Filmmakers from P to R

List of filmmakers organised by last name from P to R


  • David Perlov

    David Perlov (born on June 9th 1930 in Rio de Janeiro, Brazil and died on December 13th 2003 in Tel Aviv, Israel) was a filmmaker, writer and Israeli cinematograph. He is considered to be the founder of Israeli cinema and has received international recognition for his cinematographic essays and especially his film diary.

    He spent his early childhood in Belo Horizonte, then, at the age of ten, he moved to Sao Paulo.

    He made a film in Paris in 1957, entitled 'Chinese Aunt' which lasts 17 minutes. In this film, Perlov incorporates caustic drawings of the provincial bourgeoisie of a twelve year old girl from 1890.

    A year later, in 1958, he emigrated to Israel and made the 33-minute documentary essay 'A Jerusalem', one of the key films in the history of Israeli cinema.

    Following the completion of two academic dramas, his new projects were refused by the ideological bureaucracy. As a result, he started using the 16mm which he used to make a film divided into six parts, 'Yoman / Journal'.

    Since 1973, he taught filmmaking at the University of Tel Aviv.

  • Yann Paranthoën

    Yann Paranthoën was born in 1935 in Brittany, France, and died in 2005. This artist, being a stonecutter's son, is often called in french "tailleur de sons", or the "soundcutter". Yann Paranthoën listened to the radio for the first time during the nazi occupation, it was Radio Londres, Radio London in fench. The radio, it was his destiny. First, he became a radio operator in the French navy, later he worked for more over than thirty years in the "civilian" radio. In the RTF, later in France Inter and France Culture, he is sound operator, editor and, last but not least, emission author (from Oreille en coin to Papous dans la tête). His production counts about a hundred of titles, among those some milestones of history of radiophonic documentary, for example: Questionnaire pour Lesconil (1980), On Nagra (1987). He has also created his own documentaries.

    Yann Paranthoën? His name symbolizes the art radio (as they say cinema or art photography). He discovered a way to tell the world through sound, inventing a language and totally renewing the basics of radio broadcasting. In its broadcasts, speech is a material carving, as well as the life of sounds or silences. Similarly, for him, the voice is primarily a music before being meaningful. In both written desecrating the image, he changed the order of things and renewed our relationship with reality. Distancing himself from the "everyday radio," he readily compared his job to paint or to the size of granite as practiced his father extract of reality sound block, mount it as the stone size , as we polish the mix. Here is how he spoke: "I compare the radio with paint. For me, radio has more to do with the visual arts. I make a painting ... a sound picture, I divided the sounds as colors. "
    His death in 2005 was seen as symbolically stating the fading of some form of "creation radio" in its most demanding form. That is why it was urgent to honor him, so that his work continue its route to new listeners, confirming them to prefer the conventional radio, the sovereign liberty of sound art.

  • Valérie Pavia

    Valérie Pavia is a very active artist for a dozen of years in the international fine arts scene. She has been constantly and with maturity working in the field of video, photography, painting and writing. What we notice the most of her work, it's portraits: the ones of herself, of the others and also these of wandered cities. The mixture of reality, fiction and autobiography seems to equilibrate candor and naivity. To examine some of her works more closely, a certain cruelty comes out to confront the viewer on more intimate subjects, and which reveals an uncommon sensibility and lucidity.

  • Jacques Perconte

    Jacques Perconte is a French Filmmaker and new media artist born 1974 and living in Paris.  Since 1999 his films and new media projects explore the digital medium.

    Born in 1974 in Grenoble (France), Jacques Perconte lives and works in Paris. He is well known as one of the pioneers of French internet art.  He is among the first artists to have worked on compression codecs.[5] Jacques made his debuts with internet and video art. His first films date back from 1995 and his first internet artworks from 1996. The website is the core of his work, showcasing all his activities (notes, articles, performances... the web is endless). He frequently works with other artists, including Michel Herreria (painter), Didier Arnaudet (poet), Marc Em (musician), Hugo Verlinde (film maker), Léos Carax in "Holy Motors", Jean-Benoit Dunckel, Julie Rousse, Eddie Ladoire, Simonluca Laitempergher, Hélène Breschand, Jean-Jacques Birgé, Vincent Segal, Antonin-Tri Huang et Jeff Mills.

