This message was sent to me from Larry Cuba. He asked me to forward it to SCREEN-L. I don't have any more information on this program, but you can get more information from: http://spurlin-4.fas.harvard.edu/~www/hfa_screenings.html. Maureen Furniss >To: friends of abstract film, > friends who live in the Boston area, > and both. > > >The attached document describes a series of abstract film >screenings to be held Dec 7-11 at the Harvard Film Archive, >Carpenter Center for the Arts, Harvard University. > >Considering that they're screening 140 films in 17 screenings >during the four-day period, i don't think the curator is >exagerating when he says it's "The most comprehensive retrospective >of abstract films ever mounted" (except maybe for the 'Film as Film' >program that the Brigit Hein put together in Cologne back in the 70's) > >If you have any difficulty reading it, you can also access it >from the following web site: > >http://spurlin-4.fas.harvard.edu/~www/hfa_screenings.html > >or let me know and i will try to send it to you again. > >see you there! > >regards, >cuba. > > >--PART-BOUNDARY=.19511161504.ZM25815.zkm.de >X-Zm-Content-Name: brak.txt >Content-Description: Text >Content-Type: text/plain ; name="brak.txt" ; charset=us-ascii > >The information below is from the Screening Schedule of >The Harvard Film Archive of the Carpenter Center >for the Arts which can be found on the following >web page: > >http://spurlin-4.fas.harvard.edu/~www/hfa_screenings.html > > >December 7: December 8: December 9: > >ARTICULATED 7:00 Mary 10:00 Spirit >LIGHT Ellen Bute & Stream Storm > Dwinell >December 7-11 Grant 1:00 Grant, > McLaren, >The Emergence Lecture: Lee, >of Abstract Cecile Starr Crockwell >Film in >America 8:30 2:00 Can > Brakhage Language >LECTURES, FILM Trilogy I Describe >SCREENINGS & Abstract >PANEL 9:15 Oskar Film? >DISCUSSIONS BY Fischinger >THE WORLD'S 3:00 Mary >FOREMOST Lecture: Ellen Bute >AUTHORITIES ON William >NON-OBJECTIVE Moritz 4:00 Len Lye >FILMMAKING > 7:00 James >STAN BRAKHAGE, Whitney > >ROBERT HALLER, >WILLIAM Lecture: > >MORITZ, & William > >CECILE STARR Moritz > > >THE MOST 8:30 > >COMPREHENSIVE Brakhage > >RETROSPECTIVE Trilogy II > >OF ABSTRACT >FILMS EVER 9:15 James >MOUNTED Davis & Hy > Hirsh >8:30 Before >Maya Deren: Lecture: >American Robert >Avant-Garde Haller >Cinema > >Vlada Petric >in person > > > December 10: December 11: > > 10:00 Analytical > Abstractions > 9:30 Brakhage > 1:00 Hy Hirsh Trilogy > (complete) > 2:00 Hilla Rebay > and the > Guggenheim Nexus > > 3:00 Whitneys' > Early Works > > 4:00 James Davis > > 7:00 James > Sibley > Watson/Melville > Webber > > Lecture: Robert > Haller > > 8:30 Brakhage > Trilogy III > > 9:15 Hands On > Filmmaking > > Lecture: Stan > Brakhage > >Featured speakers > >Stan Brakhage, beginning his career in 1953, has made hundreds of films of >varying lengths, styles and formats. In the past decade, Brakhage has shot less >representational imagery, turning his explorations to the pure realm of >hand-painted cinema. Brakhage has profoundly influenced generations of film - >makers, critics and viewers. His ideas and artistic contributions have also >touched a wide circle of poets, artists and musicians. > >Cecile Starr has taught film at Columbia University and The New School in New >York City, has lectured extensively in the U.S. and Europe, and has written >several books (Discovering the Movies, Experimental Animation) and numerous >articles. She is the founder/director of the Women's Independent Film Exchange. > >William Moritz teaches in the film and video faculty