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American artist Joseph Cornell (1903–1972) is justifiably best known for his boxes which constitute a singular contribution to the Surrealist canon and to the art of assemblage. However, he also pursued experimental film-making as an amateur beginning in the 1930s.〔(Nancy Doyle -- Artist Profile: Joseph Cornell )〕 Cornell was the principal pioneer of collage films in a purely artistic sense〔(Lynda Roscoe Hartigan -- Joseph Cornell: Navigating the Imagination. Yale University Press, 2007. ISBN 0-300-11162-2 )〕〔() Walker Art Center: Rose Hobart〕 and, although the introduction of his films into the public forum was relatively late compared to when they were made, his work as a filmmaker has been widely influential.〔Wiki on Found footage〕 ==History== Joseph Cornell began to collect films on 16mm in the 1920s, mainly to entertain his mother and disabled brother at the family home in Queens, where Cornell lived for two thirds of his life. To vary the program and to surprise his family, Cornell began to alter his films slightly by adding shots, or changing the endings to films with which they were familiar. This led, in time, to his first and most elaborate film collage, Rose Hobart (1936), coincidentally concurrent with his first box, ''Soap Bubble Set'' (1936), later sold to the Museum of Modern Art in New York. Recently discovered correspondence between Cornell and Iris Barry of MoMA's film library reveals that he was already conversant with language relevant to the then emerging field of film preservation and was also occasionally collecting films in 35mm nitrate.〔(Anne Morra -- Pen Pals: Iris Barry and Joseph Cornell )〕 The first screening of ''Rose Hobart'' at the Museum's Julien Levy Gallery in 1936 led to a violent conflict with Surrealist painter Salvador Dalí, who accused Cornell of stealing his ideas.〔(NFPF: Rose Hobart )〕 Cornell, who was naturally shy, was deeply affected by this incident and seldom showed his films afterward. Apart from a special screening held at a Christmas party at the New York Public Library in 1957,〔(Jeanne Liotta -- Joseph Cornell Films )〕 these were usually given in connection with regular art gallery showings of his boxes; even today they are most often seen in connection with exhibits of static visual work, although Cornell disclaimed any relationship between these two aspects of his endeavors. After a long break from film-making starting at about the beginning of World War II, Cornell resumed work in this area in the mid-1950s.〔(Smithsonian Archives of American Art -- Jennifer Meehan: A Finding Aid to the Joseph Cornell Papers )〕 Rather than using found footage, Cornell began to work with collaborators, cameras and some actors, making films with Rudy Burckhardt,〔(Rudy Burckhardt Obituary from The Independent )〕 the young Stan Brakhage and finally Larry Jordan, who completed six of Cornell's earlier films at the artist's request, in addition to making a new version of ''A Fable for Fountains'' (1957) retitled ''A Legend for Fountains'' (1965).〔(Lawrence C. Jordan Biography )〕 About 1961, Cornell stopped his film-making activity and production of new boxes, devoting himself to repairing boxes already made, a return to 2-D collage, completing films already made and the production of one more film.〔 In 1969, Cornell donated his film collection, consisting of some 150 reels, to the Anthology Film Archives in New York. Although the collection consisted mainly of entertainment films distributed to the home market in the 1920s and 1930s, a few additional reels were discovered that appeared to constitute previously unknown projects, but Cornell's declining health in his last years and his subsequent death in 1972 prevented him from being asked about specific intentions in regard to most of them. He did leave extensive notes relating to some of these films; and these have been used to help complete certain titles. In some cases, titles—such as ''Thimble Theater''—were devised to identify films that had none. Cornell may have worked on as many as 30 or more films,〔(Jay Babcock -- Joseph Cornell Screenings in L.A., Arthur Magazine, 12-5-2005 )〕 but it is difficult to tell in some cases whether a reel's contents constitutes an actual assemblage or is merely a collection of trims; scholars generally agree that the 27 titles listed below constitute actual projects. The provenance of ''The Children's Jury'' is more difficult to establish, and therefore it is regarded as "attributed" to Cornell. The first detailed appreciation of Cornell's film-making activity in print was an article by Jonas Mekas, "The Invisible Cathedrals of Joseph Cornell," published in the Village Voice in 1970. Screenings of Cornell's films on a regular and semi-regular basis began from that time. Anthology Film Archives maintains two programs of Cornell's films as part of its rotating Essential Cinema series; they have been widely seen in film series and as part of traveling exhibitions and collected onto the DVDs shown below. TCM's airing of ''Rose Hobart'' in 2008 represented the first major showing of a Joseph Cornell film on television. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Joseph Cornell filmography」の詳細全文を読む スポンサード リンク
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