Moira Shearer The Red Shoes (part 2)

Based on a Hans Christian Andersen fairy tale about a pair of enchanted crimson ballet slippers, 'The Red Shoes' follows the beautiful Vicky Page (Moira Shearer), a young socialite who loves ballet, the rising composer Julian Craster (Marius Goring) whom she loves, and her dictatorial director, Boris Lermontov (Anton Walbrook).

A glorious Technicolor epic that influenced generations of filmmakers, artists, and aspiring ballerinas, The Red Shoes intricately weaves backstage life with the thrill of performance.

A young ballerina (Moira Shearer) is torn between two forces: the composer who loves her (Marius Goring), and the impresario determined to fashion her into a great dancer (Anton Walbrook).

Moira Shearer in the 1948 film The Red Shoes...

Moira Shearer The Red Shoes (part 1)

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Based on a Hans Christian Andersen fairy tale about a pair of enchanted crimson ballet slippers, 'The Red Shoes' follows the beautiful Vicky Page (Moira Shearer), a young socialite who loves ballet, the rising composer Julian Craster (Marius Goring) whom she loves, and her dictatorial director, Boris Lermontov (Anton Walbrook).

A glorious Technicolor epic that influenced generations of filmmakers, artists, and aspiring ballerinas, The Red Shoes intricately weaves backstage life with the thrill of performance.

 
A young ballerina (Moira Shearer) is torn between two forces: the composer who loves her (Marius Goring), and the impresario determined to fashion her into a great dancer (Anton Walbrook).

Moira Shearer in the 1948 film The Red Shoes...

Pas de Deux pt deux

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View entire film:
http://www.nfb.ca/film/pas_de_deux_en/

A thirteen minute live action short subject filmed by Norman McLaren of the National Film Board of Canada. It had been nominated for an Oscar, and won a BAFTA, the year before, in 1968. The film was entitled 'Pas de deux'.

The film’s subject is simply two ballet dancers, photographed on high contrast black and white stock, on a bare stage, with harsh side lighting.

It was in its post production manipulation, however, that the film became truly memorable. McLaren passed the original image through an optical printer, up to eleven times at some places, to produce a beautiful stroboscopic image of movement.

The film tells the story of a female Narcissus who is completely self -involved until a young man appears to win her attention. It is a plea that we must look outside ourselves and love others, the same theme which underlay McLaren’s Oscar winning 1952 short feature, Neighbours.

If you have ever seen it before, you will remember this film. If you have not seen it before, it is well worth the expenditure of time, regardless of whether you do, or do not, enjoy ballet.

Pas de Deux pt1

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Pas de deux (1968) is an award winning film by Scottish-Canadian director Norman McLaren, produced by the NFB.

The film sees two performers dancing a pas de deux, filmed on high contrast film stock with very stark side lighting. This is augmented by step-and-repeat printing on an optical printer. This gives the film an almost stroboscopic appearance.

Biographer Maynard Collins points out that the "technical virtuosity of this film, its ethereal beauty, its lovely Roumanian pan-type music, made it a joy to watch, even if - perhaps, especially if - you do not care for ballet."

Norman McLaren's Oscar-nominated short film Pas de Deux (1969) is a beautiful surreal dream. Pas de Deux bends our perception of movement, shape and form—and ballet itself—as two dancers, first seen in normal dance become endless reflections of themselves. McLaren became a ground-breaking abstract experimental filmmaker accumulating a body of influential short films.

In the film "Pas de deux" he does more than a recording of choreography. Much like with Norman McLaren other work the process of the recording is part of it's art.

He exposes the same frames as many as ten times, creating a multiple image of a ballerina and her partner. Black background and backlit figures coupled with pan pipes produce a quiet and detachment similar to that of his film Lines.

It contains components of both abstract and realism but unlike his other pieces it leans closer to the realistic end of the spectrum. One dancer is made to appear to be dancing with herself.

When the male dancer is introduced it then becomes more based on design there are trails of movement that are used as brush strokes as an artist paints on a canvas. Then the art fades as another stroke begins.

One would consider him from the impressionists school of theory. His works appeared to depart from realism. He was famous, for even using live subjects, having them appear animated.

His use of juxtaposition, rupture and speed alteration exemplify this in his films.
There is a feeling of dream like motion incorporated into the choreography through his work.

Pas de deux captures an aspect of dance that the human eye would not be able to achieve alone. It shows the use of patterns made through space in a clear fashion.....

Vortex Smoke Ring Collision

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vortex ring collision 

http://youtu.be/XJk8ijAUCiI

 Once generated two similar swirls with opposite angular speed, they increase the size of your radio to go forward. The speed with which approach becomes increasingly smaller, and increases the size of its radius faster. The radius will increase until both swirls disintegrate. If both are perfectly symmetrical eddies, the velocity of fluid elements parallel to the axis of symmetry in the middle between eddy and swirl is equal to zero. This line generated by all points where the velocity is zero, becomes a solid border where the speed through the wall is zero.



Smoke rings collide - If they did that in sci-fi movies, viewers would be all like, "Oh, come on, that's not even close to realistic!"


This is what physicists do when they're high.... :)