    Even though his works become less and less theoretical, the relation between form and substance remains crucial. Jacques Perconte works on the forms of fiction on various medias as well as a formal research, focused on the body and the landscape.

    Jacques Perconte apparently has a good knowledge of his technology, which serves him when dealing with frame and color. He tries to transform digital technology into a new media, which can be esthetically as rich as any other classical art.

  • Jeffrey Perkins

    Jeffery Perkins is an experimental filmmaker and Fluxus artist. Perkins was born in New York and attended high school in Springfield, Massachusetts. Perkins met Yoko Ono when stationed in Tokyo as an Air Force medic and temporarily lived with her when he returned to New York in 1966, a period when he also became actively involved in New York's Fluxus community. He collaborated with Tony Cox on the film SHOUT (Fluxus Film # 22) and shot Yoko Ono's film BOTTOMS (Fluxus Film # 4). In the late 1960s he moved to Los Angeles with SKI PARTY star Bobbi Shaw and got a  job as a projectionist at the Cinematheque 16 on the Sunset Strip where he met Peter Mays. He performed in Mays' film SISTER MIDNIGHT and collaborated with Mays, David Lebrun, Michael Scroggins and Larry Janss on Single Wing Turquoise Bird, a popular psychedelic light show. His more recent works include a series of taxicab recordings called  FILMS FOR THE BLIND and the film THE PAINTER SAM FRANCIS.

  • David Perry

    David Perry (born in 1933 in Sydney, Australia) is an Australian photographer and filmmaker. Along with Albie Thomas, Aggy Read and others, he helped establish Ubu Films, named after Alfred Jarry’s play Ubu Roi, in 1965, which served as a precursor to the Sydney Filmmaker Co-operative: Australia’s first consciously avant garde filmmaking group.

    A few of his 16 mm experimentals films include: ‘Walking’ (1955), ‘The Tribulations of Mr. Dupont Nomore’ (1967), ‘Bolero’ (1967), ‘A Sketch of Abigayl’s Belly’ (1968), ‘David Perry’s Album’ (1970), ‘Adam’ (1975), ‘Ubu Films’ (1965-1970) and ‘Refracting Glasses’ (1992).

    Perry utilizes various formats in order to portray his ease and pleasure from moving from one media to the next, while inventing a new aesthetic expression. Similarly to other moving image artists, he worked as a painter, photographer and developed his technical understanding of photography as a printer.

    Alongside other experimental filmmakers, he focused on an anti-art discourse and pursued his interest with national narrative cinema. In the early 1950s, he began experimenting with 8mm and stood out as being one of the first self-consciously artistic filmmaker in the nation. Despite his influence as a filmmaker, he quickly came to the realization that his work was a waste of time seeing that a filmmaker’s only duty was to make entertainment films which told banal stories, stripped of originality.  

    Perry draws his inspiration from filmmakers, such as: D.W. Griffith, Carl Theodor Dryer…

  • Ingo Petzke

    Ingo Petzke (born 18 September 1947 in Belm near Osnabrück in Germany) is an internationally acknowledged German film scholar, filmmaker and author. Ingo Petzke grew up in Osnabrück. He attended the Münster and Bochum universities and received his master's degree in 1973 (Journalism, Scandinavian Studies, Modern History).

    Petzke started his professional career in 1976 in Bad Oeynhausen as one of Germany's youngest directors of an adult education school but fell more and more to the lure of Film. For several years he worked in the Festivalkommission of Internationale Kurzfilmtage Oberhausen and together with his students (Heiko Daxl and others) started the Osnabrück Experimentalfilm Workshop in 1980 which since 1988 is known as European Media Art Festival.

