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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-10430\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/harry_everett_smith_1965.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-10430-LGvZprJytUQ\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/harry_everett_smith_1965.jpg?itok=-P322OTi\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EHarry Everett Smith\u003C\/strong\u003E (29 May 1923, Portland, Oregon \u2013 27 November 1991, New York City) was an American archivist, ethnomusicologist, student of anthropology, record collector, experimental filmmaker, artist, bohemian and mystic. Smith is a well-known figure in several fields. People who know him as a filmmaker often do not know of his 1952 \u003Cem\u003EAnthology of American Folk Music\u003C\/em\u003E, while folk music enthusiasts often do not know he was \u0027the greatest living magician\u0027 according to \u003Ca href=\u0022site\/en\/wiki\/artist\/kenneth-anger\u0022\u003EKenneth Anger\u003C\/a\u003E.\u003C\/p\u003E\n\u003Cp\u003ESmith died, singing in Paola Igliori\u0027s arms, in Room 328 at the Hotel Chelsea in New York City, and his ashes are in the care of his wife, Rosebud Feliu-Pettet.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003ELife and work\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EExperimental filmmaker\u003C\/p\u003E\n\u003Cp\u003ECritical attention has been most often paid to his . He produced extravagant abstract animations. The effects were often painted or manipulated by hand on the celluloid. Themes of mysticism, surrealism and dada were common elements in his work. The main sources of the filmography: Harry Smith Archives (\u003Ca href=\u0022http:\/\/www.harrysmitharchives.com\/1_bio\/cv.html\u0022\u003Ehttp:\/\/www.harrysmitharchives.com\/1_bio\/cv.html\u003C\/a\u003E \u0026amp; \u003Ca href=\u0022http:\/\/www.harrysmitharchives.com\/3_store\/index.html\u0022\u003Ehttp:\/\/www.harrysmitharchives.com\/3_store\/index.html\u003C\/a\u003E), \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Anthology_Film_Archives\/\u0022\u003EAnthology Film Archives\u003C\/a\u003E (\u003Ca href=\u0022http:\/\/www.anthologyfilmarchives.org\/schedule\/?start=2006-9-15\u0026amp;end=2006-9-21\u0022\u003Ehttp:\/\/www.anthologyfilmarchives.org\/schedule\/?start=2006-9-15\u0026amp;end=2006-9-21\u003C\/a\u003E) \u0026amp; \u003Ca href=\u0022http:\/\/www.anthologyfilmarchives.org\/schedule\/?start=2006-3-01\u0026amp;end=2006-3-07\u0022\u003Ehttp:\/\/www.anthologyfilmarchives.org\/schedule\/?start=2006-3-01\u0026amp;end=2006-3-07\u003C\/a\u003E), Krugman Associates (\u003Ca href=\u0022http:\/\/www.krugmaninc.com\/title_jump.asp?TITLE=EARLY+ABSTRACTIONS\u0022\u003Ehttp:\/\/www.krugmaninc.com\/title_jump.asp?TITLE=EARLY+ABSTRACTIONS\u003C\/a\u003E, \u003Ca href=\u0022http:\/\/www.krugmaninc.com\/title_jump.asp?TITLE=HEAVEN+AND+EARTH+MAGIC\u0022\u003Ehttp:\/\/www.krugmaninc.com\/title_jump.asp?TITLE=HEAVEN+AND+EARTH+MAGIC\u003C\/a\u003E \u0026amp; \u003Ca href=\u0022http:\/\/www.krugmaninc.com\/title_jump.asp?TITLE=LATE+SUPERIMPOSITIONS\u0022\u003Ehttp:\/\/www.krugmaninc.com\/title_jump.asp?TITLE=LATE+SUPERIMPOSITIONS\u003C\/a\u003E, \u003Ca href=\u0022http:\/\/www.imdb.com\/name\/nm0808421\u0022\u003EIMDb\u003C\/a\u003E, articles by \u003Ca href=\u0022http:\/\/www.sensesofcinema.com\/contents\/05\/36\/harry_smith.html\u0022\u003EJamie Sexton\u003C\/a\u003E, \u003Ca href=\u0022http:\/\/www.sensesofcinema.com\/contents\/cteq\/05\/35\/early_abstractions.html\u0022\u003EDirk de Bruyn\u003C\/a\u003E (both Senses of Cinema), \u003Ca href=\u0022http:\/\/www.historylink.org\/essays\/output.cfm?file_id=7635\u0022\u003EEric L. Flom\u003C\/a\u003E (HistoryLink.org), \u003Ca href=\u0022http:\/\/www.kiez-ev.de\/biografien\/smith-harry\u0022\u003EThomas Steinberg\u003C\/a\u003E (Kiez e.V., in German), \u003Ca href=\u0022http:\/\/www.arte.tv\/fr\/cinema-fiction\/Court-circuit\/Emission_20du_20mardi_209_20septembre_202003\/343314,CmC=343320.html\u0022\u003ENicole Brenez\u003C\/a\u003E (\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Arte\/\u0022\u003EArte\u003C\/a\u003E, in French, also in \u003Ca href=\u0022http:\/\/www.arte.tv\/de\/film\/kurzschluss\/Sendung_20vom_20Dienstag_2009._20September_202003\/343314,CmC=343320.html\u0022\u003EGerman\u003C\/a\u003E), the \u003Ca href=\u0022http:\/\/www.centrepompidou.fr\/Pompidou\/Manifs.nsf\/AllCycle\/Harry%20Smith%20(1923-1991)%20un%20mage%20am\u00e9ricain?OpenDocument\u0026amp;sessionM=\u0026amp;L=1\u0022\u003ECentre Pompidou\u003C\/a\u003E (in French), \u003Ca href=\u0022http:\/\/www.seances.org\/fr\/cycle.asp?id=223\u0022\u003ES\u00e9ances\u003C\/a\u003E (in French), \u003Ca href=\u0022http:\/\/www.re-voir.com\/html\/smith.htm\u0022\u003ERe:Voir\u003C\/a\u003E, the \u003Ca href=\u0022http:\/\/www.filmpreservation.org\/preserved\/filmdesc.php?id=283\u0022\u003ENational Film Preservation Foundation\u003C\/a\u003E, \u003Ca href=\u0022http:\/\/www.film-makerscoop.com\/catalog\/s.html\u0022\u003EThe Film-Makers\u0027 Cooperative\u003C\/a\u003E, the \u003Ca href=\u0022http:\/\/nwfilmforum.org\/cinemas\/smith.php\u0022\u003ENorthwest Film Forum\u003C\/a\u003E, the \u003Ca href=\u0022http:\/\/www.e.bell.ca\/filmfest\/cinematheque\/about_news_sub.asp?pressID=112\u0022\u003ECinematheque Ontario\u003C\/a\u003E, the \u003Ca href=\u0022http:\/\/www.debalie.nl\/artikel.jsp;jsessionid=A0FBA4CF0370389D79F93D94059CA5D1?podiumid=cinema\u0026amp;articleid=27006\u0022\u003EDebalie Cinema\u003C\/a\u003E, the \u003Ca href=\u0022http:\/\/3cinema.art.pl\/ludzie.php?harrysmith\u0022\u003E3cinema\u003C\/a\u003E (in Polish), the filmography from Paola Igliori (ed.): \u003Cem\u003EAmerican Magus. Harry Smith. A Modern Alchemist\u003C\/em\u003E. New York: Inanout Press 1996, and Hans Scheugl\/Ernst Schmid jr.: \u003Cem\u003EEine Subgeschichte des Films. Lexikon des Avantgarde-, Experimental- und Undergroundfilms\u003C\/em\u003E. Frankfurt am Main: Suhrkamp Verlag 1974 (edition suhrkamp 471), vol. 2, pp. 844-847.\u003C\/p\u003E\n\u003Cp\u003EInformation especially about Smith\u0027s early films is very contradictory. This is partly due to the work-in-progress nature of experimental filmmaking as films are often reedited (hence the different runtimes), occasionally incorporating reassembled footage of different films, or showed with varying music tracks. For instance, the handmade films now known as No. 1, 2, 3, and 5 were accompanied by an improvising jazz band on May 12, 1950 when they premiered as part of the \u003Cem\u003EArt in Cinema\u003C\/em\u003E series curated by Smith\u0027s friend Frank Stauffacher at the . Initially Smith intended to use Dizzy Gillespie songs (vide infra). Later he showed the films with random records or even the radio as accompaniment. Harry Smith stated that his films were made for contemporary music, and he kept changing their soundtracks. Harry also re-cut \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/dvd\/harry-smith-early-abstractions-mirror-animations\u0022\u003EEarly Abstractions\u003C\/a\u003E\u003C\/em\u003E to sync with picked out by his wife, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Rosebud_Feliu-Pettet\/\u0022\u003ERosebud Feliu-Pettet\u003C\/a\u003E. After Smith\u0027s death artists such as Philip Glass or DJ Spooky provided musical backgrounds for screenings of his films: Glass at the 2004 summer benefit concert of and DJ Spooky at several venues in 1999 for \u003Cem\u003EHarry Smith: A Re-creation\u003C\/em\u003E, a florilegium of Smith\u0027s films put together by his close collaborator who tries to screen the films in the manner intended by Smith - as performances - using stroboscopic effects, multiple projections, magic lanterns, and the like.\u003Ca href=\u0022http:\/\/www.centerforvisualmusic.org\/VMFilms.htm\u0022\u003ECenter for Visual Music\u003C\/a\u003E, Frameworks Mailing List \u003Ca href=\u0022http:\/\/www.hi-beam.net\/fw\/fw31\/1280.html\u0022\u003Emessage\u003C\/a\u003E, \u003Ca href=\u0022http:\/\/www.film-makerscoop.com\/benefit.html\u0022\u003EThe Film-Makers\u0027 Cooperative\u003C\/a\u003E, \u003Ca href=\u0022http:\/\/www.austinchronicle.com\/gyrobase\/Issue\/story?oid=oid%3A74669\u0022\u003EChris Baker: A Waking Dream\u003C\/a\u003E (\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Austin_Chronicle\/\u0022\u003EAustin Chronicle\u003C\/a\u003E), \u003Ca href=\u0022http:\/\/www.aint-it-cool-news.com\/display.cgi?id=4689\u0022\u003EAin\u0027t It Cool News)\u003C\/a\u003E, \u003Ca href=\u0022http:\/\/citypages.com\/databank\/20\/958\/article7464.asp\u0022\u003EReconstructing Harry\u003C\/a\u003E (\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/City_Pages\/\u0022\u003ECity Pages\u003C\/a\u003E).