at the California >Institute of the Arts. The author of numerous articles on abstract film, Moritz >is also a filmmaker himself, having made twenty-nine short films and videos. > >Robert Haller is the Executive Director of Anthology Film Archives. He has >edited two books of writings by Stan Brakhage and two books by Jim Davis. He is >preparing books on Ed Emshwiller, Fritz Lang, Joseph Ruttenberg and Amy >Greenfield. > >12/7 8:30pm > >Before Maya Deren > >Restored Milestones > >of American > >Avant-Garde Cinema > >Introduction by Vlada Petric > >USA 1920-41 (132 mins) > >"The American film avant-garde established itself in the 1920s and 1930s, >contrary to the standard histories which date its beginning to 1943 with Maya >Deren." (Jan-Christoph Horak) These films present a backdrop against which one >can posit the origins of Abstract filmmaking in America. > > Manhatta > * DIRECTED BY Paul Strand & Charles Sheeler (USA, 1920, 6 mins, 16mm, bw, > silent); > > Light Rhythms > * Directed by Francis Bruguiere (Great Britain/USA, 1928, 6 mins, 16mm, bw, > silent); > > Danse Macabre > * Directed by Dudley Murphy (USA, 1921, 5 mins, 35mm, bw, silent); > > Little Geezer > * Directed by Theodore Huff (USA, 1930, 10 mins, 16mm); > > Footnote to Fact (As I Walk) > * Directed by Lewis Jacobs (USA, 1933, 5 mins, 16mm, bw); > > Mr. Motorboat's Last Stand > * Directed by John Florey (USA, 1933, 10 mins, 16mm, bw); > > Poem 8 > * Directed by Emlen Etting (USA, 1935, 15 mins, 16mm, bw); > > La Mer > * Directed by Ovady Julber (USA?, 1936, 16 mins, 16mm, bw); > > Even As You and I > * Directed by Leroy Robins, Roger Barlow, Harry Hay (USA, 1937, 12 mins, > 16mm, bw); > > Object Lesson > * Directed by Christopher Young (USA, 1941, 12 mins, 16mm, bw); > > Portrait of a Young Man > * Directed by Henwar Rodakiewicz (USA, 1925-31, 35 mins, 16mm, bw, silent) > >Fri, 12/8 7:00pm > >Mary Ellen Bute & Dwinell Grant > >Lecture by Cecile Starr > >USA 1934-53 (90 mins) > >Mary Ellen Bute (1906-83) and Dwinell Grant (1912-91) worked simultaneously but >separately in New York City during the early 1940s. Grant worked alone within >the confines of the art scenes that surrounded Hilla Rebay and Peggy >Guggenheim. Bute in partnership with Ted Nemeth produced 35mm "seeing sound" >films visualizing popular music for presentation at Radio City Music Hall. > >Directed by Mary Ellen Bute: > >Rhythm in Light (USA, 1934, 5 mins, 16mm, bw); > >Parabola (USA, 1937, 8.5 mins, 16mm, bw); > >Escape (USA, 1937, 4 mins, 16mm, color); Mood Contrasts (USA, 1953, 6.5 mins, >16mm, color) > >Directed by Dwinell Grant: Composition #1: Themis (USA, 1940, 4 mins, 16mm, >color, silent); > >Composition #2: Contrahemis (USA, 1941, 4.5 mins, 16mm, color, silent); > >Color Sequence (USA, 1943, 3 mins, 16mm, color, silent); > >Three Themes in Variation (USA, 1945, 5.5 mins, 16mm, color, silent) > >Fri, 12/8 9:15pm > >Oskar Fischinger > >& the California School of Color Music > >Lecture by William Moritz > >USA/Germany 1934-76 (90 mins) > >The presence of Oskar Fischinger (1900-67) in Hollywood (where he arrived from >Germany as a refugee in February 1936) helped inspire a generation of >California artists, especially through the Art in Cinema programs at the San >Francisco Museum of Art 1946-49. > >Composition in Blue >* Directed by Oskar Fischinger (Germany, 1935, 4 mins, 35mm, color); > >Allegretto >* Directed by Oskar Fischinger (USA, 1936/43, 3 mins, 35mm, color); > >Radio Dynamic >* Directed by Oskar Fischinger (USA, 1941, 4 mins, 16mm, color, silent); > >Film No. 3 >* Directed by Harry Smith (USA, 1947-49, 3 mins, 16mm, color, silent); > >MobiColor Projections >* Directed by Charles Dockum (USA, 1961, 5 mins, 16mm, color); > >Obmaru >* Directed by Patrica Marx (USA, 1953, 4 mins, 16mm, color); > >Abstractions 2 & 4 >* Directed by Denver Sutton (USA, 1956, 3 mins, 16mm, color); > >Logos >* Directed by Jane Conger (USA, 1957, 2 mins, 16mm) > >Sat, 12/9 10:00am > >Spirit Stream Storm > >35mm Prints of Hand-Crafted Artists' Films > >Introduced by Stan Brakhage > >USA/Georgia/Spain/France 1967-95 (100 mins) > >Besides a generous sampling of Brakhage's hand-painted gems, the program >features short films by other contemporary masters that question the push-pull >between abstract and representational imagery in film. > >Impressions From the Upper Atmosphere >* Directed by Jose Antonio Sistiaga (Spain, 1989, 7 mins, 35mm, color); > >Interpolations I-V >* Directed by Stan Brakhage (USA, 1992,12 mins, 35mm, color, silent); > >Sappho and Jerry:Pts 1-3 >* Directed by Bruce Posner (USA, 1977-78, 6 mins, 35mm, color); > >Giraglia >* Directed by Thierry Vincens (France, 1968, 5 mins, 35mm, color); > >Orgasamatic >* Directed by Bruce Posner (USA, 1984-95, 4 mins, 35mm, color); > >Falter >* Directed by Kurt Kren (Austria, 1990, 25 secs, 35mm, bw); > >Callot >* Directed by Charles & Ray Eames (USA, 1974, 3 mins, 35mm, color); > >Confession >* Directed by Sergei Paradjanov (Georgia, 1990, 8 mins, 35mm, color); > >The Dante Quartet >* Directed by Stan Brakhage (USA, 1987, 6 mins, 35mm, color, silent); > >Garden of Earthly Delights >* Directed by Stan Brakhage (USA, 1981, 1.5 mins, 35mm, color, silent); > >Hell Spit Flexion >* Directed by Stan Brakhage (USA, 1983, 1 min, 35mm, color, silent); > >Eye Myth >* Directed by Stan Brakhage (USA, 1967, 8 secs, 35mm, color, silent); > >Night Music >* Directed by Stan Brakhage (USA, 1986, 25 secs, 35mm, color, silent); > >Rage Net >* Directed by Stan Brakhage (USA, 1988, 25 secs, 35mm, color, silent); > >Tausendjahre kino >* Directed by Kurt Kren (Austria, 1995, 3 mins, 35mm, color); > >The Analects >* Directed by Bruce Posner & Amanda Katz (USA, 1987-95, 19 mins, 35mm, color, >silent) > >Sat, 12/9 1:00pm > >Four Masters > >Grant, McLaren, Lee, Crockwell > >USA 1939-49 (60 mins) > >A brief but insightful overview of four pioneer abstract filmmakers who made >films in America throughout the 40s and onward that expanded the language of >creative filmmaking. > >Directed by Dwinell Grant: > >Abstract Experiments (USA, 1941-42, 8 mins, 16mm, color, silent); > >Composition #3:Spelean Dance (USA, 1942, 2 mins, 16mm, bw, silent); > >Composition #5: Fugue (USA, 1949, 8 mins, 16mm, color, silent); > >Directed by Norman McLaren:Loops (USA, 1939, 3 mins, 16mm, color); > >Pen Point Percussion > >National Film Board of Canada (Canada, 1949?, 6 mins, 16mm, bw) > >Directed by Francis Lee: Le Bijou (USA, 1943, 7 mins, 16mm, color); > >Idyll (USA, 1947, 9 mins, 16mm, color) > >Directed by Douglass Crockwell: Glens Falls Sequence (USA, 1946, 8 mins, 16mm, >color, silent); > >The Long Bodies (USA, 1947, 4 mins, 16mm, color, silent) > >Sat, 12/9 2:00pm > >Can Language Describe Abstract Film? > >Panel Discussion with Films > >USA 1937-81 (60 mins) > >Optical Poem >* Directed by OsKar Fischinger (USA, 1937, 6 mins, 35mm, color); > >Color Rhapsodie >* Directed by Mary Ellen Bute (USA, 1948, 6 mins, 35mm, color); > >Garden of Earthly Delights >* Directed by Stan Brakhage (USA, 1981, 1.5 mins, 35mm, color, silent) > >Sat, 12/9 3:00pm > >Mary Ellen Bute > >USA 1934-53 (60 mins) > >In the mid 1930s, Mary Ellen Bute was the first