{"id":13733,"date":"2013-05-04T02:21:37","date_gmt":"2013-05-04T01:21:37","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=13733"},"modified":"2021-11-11T17:06:16","modified_gmt":"2021-11-11T16:06:16","slug":"offon-by-scott-bartlett","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/05\/04\/offon-by-scott-bartlett\/","title":{"rendered":"OffOn by Scott Bartlett"},"content":{"rendered":"<p><a href=\"http:\/\/www.youtube.com\/watch?v=hEr9Z7Q4ZxY\" target=\"_blank\"><img decoding=\"async\" alt=\"bartlett1.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/05\/bartlett1.jpg\" \/><\/a><\/p>\n<p>Another gem of experimental filmmaking, Scott Bartlett&#8217;s short from 1967 hits all the buttons of psychedelic imagery: disembodied eyes, moir\u00e9 patterns, solarisation, dancing figures, naked women, oil effects, oversatured hues, and superimposition. The difference between this film and others of the period is that <a href=\"http:\/\/www.youtube.com\/watch?v=hEr9Z7Q4ZxY\" target=\"_blank\"><em>OffOn<\/em><\/a> is largely a product of video techniques, some of which\u2014video feedback, for example\u2014are unique to the medium. As a bonus there&#8217;s that standard feature of so much experimental film from the period, the electronic score. The soundtrack for <em>OffOn<\/em> is by Manny Meyer, and sounds in places like a precursor to Gil Mell\u00e9&#8217;s buzzing and shrieking music for <em>The Andromeda Strain<\/em> (1971).<\/p>\n<p><a href=\"http:\/\/www.youtube.com\/watch?v=hEr9Z7Q4ZxY\" target=\"_blank\"><img decoding=\"async\" alt=\"bartlett2.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/05\/bartlett2.jpg\" \/><\/a><\/p>\n<p>Elsewhere on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/themed-archive-pages\/the-abstract-cinema-archive\/\">The abstract cinema archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Another gem of experimental filmmaking, Scott Bartlett&#8217;s short from 1967 hits all the buttons of psychedelic imagery: disembodied eyes, moir\u00e9 patterns, solarisation, dancing figures, naked women, oil effects, oversatured hues, and superimposition. The difference between this film and others of the period is that OffOn is largely a product of video techniques, some of which\u2014video &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/05\/04\/offon-by-scott-bartlett\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;OffOn by Scott Bartlett&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[49,52,29,7,3,17],"tags":[3523,2864,4731,4730],"class_list":["post-13733","post","type-post","status-publish","format-standard","hentry","category-abstract-cinema","category-animation","category-electronica","category-film","category-music","category-psychedelia","tag-gil-melle","tag-jordan-belson","tag-manny-meyer","tag-scott-bartlett"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3zv","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/13733","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=13733"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/13733\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=13733"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=13733"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=13733"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}