Circles I

A dance film that explores new dimensions in color and space. The film develops like a fugue, with dancers (and giant undulating circle) moving through repeated themes and variations; All the while Brown and Olvey's dazzling color and printing effects electrify the viewer.

Features a duet of sorts between Cynthia Anderson and specially processed images of herself. Similar in technique and intention to DANCE SEVEN, this film is in some ways more lyrical and languorous than the former, emphasizing the overall shaping of the body in dance, rather than isolated movement details such as the virtuoso footwork. Space is transformed into a viscous atmosphere of colored light, which seems to flood and blend in response to movement impulses of the dance. The dance itself has a sustained, weighted quality, contrasting the stable placement of the body against sinuously rhythmic movements of limbs. A mellow sensation of tension is emphasized by the dissonant, muted hues programmed by Chase, while feedback effects multiply, blur and dissolve the image. The sum effect is to induce a meditative mood tinged with a not unpleasant melancholy.

A videotape-to-film transfer based on the solo dancing of Marnee Morris, of the New York City Ballet. Once again, Doris Chase has not merely documented the performance but transformed it into what she describes as a "moving painting." Through special color video effects of feedback, de-beaming and superimposition, she creates an evocative visual interpretation of the dance. We see the dancer from different points of view simultaneously overlapped, most often contrasting close-up and full figure shots.

Chase's frenzied line manipulation creates dazzling patterns. With music by Gwen Watson.

Set to an Albinoni score, Chase hypnotically manipulates line and block patterns.

An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.

"It's an experience a bit like peering through uncurtained windows at dusk. Chase puts this personal account together, not of fame or fortunes made or missed in the Chelsea, but of how creative people live together." – Karen Jaehne

Plexi Radar is the act of filming a gyrating motion of a circular plexiglas sculpture, which is then looped by a computer. The image of the sculpture alternately divide in between some hypnotic shots in which subconscious impose the illusion of a constant change of frame.

A sophisticated example of the creative possibilities of videodance. This truly collaborative work is based on an idea developed out of Doris Chase's earlier films of dance with sculpture. But in this instance, the Rutt/Etra video synthesizer was used to generate animated patterns assembling arches which were edited into the whole.

The human form is used in composition with geometric form in an exploration toward a third dimension through juxtaposition of color and line.

Chase fuses undulating lines with undulating an disco sound.

Multiple overlapping images combine with still-frames of an amorous Puerto Rican filmmaker's telephone conversation with a repairman, coincidentally also interested in film. Written by Lee Breuer and performed by Ruth Maleczeck, both of Mabou Mines theatre company. Music by Bob Telson.

A dance film based on kinetic sculpture and employing the Mary Stanton Dance Ensemble. Through the kinetic sculptures, made specifically for the choreographer, move dancers each appearing in separate monochromatic images of cyan, yellow and magenta. When touched, the sculptures move lightly, taking on the quality of mobiles. Dance and sculpture, kinetic within their own forms, are combined to create new dynamics between people and forms in motion, in bold primary colors.

A documentary focusing on Doris Chase's creative process. A pioneering filmmaker of expanded cinema and early computer technology.