Raphael Montañez Ortíz Trailers
Arthur Janov's Primal Therapy TrailerCouch Destruction: Angel Release TrailerPiano Destruction Concert: Dada con Mama Trailer
Raphael Montañez Ortíz (b. 1934, New York) is a multidisciplinary artist perhaps best known for his radical performances of the 1960s as part of the Destructivist movement which he helped to articulate. Not many know that he is also a pioneer of found footage cinema who deserves greater recognition within the American filmic avant-garde. Starting in 1957, he produced a number of singular works by subjecting 16mm prints of commercially- or institutionally-produced films to a cut-up method inspired by Yaqui shamanic practices, a kind of ritualistic chance operation intended to break down their structure and thoroughly undermine their discursive power. In the mid-1980s, Montañez Ortiz continued his critical deconstructions of commercial cinema, this time exploring a novel format: the laser disc. Having created a special interactive setup at the computer lab of Rutgers University, the artist transformed micro-moments from classic films into looping, stuttering choreographies that, through obsessive repetition, reveal the tacit gestualities and subconscious inner dynamics of these seemingly innocent Hollywood scenes.
Most Popular Raphael Montañez Ortíz Trailers
Total trailers found: 25
11 January 2017
Raphael Montañez Ortiz tells a story about an elderly Jewish couple that didn't watch television or listen to the radio.
30 April 2018
An associative view of the days, nights and characters that enclosed the life of Arthur Janov, which defines in the conclusion "It's never too late to have a happy childhood".
22 November 2014
The concept of ritual-theater has been important since the early sixties in its production. It consists of the staging of violence through real acts that appeal to equally real and live emotions with an audience, that is, the action and the reaction that it provokes in the public happen simultaneously.
01 January 1985
In his film work from the early 1980s, the artist used an Apple computer hooked up to a laser disc player.
01 January 1958
Randomly spliced pieces of a newsreel featuring notable news from 1946.
01 January 1996
A selection of works from the late 1950's - late 1980's which begins with one of a number of piano d6
01 January 1996
1996 / U-Matic / color-b&w / sound / 1S / 12' 00
01 January 1985
With the aid of the Computer Department at Rutgers University, Montañez Ortiz devised a software interface that allowed him to digitize a videotape by scratching it forward and backward, completely disrupting its temporality.
01 January 1991
A remix film combining elements of found footage and structural filmmaking by combining Humphrey Bogart's quote from Casablanca with found footage of explosions, emphasized by repetition.
01 January 1958
The same year that Bruce Conner completed his famed A Movie, Montañez Ortiz destroyed a 16mm print of a banal Western, Winchester '73, with a tomahawk.
01 January 1993
An experimental video based on repetition and crazy rhythm.
01 January 1996
by Raphael MONTAÑEZ ORTIZ
1996 / color-b&w / sound / 1S / 11' 15
01 January 1992
Similar to the work of Martin Arnold, this outré and charged video-work employs footage from a Stroheim vehicle with film of a woman sexually straddling a mechanized pommel horse to suit its own message.
01 January 1985
In his film work from the early 1980s, the artist used an Apple computer hooked up to a laser disc player.
01 January 1991
1991 / U-Matic / b&w / sound / 1S / 3' 00
01 January 1996
Performed at the Whitney Museum of American Art
01 January 1958
Metaphor on the massacre with the help of diverted images and a very varied soundtrack. The soundtrack was added in 1962.
01 January 1985
In the mesmerizing Beach Umbrella, 1985, a shapely woman in a white bathing suit tears across the sand at a panicked clip, pursued by the Technicolor trio of the Three Caballeros.
01 January 1957
An 80-sec excerpt of the edge-to-edge scan of Raphael Montañez Ortiz’s 1957 film "Golf"s 16mm celluloid print with punched holes across the frame lines and on the original soundtrack.
01 January 1986
Starting in 1985, Montañez Ortiz begins a series of what he calls “digital/laser/videos”; he mas
01 January 1957
"Golf" was the result of my attempt to make space in the frame, space that was non-film space, that would take over the film space.
01 October 1986
A several-second passage depicting a woman's agitated face is repeated in a loop that decomposes, distorts and reassembles her expression and gesture into an image of masochistic violence, whipped by gusts of voice synthesizer-induced, destroyed sound.
01 January 1996
One of director Ortiz’s final computer-laser-videos, marking a significant point in his career as an interdisciplinary artist and pioneer of the Destructivism movement.
01 January 1997
One of Ortiz’s final computer-laser-videos, marking a significant point in his career as an interdisciplinary artist and pioneer of the Destructivism movement.
01 January 1997
One of Ortiz’s final computer-laser-videos, marking a significant point in his career as an interdisciplinary artist and pioneer of the Destructivism movement.
