbasia.
		Then he had chance to present his work at a theatre and got seven year TV show contract with NBC and gets his first big break.
		Also Vorkapich introduced Art to his friend and people in film industry.
	www.animationarchive.org /bio/2005/12/clokey-art.html (1730 words)

	Unseen Cinema - Early American Avant Garde Film 1894-1941 DVD Review (Site not responding. Last check: 2007-10-29)
		Vorkapich's mesmerizing nature poem Moods of the Sea, set to Mendelssohn's Fingal's Cave, is among the most relentlessly stunning passages on celluloid.
		Pioneer abstract films by Ralph Steiner, Mary Ellen Bute, Douglass Crockwell, Dwinnell Grant, and George Morris are compared and contrasted with Hollywood montages created by Ernst Lubitsch, Slavko Vorkapich, and Busby Berkeley.
		In counterpoint, cinÃ¯Â¿Â½-dances by Mary Ellen Bute, Douglass Crockwell, Oskar Fischinger, Norman McLaren, Ralph Steiner, and Slavko Vorkapich dispensed with actual dancers in favor of color, shape, line, and form choreographed into abstract light-play.
	www.dvdsense.com /item/B000AYEIJA (2926 words)

	[No title]
		Slavko Vorkapich and John Hoffman, sound; 10 min.
		Sequence directed by Slavko Vorkapich, film directed by Ben Hecht and Charles MacArthur; 3 min.
		Sequence directed by Slavko Vorkapich, film directed by Robert Z. Leonard; 2 min.
	www.whitney.org /cgi-bin/calendar.pl?function=calendar_search&film_video=1&search_type=dept&state=filmvideo&month=08&year=2001&day=01¤t_day=01 (2722 words)

	Wild Realm Reviews: Experimental Piffles
		Slavko Vorkapich made a three-minute extension to Life & Death of 9413, A Hollywood Extra, entitled Legacy of a Hollywood Extra (1928).
		Dancing silhouettes are seen against the city scapes as a giant organ grinder grinds up the world.
		There are additional poorly labeled fragments of Vorkapich lifted from longer films, "The Furies" from the opening credits of Ben Hecht & Charles MacArthur's Crime Without Passion (1934); his montages for the Robert Z. Leonard film Maytime (1937); & some test shots for Leonard's The Firefly (1937).
	www.weirdwildrealm.com /f-experimentalpiffles.html (993 words)

	Slavko - Slavko Upevche — painting the “Macedonian Jerusalem”
		Slavko Stanzer (1872-1945) was the commander-in-chief and inspector-general of "Domobranstvo" (or Domobrani), the regular army of the Independent State of
		SLAVKO SPLICHAL is Professor of Communication at the Faculty of
		Sign up to be e-mailed when new music releases for "Slavko Avsenik" arrive.
	kpbk.com /kpbk/slavko.html (180 words)

	Unseen Cinema - Early American Avant Garde Film Unseen Cinema - Early American Avant Garde Film Unseen Cinema - Early ...
		Pioneer abstract films by Ralph Steiner, Mary Ellen Bute, Douglass Crockwell, Dwinnell Grant, and George Morris are compared and contrasted with Hollywood montages created by Ernst Lubitsch, Slavko Vorkapich, and Busby Berkeley.
		Moods of the Sea (1940-42)-Slavko Vorkapich and John Hoffman
		In counterpoint, ciné-dances by Mary Ellen Bute, Douglass Crockwell, Oskar Fischinger, Norman McLaren, Ralph Steiner, and Slavko Vorkapich dispensed with actual dancers in favor of color, shape, line, and form choreographed into abstract light-play.
	www.dvdbeaver.com /film/DVDReviews19/unseen_cinema_early_avant_garde.htm (1855 words)

	ASIFA-Hollywood Cartoon Hall Of Fame: CLOKEY, Art
		After spending one year, he met his first Ruth Clokey and moved to California.
		He is mostly influenced by Slavko Vorkapich, the head of the Cinema Department at the University of Southern California.
		Vorkapich considered Clokey as protege and introduced him to kinesthetic film principles of animation.
	www.cartoonhalloffame.org /2005/12/clokey-art.html (1730 words)

	Unseen Cinema: An Interview with Bruce Posner
		The lectures Vorkapich gave in the '60s and '70s in universities and museums – everyone showed up, from Warhol on one end to big Hollywood people on the other.
		Vorkapich would travel between America and Belgrade, where he taught at the film school.
		One of his students there was Vlada Petric and I think his PhD dissertation was on Vorkapich.
	www.sensesofcinema.com /contents/festivals/02/21/posner.html (2936 words)

