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The Best Norm Bruns Directed Movies

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10

/1/

ca. 1980-81, 3 min, Super-8mm, silent

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10

/1/

ca. 1980-81, 4 min, Super-8mm

poster

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10

/1/

My favorite of the program is BED DESERT (5 min, silent), which is something of an outlier. In this inventive little film, the ripples of bed sheets are juxtaposed with images of the desert (or are they?), the formal ruse playful and intriguing. -Karen Sachs

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10

/1/

One film, FIGURE WITH 14 TRAINS (7 min, sound), exists in a sort-of middle ground between documentary and experimentation. Around and superimposed through images of a man in bed are elegiac shots of Chicago trains, suggesting something almost erotic, much like SWIM, but it’s unequivocal in its depiction of the transit system as a wondrous framework. -Karen Sachs

poster

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10

/1/

In stark opposition to the rest of the program’s surreality are the documentary-esque BINGO (6 min, silent) and DUCK (3 min, silent), the subjects of which are more or less aligned with their titles. -Karen Sachs

poster

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10

/1/

More evocations of this style are evident in the shorter film THE POET AND THE POND (6 min, sound), an amalgam of patterns and repetitions that also bring to mind both the disciplined litanies of Marcel Duchamp and the surreal dreamscapes of Salvador Dali. (Scharres indicated in her piece that Bruns “is largely unfamiliar with the tradition into which his work clearly falls,” making all these comparisons, hers and mine, thought-provoking. How is it that an artist can so fully exude his own style that seems to be the product of certain influences, but isn’t?) -Karen Sachs

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10

/1/

THE UNUSUAL BOOK is more thoughtfully stylized in its depiction of a living book featuring a woman’s face on and around which things happen, including delightfully crude animations utilizing paint, fabric and random oddities. -Karen Sachs

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10

/1/

"The former is one that reminded me of Méliès, with its simple but profoundly affecting special effects, such as a shadow puppet-like model of a ship being carried against well-lit backgrounds; Bruns renders the artlessness artful, and his modest ambitions exude the purity of early cinema. " - Karen Sachs

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10

/1/

SWIM (7 min, sound) features a Warhol-like focus on a single body; here it’s a man, who’s mimicking swimming, complete with goggles, to a vaguely sexual effect.

poster

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10

/1/

In stark opposition to the rest of the program’s surreality are the documentary-esque BINGO (6 min, silent) and DUCK (3 min, silent), the subjects of which are more or less aligned with their titles. -Karen Sachs

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The story of Adam and Eve is told through stop-motion paper cut-outs.

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"Piano Dance shows the viewer a shadowy piano accompanied by the sound of piano music. The piano is then seen to be a toy, the headdress of a woman with hollow eyes and a pasty face who moves like a marionette in a weird dance. She is dressed as if she were a cabaret performer in black tie and tails and white gloves. The images whirl and the piano is both large and small as the camera sees it in varying scale. The protagonist does not appear to move of her own volition but by the will of another. Her dance fades, not because it is over but because we are no longer privileged to see it. One feels that it continues eternally." — Barbara Sharres, "Trance Occurrences," Chicago Reader, January 15 1982.

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A jar of Cheez Whiz careens wildly through a Treasure Island Foods at 3460 N. Broadway, Chicago, Illinois. Cheez Whiz was Norm Bruns' first film. It aired on public television station WTTW's program, Image Union, in 1981.

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