    In 1974 he was adjunct lecturer for film at Ruhr Universität Bochum and between 1978–1983 at Universität Osnabrück. Since then he lectured in 31 countries, among them New Zealand, Hong Kong, Chile, Argentina, the US of A and Canada. In 1986 the Philippine government awarded him for „International Contribution to Philippine Independent Cinema"

    His (experimental) shorts screened at numerous domestic and foreign festivals. 1976–2000 his company CINE PRO acted as sole German distributor specialised in Avant-garde/Experimental Film. During the 80s Petzke was a member of the Film Commission of Goethe-Institut - German Culture Institute, for which he curated several packages of Experimental films and Shorts. Since 2007, he runs Red Avocado Film, a DVD edition dedicated entirely to experimental film.

    Since 1983 Petzke has been Professor for Film at the Design Faculty of the University of Applied Sciences Würzburg-Schweinfurt. He lived and worked several turns in Australia: 1992 as Visiting Professor at Queensland University of Technology in Brisbane and 2001 - 2006 as Associate Professor at Bond University on the Gold Coast. In 2004 he earned his "PhD by Published Works" about Experimental Film. Additionally, he was awarded a Dr. phil. degree in 2006 at Universität Osnabrück with a film historical dissertation about Hollywood-based Australian feature film director Phillip Noyce. In 2008 he was appointed Adjunct Professor at the James Cook University's School of Creative Arts and in 2009 appointed Honorary Fellow of the Cairns Institute (For Research in the Tropics), both in Far-North Queensland, Australia.

    His main areas of interest are the history of the international Avant-garde (from 2008 till 2011, he was also Director of the (German) Research Center for Experimental Film) and more recently Australian film. Also, he has frequently done research into curriculum development, particularly for the German Federal government.

    Petzke is a member of the German Film Critics Association (VdFk) and of Screen Producers Association of Australia (SPAA).


  • Henri Plaat

    The versatile Dutch artist, photographer and film maker Henri Plaat traveled a lot. Born in Amsterdam in 1936, he was fascinated by history and ancient writings. Plaat wanted to become an archeologist. He visited Greece, the Middle-East, India and Latin America, where remains of ‘places of history’, fascinated him. In 1966, Plaat got an Eumig camera and he started making short films, what became "exploded hobby". He filmed such locations and, like in his drawings and paintings, fantasy and reality supplemented each other in 8mm and 16mm footage. He describes them as "atmospheric movies, often photomontages with mixes of war sounds, airplane rumble, Zarah Leander's voice, Wagner's music... All fragments, leading to amazing effects."

    Plaat made some forty different films full of fragments of reality, sometimes absurd, surreal or melancholic. He has a fascination for WW2, travelling, film music and the slow decay of things. "I want to register places and things before it gets destroyed by modernity and progression. Before it is lost forever."

  • Suzan Pitt

    A promenade through the oeuvre of animator Suzan Pitt is like taking part in a bohemian cavalcade disguised as a dollhouse, awash with luminous colors and energetic imagery, while grinding atonal music from a Holly Hobbie record player. She’s a balls-to-the-wall art school darling; unassuming, yet filled to the brim with edifying duplicity. Pitt inspires one to glean from life what one gleans from her art. (Alfred Eaker)

  • Sarah Pucill

    Sarah Pucill’s films and photographs explore a sense of self, which is transformative and fluid. At the core of her practice is a concern with mortality and the materiality of the filmmaking process. The majority of her films take place within the confinements of domestic space, where the grounded reality of the house itself becomes a portal to a complex and multi layered psychical realm. In her explorations of the animate and inanimate, her work probes a journey between mirror and surface, in which questions of representation are negotiated via the feminine, the queer or the dead.

    Her films have been screened at major international film festivals including: London Film Festival, Oberhausen Short Film Festival, Ann Arbor Film Festival, Osnabruck Media Arts Festival, Berlin International Film Festival and Montreal Festival of New Cinema. Television broadcasts include: BSB TV Australia (Mirrored Measure, 1996; bought by BSB), Carlton Television (Backcomb, 95; funded by Carlton), Granada TV (You Be Mother, 1990).

