Len Lye

BBC Four’s new documentary takes us on a journey through more than a century of animation. It examines the creative and technical inventiveness of some of the great animation pioneers who have worked in Britain – trailblazing talents such as Len Lye, John Halas and Joy Batchelor, Joanna Quinn, and Bristol’s world-conquering Aardman Animations.

Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.

Documentary about the Kiwi artist Len Lye and his legacy.

This film documents the major directions in modern American art during the first seven years of the 1960s. The keynote is that the artist has expanded his realm from the two-dimentional picture frame, climaxed by the artists of the 40s and early 50s, merged color with sculpture, and sought out modern media to express himself. This has produced the characteristic wide spectrum of interest, ideas, and products in contemporary art.

Master of Motion follows Len Lye, New Zealand's greatest international artist, and showcases his visionary work in film and sculpture and his monumental ambitions for his work beyond his own life.

This documentary, made seven years after the death of legendary filmmaker and kinetic artist Len Lye, tells Lye's story: from being a young boy staring at the sun, to travels around the Pacific and life in New York. It includes excerpts from many of his films, and interviews with second wife Ann and biographer Roger Horrocks. Len Lye himself is often heard, outlining his ideas of the ‘old brain’ and how Māori and Aboriginal art influenced his work. The grandeur of his ideas are only matched by their scale, with steel sculptures designed to be "at least 20 foot high".

Several well-known and pioneering abstract filmmakers discuss the history of non-objective cinema, the works of those that came before them and their own experiments in the field of visionary filmmaking.

The story of how newspapers were distributed during the Blitz, stressing the importance of an accurate and objective press on the home front.

In 1944 Lye moved to New York City, initially to direct for the documentary newsreel The March of Time. He settled in the West Village, where he mixed with artists who later became the Abstract Expressionists, encouraged New York’s emerging filmmakers such as Francis Lee, taught with Hans Richter, and assisted Ian Hugo on Bells of Atlantis. Color Cry was based on a development of the “rayogram” or “shadow cast” process, using fabrics as stencils, with the images synchronized to a haunting blues song by Sonny Terry, which Lye imagined to be the anguished cry of a runaway slave. —Harvard Film Archive

Rainbow Dance is a 1936 British animated film released by the GPO Film Unit. This is Lye's second film. It uses the Gasparcolor process.

For Kaleidoscope, which was sponsored by Churchman Cigarettes, Lye animated stenciled cigarette shapes and is said to have experimented by cutting out some of the shapes so that the light of the projector hit the screen directly. As in Colour Box Lye uses music by Don Baretto and his Cuban Orchestra. - Harvard Film Archive

In this powerful abstract film with a soundtrack of African drum music, Lye scratched "white ziggle-zag-splutter scratches" on to black leather, using a variety of tools from saw teeth to arrow heads. The first version of the film won a major award at the International Experimental Film Festival Held in Brussels in 1958 in association with the World's Fair. Stan Brakhage described the film as "an almost unbelievably immense masterpiece".

Len Lye’s camera-less film animates “swing” versions of the popular Lambeth Walk—featuring Django Reinhardt on guitar and Stéphane Grappelli on violin—through scratched and painted imagery directly on celluloid. Sponsored by the Tourist and Industrial Development Association after Lye and his family fell into hardship, the film blends vibrant visual rhythms with music, free of advertising slogans, and stands out as one of Lye’s most playful experiments in direct cinema.

Correspondence between young lovers nearly ends in disaster through a mistake in postal district. Fortunately the GPO spots the error and all ends well, but with the moral that correspondents should get the address right.

A fictional enactment of the deadly contest between a British soldier and a German sniper hiding in a tree. Kill or Be Killed differs from most army instructional films because of its powerful dramatization.

In 1959 the United Nations commissioned Lye to make this one-minute film, “Fountain of Hope,” to publicize United Nations Day (24th October). The film was screened worldwide in cinemas and on television. Lye superimposed the word for “peace” in many different languages over some of his kinetic sculptures, while a United Nations choir sang related music by Henry Brant that combined many national styles. Lye’s work was selected because the United Nations wanted to overcome language barriers, using visual images with a strong emotional impact and “universal appeal”. Lye was delighted to be associated with a message of world peace.