\u003C\/p\u003E\n\u003Cp\u003EThe present-day numbering system which Smith introduced some time between 1951 and 1964-5 (the year started distributing 16\u00a0mm copies of his films) includes only films that survived up to that point. Thus this filmography is in no way a comprehensive list of all the films he has ever made, all the more as he is known to have lost, sold, traded or even wantonly destroyed some of his own works. The dating of the film presents another puzzle. Since Smith frequently worked for years on them and kept little to no documentation, the information varies considerably from one source to another. Therefore all available information has been added to the following list, inevitably resulting in a loss of clarity but having the advantage of giving the whole picture. The films are also known by variant designation, i.e. \u003Cem\u003EFilm No. 1\u003C\/em\u003E, \u003Cem\u003EFilm # 1\u003C\/em\u003E or simply \u003Cem\u003E# 1\u003C\/em\u003E.\u003C\/p\u003E\n\u003Cp\u003EFine artist\u003C\/p\u003E\n\u003Cp\u003ESmith\u0027s early efforts in the field of fine art painting were freeform abstractions intended to visually represent notes, measures, and riffs of the jazz music that him.\u003C\/p\u003E\n\u003Cp\u003EThere is photographic evidence of Harry Smith\u0027s large paintings created in the 1940s, however the works themselves were destroyed by Harry himself. He did not destroy his work on film (although he did misplace a few) however, and this legacy supplements the nature and design of his paintings. Harry created several later works, some which have been serially printed in limited editions. Much of his imagery is inspired by themes such as the Sephirah, where the are distributed like musical notes upon a staff, -- trivia that Harry would find very important to note here -- and is reflected in his choice of graphics and cover art of the .\u003C\/p\u003E\n\u003Cp\u003EAnthologist of American folk music\u003C\/p\u003E\n\u003Cp\u003EThe \u003Cem\u003EAnthology of American Folk Music\u003C\/em\u003E was a compilation of recordings of American folk and country music commercially released as 78 rpm records between 1927 and 1932. The anthology was released in 1952 on Folkways Records as three two-LP sets. It was rereleased as a boxed set of six compact discs on Smithsonian Folkways Recordings in 1997. A fourth installment of the anthology, conceived of in the 50s but abandoned, became available on Revenant Records in 2000.\u003C\/p\u003E\n\u003Cp\u003EThis document is generally thought to have been enormously influential on the folk \u0026amp; blues revival of the \u002750s and \u002760s, and brought the works of Blind Lemon Jefferson, Mississippi John Hurt, Dick Justice and many others to the attention of musicians such as Bob Dylan and Joan Baez, and featured such legendary acts as The Carter Family and Clarence Ashley. The Harry Smith Anthology, as some call it, was the bible of folk music during the late 1950s and early 1960s Greenwich Village folk scene. As stated in the liner notes to the 1997 reissue, the late musician Dave van Ronk had earlier commented that \u0027we all knew every word of every song on it, including the ones we hated.\u0027Marcus, Greil. \u0027The Old, Weird America,\u0027 liner note essay. Anthology of American Folk Music, 1997 reissue, Smithsonian Folkways Recordings.\u003C\/p\u003E\n\u003Cp\u003ESmith edited and directed the design of the Anthology, including the cover art, which featured a Theodore de Bry etching of a monochord which Smith had taken from a mystical treatise by scientist\/alchemist Robert Fludd. Smith also penned short synopses of the songs in the collection, which were made to resemble newspaper headlines-- for the song \u003Cem\u003EKing Kong Kitchie Kitchie Ki-Me-O\u003C\/em\u003E by Chubby Parker, Smith notes: \u003Cem\u003EZoologic Miscegeny Achieved Mouse Frog Nuptuals \u003Ca\u003E\u0027\u0027sic\u0027\u0027\u003C\/a\u003E, Relatives Approve.