    Sarah Pucill lives and works in London and is a Reader at University of Westminster since 2000. Her work is distributed through leading international distributors including LUX, The British Film Institute (BFI), New York Filmmakers Co-op, Canyon Cinema, and Light Cone Paris.

  • Ursula Pürrer

    Ursula Pürrer is an Austrian actress and filmmaker. She was born in 1962 in Vienna. Her best known film is Flaming Ears, made in 1991. Some of the questions posed in her films are: sex, lesbian relations, pyromania and artists; and the characteristics: fantasy, sci-fi, vitality, anti-romantism.

  • The Brothers Quay

    The identical twin brothers Stephen and Timothy Quay were born in 1947 in Philadelphia, Pennsylvania, U.S. The studies of graphics and illustation (Stephen) and film (Timothy) were continued in the Royal College of Arts in London, U.K, there they made their first short animation films with marionettes. Unfortunately, the original copies were damaged and the films don't exist anymore. From their childhood they admired and were inspired by Jan Švankmajer, Czech director and animator. Quay brothers continue to live and work in the british capital, there they, with their film producer Keith Griffiths, founded Koninck Studios. Under this label appear all their movies. The masterpiece Street of Crocodiles (1986) became a classic of animation genre. The most of their films have few dialogues, they depend highly on the music. Numerous pieces of music for their films have been written by the Polish composer Jeszek Jankowski. The brothers Quay have also worked on various projects, like, for example, theatre decorations, opera productions directed by Richard Jones (Prokofiev's The Love of Three Oranges, Feydeau's A Flea in her Ear, Tchaikovsky's Mazeppa or Moliere's The Middle Class Gentleman), in the television (MTV), in advertising (Nikon, Coca-Cola) or in music (music video for Peter Gabriel's Sledgehammer). They're like in the middle of the abyss which separates the commercial cinema from the so called experimental cinema. Nevertheless, the brothers live hard from their art. In 1995, the Quay directed a full length film Institute Benjamenta, or This Dream People Call Human Life. Terry Gilliam, the british film director, screenwriter, comedian and member of the Monthy Pyton, considers it "visually the most beautiful film, the most bewitching and the most hilarious seen in the last three hundred years", and confesses: "I'm very jealous".

  • Mark Rappaport

    Mark Rappaport, a native of New York, worked as a film editor before making his own films, including The Scenic Route (1978), Impostors (1980), Postcards (1990) and Exterior Night (1994). His film-essays include Rock Hudson's Home Movies (1992), From the Journals of Jean Seberg (1995) and The Silver Screen / Color Me Lavender (1998). Many of his articles on cinema have been published in Trafic over the years, as well as in Cinema. The spectator who knew too much is the first collection of his writings. In 2008, his photomontage film was screened for the first time at the Lincoln Center in New York, as part of the New York Film Festival. Mark Rappaport currently lives in Paris.

  • Man Ray

    Man Ray (born the 27th of August in Philadelphia, United States and died the 18th of November in Paris, France) was a painter, photographer, filmmaker and a key player in the Dada movement in New York and Surrealism in Paris.

    Ray’s career was distinctive from his peers because he gained notoriety both in the United States and Europe. He started in the center of American modernism in the 1910s and then made his way to Paris in the 1920s and 1930s, he then went back to the United States.

    Ray’s art ranged from painting, sculpture, film, prints and poetry and was influential in a variety of different movements, such as: Cubism, Futurism, Dada and Surrealism.

    Furthermore, Ray successfully navigated the world of commercial and fine art, and then became a popular fashion photographer. Despite seeing himself first and foremost as a painter, he is most remembered for his photographs of the inter-war years, especially his camera-less pictures he called ‘Rayographs’.

