Directing
Tom DeWitt Ditto
Known for
Directing
Credits
8 titles
Known for
NR"Koan has a pallette knife in oil feeling..."
Koan
1981
NRA color production created as part of the Brooklyn College series.
Zierot
1973
NRAn NTSC space opera.
Voyage
1981
NR"An extraordinary film, which powerfully evokes the feeling of the city, but more important, a film of fine graphic design." - Lenny Lipton
AtmosFear
1966
NRComputer imagery dances before a techno soundtrack.
Aquarelles
1980
NRThe Leap is impressive for its mixture of pure video space with representational filmic space. Thus an ordinary man seems to interact physically with videographic apparitions, moving in and out of different time space realities, fluctuating between the physical and metaphysical with each stride of his leap toward freedom. —Gene Youngblood
The Leap
1968
Behind the camera
NR"Koan has a pallette knife in oil feeling..."
Koan
1981
NRA color production created as part of the Brooklyn College series.
Zierot
1973
NRAn NTSC space opera.
Voyage
1981
NR"An extraordinary film, which powerfully evokes the feeling of the city, but more important, a film of fine graphic design." - Lenny Lipton
AtmosFear
1966
NRComputer imagery dances before a techno soundtrack.
Aquarelles
1980
NRThe Leap is impressive for its mixture of pure video space with representational filmic space. Thus an ordinary man seems to interact physically with videographic apparitions, moving in and out of different time space realities, fluctuating between the physical and metaphysical with each stride of his leap toward freedom. —Gene Youngblood
The Leap
1968
NRAbstract video art created in 1981. Music by Vibeke Sorensen and Walter Michael. Abstract video art created in 1981 at EUE Video in NYC.
Tempest
1981
NR"What is most powerfully effective in FALL is the extraordinary sophistication of DeWitt's visual techniques, his graphic eye, and his complex designs. Because each unit of the exposition is so painstakingly conceptualized and nurtured, an audience is afforded a unique kind of purview on the elements as they are reconstituted in the more complex overlays. Thus the early, Magritte-like compositions of eye and sky establish basis for later more complicated efforts .... Color changes worked on given images (the bird, the sky) avoid the oversimplifications of hues/cues. Certain effects, as when clouds pass through the falling body which is outlined in flaming orange, can only be described as awesome. ... [A] work of immense dedication and exceptional skill." – John Fell
Fall
1971