\u003C\/em\u003E\u003C\/p\u003E\n\u003Cp\u003ESelections were culled by Harry Smith from his amassed personal collection of 78 rpm records, picked for their commercial and artistic appeal within a set period of time, 1927 to 1932. Smith chose those particular years as boundaries since, as he stated himself, \u00271927, when electronic recording made possible accurate music reproduction, and 1932, when the Great Depression halted folk music sales.\u0027Smith, Harry. \u0027Foreword,\u0027 liner note essay. Anthology of American Folk Music, 1952 edition, Folkways Records.\u003C\/p\u003E\n\u003Cp\u003ESmith earned a belated Grammy, the Chairman\u0027s Merit Award, for his contribution to this collection shortly before his death in 1991.\u003C\/p\u003E\n\u003Cp\u003EIn addition to compiling, Smith also recorded music: Allen Ginsberg\u0027s long player \u003Cem\u003ENew York Blues: Rags, Ballads and Harmonium Songs\u003C\/em\u003E released in 1981 was captured by Smith at the Chelsea Hotel in 1973. He recorded the first album by The Fugs in 1965, recorded and released a multi-LP set of Kiowa Peyote Meeting songs on Folkways, and, in the 80s, recorded thousands of hours of \u0027field recordings\u0027 for a project called \u0027deonage.\u0027\u003C\/p\u003E\n\u003Cp\u003EEccentric and bohemian\u003C\/p\u003E\n\u003Cp\u003EHarry Smith would talk at great length and in extraordinary depth on topics spanning many subjects and ranges of knowledge. According to Khem Caigan, a typical chain of free association might range from, for example, the and the great chain of being to bioelectromagnetics and electrophysiology and the geomagnetic field and the , Sylvanus Thompson and Max Knoll and the generation of phosphenes, musicology and molecular physics, parapsychology and poltergeist phenomena; the and Helene Smith mediumship cases, the tarot and the , and the , his collection of 30,000 Easter eggs and Seminole quilts; alchemy and the ; all in an effort to demonstrate the underlying connectedness and interrelatedness of all things for his audience of the moment. On occasion, the less astute of his listeners would have trouble following his train of thought, as one subject always led on to another.\u003C\/p\u003E\n\u003Cp\u003EHarry often had difficulty paying his bills and had very little interest in maintaining a normal, ordered life. He would frequently borrow money which would never be paid back, money that he would often spend on records and books, even when low on essential items. On the other hand, Khem Caigan is quick to point out that Harry was generous to a fault, always springing for a much appreciated meal when he was down on his luck. It is suggested that Harry enjoyed alcohol, cannabis, Desoxyn, Dewamesk, hashish, LSD, mescaline, peyote, psilocybin, and other entheogens on occasion.\u003C\/p\u003E\n\u003Cp\u003EOccultist\u003C\/p\u003E\n\u003Cp\u003ESmith\u0027s parents, Robert James Smith and Mary Louise, were influenced by the early Modern Spiritualist movement in the United States. They were, reportedly, Pantheist , interested in the work of Madame Blavatsky. His grandfather was founder of a fraternity that was an off-shoot of the type in the US. From this we can surmise an early exposure to this type of material. His mother taught on the Lummi Reservation where Harry claimed to receive a at a young age. Harry recorded many Lummi songs and rituals, with equipment built by himself and with notation of his own devising, and developed an important collection of religious objects.\u003C\/p\u003E\n\u003Cp\u003ESmith was also a . In the late Forties he began work with Charles Stansfeld Jones and Albert Handel. Smith also created a set of irregularly-shaped Tarot cards, one of which was adapted for the color Ordo Templi Orientis degree certificates, and used with several others for the paperback \u003Cem\u003EHoly Books of Thelema\u003C\/em\u003E which Harry designed. He also studied the Enochian system in depth, compiling the only known concordance of the Enochian language with the aid of Khem Caigan, his assistant throughout much of the 70s and early 80s. Harry was a familiar figure in the New York Ordo Templi Orientis, or O.T.O., from the late 1970s and, although he was never a member of the O.T.O., in 1986 he was consecrated a bishop in the Ecclesia Gnostica Catholica.