  • Jackie Raynal

    Jacky Raynal is French directress, actress and film editor. She's born in 1940 near Montpellier. The film maker has a diploma in Linguistics. In the early 60's, already a photographer, young Jacky Raynal starts working in the field of cinema. She's assistent film editor for the documentarys of G. Patriss and F. Vienne. After that, she edits the first films of E. Rohmer. In 1965 J. Raynal gets the license of senior film editor for feature films in CNC (National Cinema Center). Now she's working with the film directors of the New Wave. She edits all of the skecthes of Six in Paris, directed by Jean Douchet, Jean Rouch, Jean-Daniel Pollet, Eric Rohmer, Jean-Luc Godard and Claude Chabrol. Jacky Raynal continues to work in editing till the end of 70's.

    In 1968, with S. Boissonas and O. Mosset, she's the founder of the Zanzibar group. She works with Philippe Garrel, Serge Bard, Daniel Pommereulle, Alain Jouffroy and Patrick Deval. J. Raynal shoots her first feature film Two Times in Barcelona. In 1972, the movie wins the Grand Prix in the Festival of Hyères/Toulon. At that time she's already living in New York. There, between 1975 and 1992, she's responsible for the programs of Carnegie Hall Cinema and Bleeker Street Cinema. She shows there numerous independent international films. Her job in New York is appreciated by F. Truffaut (he compares it with the French Cinematheque) and awarded twice by the Village Voice in 1981 and 1991.

    J. Raynal directs New York Story (Grand Prix in Melbourne) and Hotel New York. In the same time, she plays in several movies, organises numerous international cinema festivals, like Colombian Film Festival, Israel Film Festival or Avignon Film Festival. From 1973 to 1986, with Sid Geffen, they're publishing the independent international cinema review 1000 Eyes Magazine.

    From 2000, Jacky Raynal directs numerous documentarys, like Notes on Jonas Mekas (2000) or Eric Rohmer, the Film Maker (2010).

    In 2010, Jacky Raynal is rewarded for her work in arts the Légion d'Honneur (Knight in the Order Arts and Letters).

  • Joost Rekveld

    Joost Rekveld (1970) is a Dutch artist and experimental filmmaker. Since 1991 he has been making abstract films and light installations. In his early days he worked intensively with the medium of film, experimenting with all aspects of the process from printing, to manipulating, to developing the images himself. In 1994 he was already using a computer to make an animation film by writing his own software; a practice he returned to later on in his career.

    His works display an intimate and embodied understanding of our technological world. They are deeply inspired by science and technology and the systematic dialogue between man and machine. By exploring the various spatial and sensorial aspects of light projection his works intrinsically relate to the early history of optics and perspective and, in many ways, can be understood as a type of visual music. His animated films are often mechanical compositions whereby the computer acts as a controller, orchestrating the precise movement of each optical element of the film-work or installation.

  • Jürgen Reble

    J. Reble was born in 1956 in Düsseldorf, Germany. In the late 70's and 80's Jürgen Reble was member of Schmelzdahin film group. In the early 80's he began his own film projects, performance and installation often rooted in manual processing of film footage using mechanic and chemical influences and reconstruction of the cinematographic apparatus. Since 1992 he works together with the sound artist Thomas Köner in the field of cinema, instalation and performance. His work had shows in the MoMA, in the Auditorium of the Louvre, in the Filmmuseum in Amsterdam, in the Walker Art Center in Minneapolis. In 1997 he has got a scholarship from the Art Foundation in Bonn. Jürgen Reble lives and works in Bonn, Germany.

  • Ron Rice

    Ron Rice was born in New York, NY in 1935. Rice was a drifter who dropped out of high school and by nature was very restless. This restlessness is how he initially made his way into film. Rice got his start by buying an 8mm Camera to record bicycle races in San Francisco. It was in San Francisco that he met Taylor Mead, which in turn led him to the production of his first film The Flower Thief (Arthouse Inc).