American to make abstract >motion pictures, and in the early 1950s the first person in the world to use >electronic imagery in a film. She studied with experimental music pioneers >Joseph Schillinger and Leon Theremin. Bute's introduction to Ted Nemeth led to >a partnership (and marriage in 1940) that produced 12 short musical abstract >films. > >DIRECTED BY MARY ELLEN BUTE: Dada (Universal Clip) (USA, 1936, 3 mins, 16mm, >bw); > >Tarantella (USA, 1940, 4 mins, 16mm, color); > >RCA: New Sensations in Sound (USA, 1959, 3 mins, 35mm, color); > >Synchromy No. 2 (USA, 1935, 5 mins, 16mm, bw); > >Spook Sport (USA, 1939, 8 mins, 35mm, color); > >Imagination (USA, 1958, 2 mins, 16mm, color); > >Pastoral (USA, 1950, 6 mins, 16mm, color); > >Polka Graph (USA, 1947, 4 mins, 35mm, color); > >Abstronic (USA, 1952, 5.5 mins, 35mm, color) > >Sat, 12/9 4:00pm > >Len Lye > >Great Britain/USA/New Zealand 1929-80 (90 mins) > >Len Lye (1901-80) produced "compositions of motion" during the 30s in Great >Britain and later in America. He was a pioneer practitioner of "direct" film >techniques whereby images are directly placed onto or scratched into celuloid >without the aid of a camera. > >DIRECTED BY LEN LYE: Tusalava (Great Britain, 1929, 9 mins, 16mm, bw, silent); > >Kaleidoscope (Great Britain, 1935, 4 mins, 16mm, color); > >A Colour Box (Great Britain, 1935, 3 mins, 16mm, color); > >The Birth of the Robot (Great Britain, 1936, 7 mins, 16mm, color); > >Rainbow Dance (Great Britain, 1936, 5 mins, 16mm, color); > >Swinging the Lambeth Walk (Great Britain, 1939, 4 mins, 16mm, color); > >Musical Poster No. 1 (Great Britain, 1940, 3 mins, 16mm, color); > >Color Cry (USA, 1952, 3 mins, 16mm, color); > >Rhythm (USA, 1957, 1 min, 16mm, bw); > >Free Radicals (USA, 1979, 4 mins, 16mm, bw); > >Tal Farlow (New Zealand, 1980, 2 mins, 16mm, bw); > >Trade Tattoo (Great Britain, 1937, 6 mins, 16mm, color); > >Colour Flight (Great Britain, 1938, 4 mins, 16mm, color); > >Particles in Space (USA, 1979, 4 mins, 16mm, bw); > >Sat, 12/9 7:00pm > >James Whitney > >Lecture by William Moritz > >USA 1941-82 (90 mins) > >James Whitney (1921-81) began collaborating on abstract films with his older >brother John (192?-95) (see Sunday at 3:00pm) in the early 40s. James became >increasingly involved in contemplative, spiritual interests-Jungian psychology, >alchemy, yoga, Tao, Krishnamurti and consciousness expansion-which became the >subject matter of the films on which he labored for over 30 years. Directed by >James Whitney: Variations on a Circle (USA, 1941-42, 9 mins, 16mm, color); > >Yantra (USA, 1950-57, 8 mins, 16mm, color); > >High Voltage (USA, 1957, 3 mins, 16mm, color); > >Lapis (USA, 1963-66, 10 mins, 16mm, color); > >Wu Ming (USA, 1977, 17 mins, 16mm, color, silent); > >Kang Jing Xiang (USA, 1982, 13 mins, 16mm, color, silent) > >Sat, 12/9 9:15pm > >James Davis & Hy Hirsh > >Lecture by Robert Haller > >USA 1949-66 (90 mins) > >James Davis (1901-74) and Hy Hirsh (1911-61) constructed kaleidoscopically >beautiful films that had no parallels or precedents in the arts. Whether Hirsh >was rapidly editing images made on an optical printer, or Davis descending into >the planes of light created by his illuminated plastics, both men made films >which existed outside of tradition, but anticipated films made decades later. > >Directed by Hy Hirsh: D fense d'afficher (USA, 1958-59, 8 mins, 16mm, color); > >Scratch Pad (USA, 1959, 7 mins, 16mm, color); > >Chasse des Touches (USA, 1959, 4 mins, 16mm, color) > >Directed by James Davis: Impulses (Processes) (USA, 1959, 9 mins, 