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EWorks\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EDiscography\u003C\/p\u003E\n\u003Cp\u003E*\u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Anthology_of_American_Folk_Music\/\u0022\u003EAnthology of American Folk Music\u003C\/a\u003E\u003C\/em\u003E, 1952, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Folkways_Records\/\u0022\u003EFolkways Records\u003C\/a\u003E. Re-released in 1997 by \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Smithsonian_Folkways_Recordings\/\u0022\u003ESmithsonian Folkways Recordings\u003C\/a\u003E.\u003C\/p\u003E\n\u003Cp\u003EOther sources\u003C\/p\u003E\n\u003Cp\u003EFilms about or with Harry Smith\u003C\/p\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Cem\u003EAutobiography\u003C\/em\u003E (1950s, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/artist\/jordan-belson\u0022\u003EJordan Belson\u003C\/a\u003E) Glances of Smith, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/tags\/hy-hirsh\u0022\u003EHy Hirsh\u003C\/a\u003E, and others from the San Francisco scene. \u003C\/em\u003E\u003Cem\u003EBirth of a Nation\u003C\/em\u003E (1997, Jonas Mekas) 16\u00a0mm, color, 85 min. Snippets of 160 underground film people (among them Smith) recorded between 1955 and 1996. \u003Cem\u003E\u003Cem\u003ERestoring Harry Smith\u0027s Mahagonny\u003C\/em\u003E a.k.a. \u003Cem\u003EMaking of Mahagonny\u003C\/em\u003E (2000 or 2002, Simon Lund) 35\u00a0mm, color, 6 min. Short documentary on the restoration of No. 18. Watch it \u003Ca href=\u0022http:\/\/www.folkstreams.net\/vafp\/clip.php?id=5\u0022\u003Ehere\u003C\/a\u003E. \u003C\/em\u003E\u003Cem\u003EAmerican Magus. Harry Smith\u003C\/em\u003E (2001-02, Paola Igliori) video, color, 93 min. Documentary on Smith interweaving clips from his films, pictures from his countless collections, drawings, paintings, rare archive footage and snatches of interviews with Allen Ginsberg, Gregory Corso, Lionel Ziprin, Robert Frank, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/tags\/jonas-mekas\u0022\u003EJonas Mekas\u003C\/a\u003E, , James Wasserman, , Percy Heath, Grateful Dead, Patti Smith, DJ Spooky, Khem Caigan, Harvey Bialy and Smith\u0027s wife Rosebud Feliu-Pettet, among others. Photographer, writer, publisher, and filmmaker Paola Igliori, who Smith befriended a few months before his death, and in whose arms Smith died, is also the editor of a book of the same title released by her own publishing house Inanout Press (see Bibliography).See articles by Miriam Tola (Cinecitt\u00e0), Marcelo Panozzo\u00a0(in Spanish), the IFFR (International Film Festival Rotterdam), Tod Booth (SF iNDiE FEST), Ken Eisner, Matthew Tempest (The Guardian), GM (Time Out), John Strausbaugh (New York Press), Greil Marcus, The Blinding Light!! Cinema, and CrossPathCulture (with trailer). \u003Cem\u003E\u003Cem\u003EOn Mahagonny\u003C\/em\u003E (2002, Rani Singh) video, color, 15 min. Jonas Mekas and others discuss No. 18. Also features a conversation between Smith and critic shot by in 1971. Rani Singh is a former assistant of Smith (1987-1991), founder and current director of the Harry Smith Archives as well as research associate at the Research Institute in Los Angeles. \u003C\/em\u003E\u003Cem\u003EThe Old, Weird America: Harry Smith\u0027s Anthology of American Folk Music\u003C\/em\u003E (2006, Rani Singh) video, black \u0026amp; white and color, 90 min. Documentary with Nick Cave, Elvis Costello, Philip Glass, Emmylou Harris, Bob Neuwirth, Beth Orton, Lou Reed, Beck, David Johansen, Greil Marcus, Hal Willner, Allen Ginsberg, Percy Heath, Steve Earle, Luis Kemnitzer, among others. Steven Jenkins (San Francisco International Film Festival), Jay Weissberg.\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003EUnited States\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}