    The Flower Thief was finished in 1960 with the help of Taylor mead the offbeat hero the San Francisco and New York Beats (Sitney, 300). After the Success of The Flower Thief, Rice toyed with the idea of making some films right after the Flower Thief. Rice Started a film called The Dancing Master and another untitled film with his friend Jerry Joften, but lost interest in the films during their production (Sitney, 301). Rice made Senseless and that came out later that same year of 1962. Senseless came out of a film that he planned to make at Eric Nord's island. Rice knew Nord from The Flower Thief and He knew that Nord purchased an island from the Mexican government with the intent of making that island a Utopia. Unfortunately Nord forgot to find out if there was water on the island so when Rice arrived on the island to shoot his film, Nord and his crew realized the mistake they had made and had already cleared off the island (Sitney, 301). The only thing Ron Rice had left from his trip was some footage that he took on his way to the island to meet Nord (Sitney, 301).

    When Rice got back from the trip and arrived in NewYork, he pooled together his research and the various episodes he had recorded. He divised a potpourri from what he recorded in Mexico and what he had on file and realized that the film would have no plot nor a continuity of a single mediator. Despite the incredible irony, the creation Senseless was completed in 1962. Rice gave credit to Jonas Mekas for the creation of Senseless, but ironically Senseless is thought of as Rice's most carefully organized formal film (Sitney, 301).

    After Rice finished Senseless he bought together Taylor Mead and Winifred Bryan, to make a new film called The Queen of Sheba Meets the Atom Man (Sitney, 302). Rice made rough-cuts of the idea to try to raise money for the film. The two scenes that were made were on Hamlet and Greg Markopoulos' Twice a Man. Rice got the funding that he was looking for and the intercutting and combination of characters brought by the Queen of Sheba Meets the Atom Man was a step closer to the synthetic process of the mythic film. Rice never finished the film; Mead finished it in 1982 (Sitney, 302).

    Rice went on to another project called Chumlum. Chumlum was developed from the inspiration that Rice found on the occasions when he would assist Jack Smith with his productions. One production that specifically aided the inspiration that Rice would feel was Smith's film Normal Love. While they were filming each production Rice would go back to Smith's apartment, with the cast and crew and observe what everyone would do. He used these ideas to create Chumlum with the fragmenting of events and use of superimposition. The film was completed in 1964. Sadly at the end of that year he died of pneumonia while he was in Mexico. Rice's resume comes to six films and shows a great mind for film. He was truly an artistic genius who died too young.

  • Nicolas Rey

    Nicolas Rey is a French filmmaker, born in 1968 (do not confuse with Nicolas Ray, american director). Since 1993, Rey usually shootes on expired Super-8 or 16mm films. In 1995, he contibuted to the founding of the L'Abominable, a collective workshop in Paris, a place to develop and edit films. His first two films, the short Terminus for You (1996) and Opera Mundi or the Time of Outerwear (1999), are 16mm in black and white. The third film The Soviets More Electricity, directed in 2001, which is Super-8 swelled to 16mm and his first full length feature (170 min.) and there he retraces his father communist, Nicolas Rey shot in colour. According to Christa Blümlinger, cinema and contemporary art critic, Rey "renews thus the artistic and artisanal traditions of cinema, finding in ancient technics and materials the opportunity of a plastic renewal, this film finds itself making a kind of reconciliation of the two avant-gardes, separated for a long time and ignoring each other mutually: the one of the experimental cinema, originated in fine arts environment and coming from New York, and the other which shaped itself in Europe, as a result of post-war modernist cinema, which we could call essayist." Then Nicolas Rey was interested by the economic decline of the industry and showed Schuss! (2005), set in the Alps. His last movie Differently, Molussia (2012), from adapted Günter Anders' tales about fascism, has been paid attention severel times: it was selectioned in the Berlinale (Forum Expanded), it took the Grand Prix in the festival Cinema of the Real in Paris, it entered in competition in Brussels for the Prix de l'Âge d'or (Golden Age Prize).

  • Jay Rosenblatt

    Jay Rosenblatt is internationally recognized filmmaker. Since 1980 he has over 25 films in his account. His work explores our emotional and psychological cores. They're personal in their content yet universal in their appeal.

    His films have been awarded over 100 times and have screened throughout the world. A selection of his films had theatrical runs at the Film Forum in New York and at other theatres of the U.S. His latest films have screened for a week at MoMA. 