Trade Tattoo went even further than Rainbow Dance in its manipulation of the Gasparcolor process. The original black and white footage consisted of outtakes from GPO Film Unit documentaries such as Night Mail. Lye transformed this footage in what has been described as the most intricate job of film printing and color grading ever attempted. Animated words and patterns combine with the live-action footage to create images as complex and multi-layered as a Cubist painting. Music was provided by the Cuban Lecuona Band. With its dynamic rhythms, the film seeks (in Lye’s words) to convey “a romanticism about the work of the everyday in all walks of life."

Intended as a publicity film for Chrysler, Rhythm uses rapid editing to speed up the assembly of a car, synchronizing it to African drum music. The sponsor was horrified by the music and suspicious of the way a worker was shown winking at the camera; although Rhythm won first prize at a New York advertising festival, it was disqualified because Chrysler had never given it a television screening. P. Adams Sitney wrote, “Although his reputation has been sustained by the invention of direct painting on film, Lye deserves equal credit as one of the great masters of montage.” And in Film Culture, Jonas Mekas said to Peter Kubelka, “Have you seen Len Lye’s 50-second automobile commercial? Nothing happens there…except that it’s filled with some kind of secret action of cinema.” - Harvard Film Archive

Len Lye made this experiment in animating poetry circa 1953 utilising a clip of Sir John Gielgud reciting a passage from The Tempest.

With the screen split asymmetrically, one part in positive, the other negative, the film documents the evolution of simple celled organic forms into chains of cells then more complex images from tribal cultures and contemporary modernist concepts. The images react, interpenetrate, perhaps attack, absorb and separate, until a final symbiosis (or redemption?) is achieved.

This experiment was a “prestige advertisement” for Shell Motor Oil. As conventional animation became dominated by Walt Disney, many European filmmakers turned to puppets as an alternative, and Lye enlisted the help of avant-garde friends such as Humphrey Jennings and John Banting to make the amusing puppets. Exploring the still-complex color process, which involved the combination of three separate images, Lye creates such a vivid storm scene that reviewers hailed it as “proof that the color film has entered a new stage.” The music is Holst’s The Planets. - Harvard Film Archive

Lye created a series of scratched images in the 1950s – more regular or geometric than his usual style – to accompany Rock ‘n’ Rye, a track by jazz guitarist Tal Farlow, but he did not get far with the editing. He returned to the material in 1980 but died before it was completed. His assistant Steven Jones finished the film under the supervision of Lye’s widow Ann, who had been closely involved with all of Lye’s American films. - Harvard Film Archive

Short comedic documentary about crops.

Len Lye scraped together enough funding and borrowed equipment to produce a two-minute short featuring his self-made monkey, singing and dancing to 'Peanut Vendor', a 1931 jazz hit for Red Nichols. The two foot high monkey had bolted, moveable joints and some 50 interchangeable mouths to convey the singing. To get the movements right, Lye filmed his new wife, Jane, a prize-winning rumba dancer.

Len Lye scraped together enough funding and borrowed equipment to produce a two-minute short featuring his self-made monkey, singing and dancing to 'Peanut Vendor', a 1931 jazz hit for Red Nichols. The two foot high monkey had bolted, moveable joints and some 50 interchangeable mouths to convey the singing. To get the movements right, Lye filmed his new wife, Jane, a prize-winning rumba dancer.

Len Lye scraped together enough funding and borrowed equipment to produce a two-minute short featuring his self-made monkey, singing and dancing to 'Peanut Vendor', a 1931 jazz hit for Red Nichols. The two foot high monkey had bolted, moveable joints and some 50 interchangeable mouths to convey the singing. To get the movements right, Lye filmed his new wife, Jane, a prize-winning rumba dancer.

Documentary about women factory workers.

Surrealism, avant-garde sound montage, and irreverent wit might be the last thing you'd expect from a government-sponsored film about wartime cookery. But director, artist, animator and all-round firework of a man Len Lye specialised in the unexpected. A simple tale of a mother cheering up her daughter with a pie from her rationing-stricken pantry (interestingly the war is never directly referred to) is skilfully crafted into a work of real artistic depth, while retaining an unpretentious charm.

Animated shapes dance to Cuban music. This was one of the first animations to be painted directly onto the film.

A tribute to the cameramen of the newsreel companies and the service film units, in the form of a compilation of film of the cameramen themselves, their training and some of their most dramatic film.

This was another sample promotional film, which Lye offered to television stations. He scratched some dramatic black-and-white abstract images, hand-coloured them, and combined them with African drum music. The film gives us a taste of what Free Radicals would have looked like if it had been made in colour rather than black-and-white.