16mm, color); > >Jersey Falls (USA, 1949, 7 mins, 16mm, color); > >Death & Transfiguration (USA, 1961, 9.5 mins, 16mm, color) > >Sun, 12/10 10:00am > >Analytical Abstractions Beyond the Screen > >Introduced by Gerald O'Grady France, Germany, USA 1923-76 (90 mins) > >European influences on the American abstract film came from multiple sources. >One such thread follows images that have been abstracted to the point of >appearing to step off the screen. > >Ballet M canique >* Directed by Ferdand L ger, Dudley Murphy, Man Ray (France, 1924, 19 mins, >16mm, bw, with restored sound track); > >Return to Reason >* Directed by Man Ray (France, 1923, 3 mins, 16mm, bw, silent); > >Recreation >* Directed by Robert Breer (USA, 1957, 1.5 mins, 16mm, color); > >H2O >* Directed by Ralph Steiner (USA, 1929, 11 mins, 16mm, bw, silent); > >Rhythm 21 >* Directed by Hans Richter (Germany, 1924, 5 mins, 16mm, bw, silent); > >Light-Play in Black, White, Gray >* Directed by Laszlo Moholy-Nagy (Germany, 1926, 6 mins, 16mm, bw, silent); > >Dream Displacement >* Directed by Paul Sharits (USA, 1976, 25 mins, 16mm, color) > >Sun, 12/10 1:00pm > >Hy Hirsh > >USA 1952-61 (60 mins) > >Hirsh's films developed a masterful mix of sound and image via oscillascope >electronics and optical printing synchronized to his home-made recordings of >jazz and Afro-Caribbean music. He was an influential figure of the West Coast >film scene and manifested himself in front of, and behind, the camera for films >by Sidney Peterson, Harry Smith, Jordan Belson and others. > >Directed by Hy Hirsh: Gyromorphosis (USA, 1957, 7 mins, 16mm, color); > >Come Closer (USA, 1952, 7 mins, 16mm, color); > >D fense d'afficher (USA, 1958-59, 8 mins, 16mm, color); > >Scratch Pad (USA, 1959, 7 mins, 16mm, color); > >Autumn Spectrum (USA, 1957, 7 mins, 16mm, color); > >Chasse des Touches (USA, 1959, 4 mins, 16mm, color); > >La Couleur de la forme (USA, 1961, 7 mins, 16mm, color); > >Eneri (USA, 1953, 7 mins, 16mm, color) > >Sun, 12/10 2:00pm > >Hilla Rebay & the Guggenheim Nexus > >Panel Discussion with Films USA 1937-51 (60 mins) > >An American March >* Directed by Oskar Fischinger (USA, 1941, 3 mins, 35mm, color); > >Stars and Stripes >* Directed by Norman McLaren (USA, 1943, 4 mins, 16mm, color); > >Film No. 7 >* Directed by Harry Smith (USA, 1951, 7 mins, 16mm, color, silent); > >Sun, 12/10 3:00pm > >James & John Whitney's Early Works > >USA 1939-52 (60 mins) > >Their series of FILM EXERCISES, produced between 1943-44, are visually based on >modernist composition theory with varied permutation of forms. The eerie glow >of these forms is paralleled by a pioneer music sound score composed using an >elaborate pendulum device they invented to write out sounds directly onto the >film's soundtrack. > >24 Variations on a Theme >* Directed by James & John Whitney (USA, 1939-40, 5 mins, 8mm on video, color, >silent); > >3 Untitled Films >* Directed by James & John Whitney (USA, 1940-42, 15 mins, 8mm on video, >color, silent); > >Film Exercise No. 1 >* Directed by John Whitney (USA, 1943, 5 mins, 16mm, color); > >Film Exercises No. 2 & 3 >* Directed by James Whitney (USA, 1943-44, 3 mins, 16mm, color); > >Film Exercises No. 4 >* Directed by James Whitney (USA, 1944, 8 mins, 16mm, color); > >Film Exercises No. 5 >* Directed by John Whitney (USA, 1944, 5 mins, 16mm, color); > >Hot House >* Directed by John Whitney (USA, 1949, 3 mins, 16mm, color); > >Mozart Rondo >* Directed by John Whitney (USA, 1949, 3 mins, 16mm, color); > >Celery Stalks at Midnight >* Directed by John Whitney (USA, 1952, 3 mins, 16mm, color) > >Sun, 