    Most of his films have been at the Sundance Film Festival or have shown on HBO/Cinemax, the  Independent Film Channel and the Sundance Channel. Articles about Jay Rosenblatt and his work have been published in The Sunday NY Times Arts & Leisure section, the LA Times, the NY Times, Filmmaker magazine and the Village Voice.

    Jay Rosenblatt is recipient of a Guggenheim, USA Artists and a Rockefeller Fellowship.

    Jay Rosenblatt is originally from New York and is living in San Francisco for many years. For 20 years he was a film and video production instructor at film schools in the San Francisco Bay Area, including Stanford, S. F. State Universitys and San Francisco Art Institute. Currently Jay Rosenblatt is responsible for the Program of San Francisco Jewish Film Festival. He has a Master's Degree in Counselling Psychology, and, before cinema, he worked as a therapist.

  • Hans Richter

    Hans Richter (born 1888 in Berlin, Germany - dead 1976 in Locarno, Switzerland) was painter, sculptor and one of the most important filmmakers of avant-garde. He studied in Germany and was searching for his artistic way between expressionism and cubism. In 1916, he becomes member of Dada in Zurich, where he discovers the spirit of revolt and abstract forms. From 1920 Richter researches for animated abstract rythms. First, he paints with a roll. Next year he makes his first film Rhythmus 21 followed by others inspired by the same subject. In 1941 he exiles to the states and devotes himself to cinema and education. He is naturalized U.S. citizen. From 1944 to 1947 he directs what later is to become classic of the surrealist cinema: Dreams that Money Can Buy. He works with Marcel Duchamp, Man Ray, Max Ernst, Fernand Léger and Alexander Calder. His own biography's elements and his ideological view is playing a major role in his work.

  • Ken Paul Rosenthal

    Ken Paul Rosenthal is an award winning independent filmmaker, photographer, educator and activist. His films are visually sensual, emotionally intelligent works of art that also function as tools for personal and societal transformation. He has received the Kodak Cinematography Award, numerous festival awards, and is recognized for his media work in mental health advocacy. He holds an MA in Creative & Interdisciplinary Arts, an MFA in Cinema Production, and has taught film as a means of cultivating personal vision in workshops and universities in North America and abroad. Currently he has been working on poetic mental health documentaries in which we experience personal and political stories through natural and urban landscapes, home movies and archival mental hygiene films. His film Crooked Beauty has been invited to 35 film festivals, won 16 awards, and been presented in person at dozens of peer support networks, hospitals, universities, mental health symposia and community events worldwide. Over 2,500 Crooked Beauty DVDs have been distributed, including 160 academic libraries.

  • Peter Rose

    Since 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video  installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.

  • Martine Rousset

    Martine Rousset is a French filmmaker. She was born in 1951 in Montpellier, southern France. M. Rousset studied philosophy and cinema in the University of Paul Valéry in Montpellier. She has been making films since 1977. She experiments the relations of written text and cinematographic picture. From 1978, Martine Rousset works in the audiovisual department of Modern Art Museum of Paris.

  • Jean Painlevé

    Jean Painlevé was a French filmmaker and biologist born in Paris in 1902 and died on July 2, 1989. An anarchist by conviction, he studied zoology and biology at the Sorbonne. He soon became interested in cinema and the innovative techniques that enabled him to film subjects that were often very small. Between 1925 and 1986, he made over 200 films, most of them devoted to underwater fauna. The filmmaker brought a poetic dimension to a genre usually shunned by cinephiles, and scored his greatest public success with "L'Hippocampe" in 1933. When war broke out, he suspended all cinematic activity to join the Resistance. His film "Le Vampire" (1945) is an allegory of Nazism through a zoological document about a South American bat. The soundtracks ( jazz and musique concrète) and commentary contribute to the lyricism of his films. To produce and distribute his films, Jean Painlevé manages and directs "Les Documents Cinématographiques" and "L'Institut de Cinématographie Scientifique".

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