"In this experimental film from 1969 the seeds are seen of my exploration of the mouth motif, which reached its full expression in the ‘Opening’ exhibit of 1973. I blow on and kiss a mirror, I apply lipstick, I transform into a white statue and paint blood red lips… then I become a mask in a distorted mirror, a face with many lips…In the last sequence I circle my face with a light and transform into the mask." - Penny Slinger
Prelude 10 is a double-printed film with an extreme mixture of darks shot thru with jewel-like bursts of color, and very white bursts of light and fleeting colored forms.
The ocean, the trees, the varieties of cityscape and landscape assert themselves as "pictures", but the images are essentially a wash and tangle of nervous feedback, sometimes influenced by the colors of inlet waters, sometimes the wave movements, but more ordinarily by the cellular shifts and shapes of the optic system receiving exterior imagery.
Turquoise and maroon-toned thin lines of paint are interspersed with variously toned circular "watermarks" of blotched paint giving-way to multi-colored brush strokes and finally fulsomely darkened and thickened brush-strokes which then thin to something akin to the beginning.
Interplay of mostly horizontal lines inter-woven with "watermark" forms in a wide variety of tones which gradually tend to dissolve into blues at the end.
Many white interruptive frames and absolutely straight-edged multi-colored lines amidst "clouds" of color, finally thickened into blobs with lengthy white (clear leader) spacing between them.
Much depth of multi-colored thickened shapes which appear to be superimposed upon each other, semi-transparent in their "weave" with each other which is increasingly interrupted by ragged-edged blobs and smears of color.
Interplay of toned rectangular shapes, vertical and horizontal and diagonal lines in juxtaposition with hardened darker shapes which gradually shift tone and lighten until ending on thin blues.
This section is very similar to Prelude 4 except that it is composed of extremely thin-lined colors and sharply delineated shapes which are constantly interrupted by "cloud"-like forms.
...again, is "plein-aire abstraction" as defined above (painted in New York City) – with, for example, even a correctly toned green impression of The Statue of Liberty – and, then, impressions of Toronto with its architectural particularities appearing, midst hurrying people – shapes (almost as if photographed at times).
Popular movie trailers from 1969
These some of the most viewed trailers for movies released in 1969:
The drama revolves around the novelist Sami Al-Bagouri (Fuad Al-Mohandes), whose wife Mahasen (Zahra Al-Ola) is jealous of him so much that she is jealous of his deceased wife (Fekriya).
A student, tired of a too well-mannered fiancé, loses a virginity she considers very embarrassing in the arms of a forty-year-old man, before finding love with a repentant gigolo.
A veteran sea captain abducts his niece for what he believes is his last chance at love. As the sad demon of the ocean Klabautermanden watches the passing of doomed ships, the niece awakens in her uncle's cabin.
A daring gang plans to steal priceless historical artifacts, including Tutankhamun’s necklace, that have been brought to Istanbul for a prestigious festival.
Dr. Roth, a respected veterinarian and head of a state-owned stud farm, had accepted papers from a man for safekeeping when he was 16 years old, toward the end of the war.
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Have you watched Mouths and Masks yet? What did you think about it?