	TomVerlaine: Music For Films (Site not responding. Last check: 2007-10-29)
		B&W. One of the first American films to show the influence of German Expressionism and the French avant-garde films of the Twenties, this is a satiric fantasy about a man who wants to become a Hollywood movie star.
		Reportedly shot for $96.00, this film was largely shot in Slavko Vorkapich's kitchen using cut-out miniatures.
		B&W. According to Man Ray, this film was made in strict conformity with Surrealist principles.
	www.oceanstar.com /patti/bio/vfilmprg.htm (359 words)

	Museum of the Moving Image
		Early visual symphony films by Oskar Fischinger, Francis Bruguière, Emlen Etting, and other American artists are compared and contrasted with Hollywood montage sequences created by experimentalist Slavko Vorkapich and a variety of avant-garde arrangements of image and sound.
		Paramount: Slavko Vorkapich, [Roland V. Lee, Victor Milner].
		Curated by Bruce Posner, Produced for DVD by David Shepard Anthology Film Archives in association with the British Film Institute, Cineric, Film Preservation Associates, Deutsches Filmmuseum, George Eastman House, The Library of Congress, and The Museum of Modern Art presents Unseen Cinema: Early American Avant-Garde Film 1894-1941.
	www.movingimage.us /site/screenings/content/2005/unseen_cinema.html (810 words)

	February 17, 2002
		Many of these films have not been available since their creation more than a century ago; some have never been screened in public, and almost none have been available in pristine projection prints until now.
		The period from 1925 to 1929 was a golden age for avant-garde film, with significant works produced throughout the country by such artists as Slavko Vorkapich, Robert Florey, Ralph Steiner and Robert Flaherty.
		This period of vitality peaked during the early 1930’s, when both industry professionals and amateurs produced an astonishing array of experimental shorts and features.
	www.lafilmforum.org /past/spring02/Feb17.html (281 words)

	writing-essays
		The theories of two great film theorists, Slavko Vorkapich and Sergei Eisenstein, are compared and summarized.
		Their theories are mutually illuminating; for Vorkapich, film is kinesthetics, for Eisenstein, it is montage.
		These two approaches, when viewed together in parallax, provide a deeper view into what makes film tick.
	www.fashionerfilms.com /01writing/01writing03essays.htm (199 words)

	Unseen Cinema Complete Program
		Moods of the Sea (1940-42) Slavko Vorkapich, John Hoffman, 35mm, bw, snd, 905ft, 10.06m
		Sins of the Fathers [Prohibition] (1929) Paramount: Slavko Vorkapich, [Ludwig Berger, Victor Milner], 35mm, bw, sil, 132ft, 1.76m, 20fps
		Smith Goes to Washington [Lincoln Memorial] (1939) Columbia: Slavko Vorkapich, [Frank Capra, Gene Havlick, Al Clark], 35mm, bw, snd, 306ft, 3.4m
	www.antheil.org /FilmProgram.html (2727 words)

	Amazon.com: Unseen Cinema - Early American Avant Garde Film 1894-1941: DVD: Orson Welles (Site not responding. Last check: 2007-10-29)
		The ambitious Robert Florey, whose feature-directing career would be almost entirely confined to the B zone, collaborates with montage maestro Slavko Vorkapich on The Life and Death of 9413--A Hollywood Extra and with premier production designer William Cameron Menzies on The Love of Zero.
		Vorkapich's mesmerizing nature poem Moods of the Sea, set to Mendelssohn's Fingal's Cave, is among the most relentlessly stunning passages on celluloid.
		An ecstatically extended bal sequence from Ernst Lubitsch's So This Is Paris inspires, again, a craving to see that unavailable 1926 feature film, while George L.K. Morris' Abstract Movies is an encyclopedic and hilarious amateur re-creation of fond cliches and tropes of generic filmmaking.
	www.amazon.com /Unseen-Cinema-Early-American-1894-1941/dp/B000AYEIJA (3421 words)

	Unseen Cinema - Early American Avant Garde Film 1894-1941 - Movies.com: Marketplace
		Some of the best material on the set is from Hollywood, probably due to the larger budgets involved.
		Included in this category would be some of the original montages of Slavko Vorkapich that were done for some MGM movies.
		Also included is Vorkapich's opening montage to "Crime Without Passion" in which three banshees fly about and terrorize the streets of Manhattan.
	movies.go.com /marketplace/details?asin=B000AYEIJA&allreviews=true (3322 words)

	History of the Studios - 1950's
		These commercials used slap stick humor a la Buster Keaton and Charlie Chaplain.
		In 1955 while studying under Slavko Vorkapich at USC Film School, Art produced a student film called Gumbasia.
		It was clay animation shot to the beat of jazz music.
	www.premavision.com /studio/1950.htm (439 words)

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