12/10 4:00pm > >James Davis > >USA 1948-64 (90 mins) > >Davis started making films in 1946 and continued until his death (completing >113 films) to photograph his curved plastic sculpture, mobile-like structures >that would hang in space, rotate and reflect/refract light into shifting pools >and points of color. Abstract and mysterious to many spectators, these waves >and streams of light were for Davis images of "the causative force of nature." > >Directed by James Davis: Light Reflections (USA, 1948, 14 mins, 16mm, color); > >The Sea (USA, 1950, 8.5 mins, 16mm, color); > >Analogies #1 (USA, 1953, 9.5 mins, 16mm, color); > >Taliesin-West (USA, 1950, 9.5 mins, 16mm, color); > >Evolution (USA, 1955, 8 mins, 16mm, color); > >Taliesin-East (USA, 1950, 9.5 mins, 16mm, color); > >Energies (USA, 1957, 9.5 mins, 16mm, color); > >Like a Breeze (USA, 1954, 8.5 mins, 16mm, color); > >Fathomless (USA, 1964, 11 mins, 16mm, color) > >Sun, 12/10 7:00pm > >James Sibley Watson, Jr. & Melville Webber > >Lecture by Robert Haller USA 1928-30 (90 mins) > >Watson (1894-1982) and Webber (1895-1947) worked from literary sources-Poe, the >Bible-but so transmuted them that their films THE FALL OF THE HOUSE OF USHER >and LOT IN SODOM stand as extraordinary visual cinema. In USHER letters and >words rise up out of the dark-forming messages we can not hear but can see and >grasp far more vividly. In Lot in Sodom the world is seen through prismatic >curtains of light and darkness, curtains over the windows of dreams and >imagination, if not the soul. > >Directed by James Sibley Watson, Jr. & Melville Webber: Fall of the House of >Usher (USA, 1928, 15 mins, 16mm, bw); > >Lot in Sodom (USA, 1930, 30 mins, 35mm, bw) > >Sun, 12/10 9:15pm > >Hands On Filmmaking > >Lecture by Stan Brakhage Germany/USA 1921-79 (90 mins) > >Stan Brakhage will address the hand-made aspect of filmmaking by focusing on >films and filmmakers who greatly influence his current working process - namely >the frame-by-frame construction of images along the film strip. > > Symphonie Diagonale > * Directed by Viking Eggeling (Germany, 1924-25, 6 mins, 16mm, bw, silent); > > Light-Play, Opus No. I > * Directed by Walther Ruttmann (Germany, 1921, 13 mins, 16mm, color tints, > sound); > > Particles in Space > * Directed by Len Lye (USA, 1979, 4 mins, 16mm, bw); > > Film No. 1, 2, 3 > * Directed by Harry Smith (USA, 1946-49, 8 mins, 16mm, color); > > Motion Painting No. 1 > * Directed by Oskar Fischinger (USA, 1947, 11 mins, 16mm, color) > >Hand-Painted Trilogy > >No Charge > >with Lectures > >Between lectures on Friday, Saturday and Sunday the latest hand-painted opus by >Stan Brakhage will be screened in 3 parts. The complete trilogy will be shown >on Monday at 9:30pm. > > Fri, 12/8 8:30pm > > I Take These Truths > * Directed by Stan Brakhage (USA, 1995, 35 mins, 16mm, color, silent) > > Sat, 12/9 8:30pm > > We Hold These > * Directed by Stan Brakhage (USA, 1995, 20 mins, 16mm, color, silent) > > Sun, 12/10 8:30pm > > I... > * Directed by Stan Brakhage (USA, 1995, 30 mins, 16mm, color, silent) > > Mon, 12/11 9:30pm > > Hand-Painted Trilogy (complete) > * Directed by Stan Brakhage (USA, 1995, 85 mins, 16mm, color, silent) > >Normal admissions apply > >--PART-BOUNDARY=.19511161504.ZM25815.zkm.de-- > > Maureen Furniss, Ph.D. Editor, Animation Journal and Assistant Professor Chapman University, 333 N. Glassell, Orange, CA 92666 USA Tel: 714-744-7018; Fax: 714-996-6700 E-mail: [log in to unmask] Animation Journal home page: http://www.chapman.edu/animation ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]