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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-15675\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\/stormdehirsch.jpg\u0022 title=\u0022Storm de Hirsch\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-15675-88T9CWfhFx0\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;Storm de Hirsch\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/stormdehirsch.jpg?itok=h7_ZdTyW\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022Storm de Hirsch\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\u003EStorm de Hirsch\u003C\/strong\u003E (1912\u20132000) was an American poet and filmmaker. She was a key figure in the New York avant-garde film scene of the 1960s, and one of the founding members of the \u003Ca href=\u0022\/site\/en\/directory\/film-makers-cooperative\u0022\u003EFilm-Makers\u0027 Cooperative\u003C\/a\u003E. Although often overlooked by historians, in recent years she has been recognized as a pioneer of underground cinema.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EBiography:\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EBorn Lillian Malkin in New Jersey in 1912, Storm de Hirsch left home at an early age to pursue a career in the arts in New York City. There she married her first husband, an artist named de Hirsch. She later married Louis Brigante, a filmmaker and one of the early editors of Film Culture magazine; the marriage lasted until Brigante\u0027s death in 1975.\u003C\/p\u003E\n\u003Cp\u003ELike many experimental filmmakers at the time, de Hirsch did not begin her artistic career as a filmmaker; she was a poet who had published at least two collections by 1965. She turned to filmmaking because she wanted to find a new mode of expression for her thoughts that went beyond words on the page. In 1962 she made her first film and soon became active in the New York underground film movement, associating with filmmakers such as Stan Brakhage, Jonas Mekas, Shirley Clarke and others. In an interview with Jonas Mekas she mentioned Jack Smith, Ingmar Bergman, Gregory Markopoulos, Michelangelo Antonioni, Vittorio De Seta, Ken Jacobs, Federico Fellini and Jonas and Adolfas Mekas as her favorite filmmakers.\u003C\/p\u003E\n\u003Cp\u003EIn addition to making films, de Hirsch taught at various institutions, including Bard College and New York\u0027s School of Visual Arts. After her husband\u0027s death she was forced to give up her studio, and stopped making films. She died in a Manhattan nursing home in 2000, following a long battle with Alzheimer\u0027s disease.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EWork\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EMuch of de Hirsch\u0027s work is abstract and employs a number of experimental techniques, such as frame-by-frame etching and painting and metadiagetic editing. In an interview with Jonas Mekas on the making of Divinations she said,\u003C\/p\u003E\n\u003Cblockquote\u003E\u003Cp\u003E\u0022I wanted badly to make an animated short and had no camera available. I did have some old, unused film stock and several rolls of 16mm sound tape. So I used that \u2014 plus a variety of discarded surgical instruments and the sharp edge of a screwdriver \u2014 by cutting, etching, and painting directly on both film and sound tape.\u0022\u003C\/p\u003E\n\u003C\/blockquote\u003E\n\u003Cp\u003ESometimes her animations are superimposed over live-action footage. Her films are clearly influenced by her poetic background; she referred to her series of short, silent films shot in the 1970s as \u0022Cine-Sonnets,\u0022 and she continued publishing poetry throughout her life. Her films also reveal an interest in eastern religious practices and rituals. Her work explores the possibilities of light and is concerned with spatial elements. In one film, \u003Cem\u003EThird Eye Butterfly\u003C\/em\u003E, she used a two-screen projection with split-screen frames to create a kaleidoscopic effect.\u003C\/p\u003E\n\u003Cp\u003ENot all of de Hirsch\u0027s films are cheaply made animated shorts. One of her early films, \u003Cem\u003EGoodbye in the Mirror\u003C\/em\u003E (1964), is a feature-length live-action film shot on location in Rome, with her husband, Louis Brigante, serving as assistant director. Part scripted, part improvised, the film centers on three young women living in Rome, searching for meaning in their lives. The film was shot on 16mm and later blown up to 35mm, at a cost of around $20,000.\u003C\/p\u003E\n\u003Cp\u003EHer films have been screened at the Museum of Modern Art, the Whitney Museum of American Art, the Cannes Film Festival, the Ann Arbor Film Festival and elsewhere. They are available through the Canyon Cinema Cooperative and the Film-Makers\u0027 Cooperative.\u003C\/p\u003E\n\u003Cp\u003EThe following films are undated:\u003C\/p\u003E\n\u003Cul\u003E\n\u003Cli\u003E\u003Cem\u003EAnd Send My Love to the Wind\u003C\/em\u003E\u003C\/li\u003E\n\u003Cli\u003E\u003Cem\u003ECruger\u0027s Landing\u003C\/em\u003E\u003C\/li\u003E\n\u003Cli\u003E\u003Cem\u003EHeathrow\u003C\/em\u003E\u003C\/li\u003E\n\u003Cli\u003E\u003Cem\u003EHello Tree\u003C\/em\u003E\u003C\/li\u003E\n\u003Cli\u003E\u003Cem\u003ESwan\u0027s Way\u003C\/em\u003E\u003C\/li\u003E\n\u003C\/ul\u003E\n\u003Cp\u003EShe also appears in Piero Heliczer\u0027s \u003Cem\u003EDirt\u003C\/em\u003E (1965), \u003Ca href=\u0022\/site\/en\/wiki\/artist\/gregory-jmarkopoulos\u0022\u003EGregory Markopoulos\u003C\/a\u003E\u0027s \u003Cem\u003EGalaxie\u003C\/em\u003E (1966), and Jonas Mekas\u0027s \u003Cem\u003EBirth of a Nation\u003C\/em\u003E (1997), and composed music for the soundtrack of Mekas\u0027s \u003Cem\u003EFilm Magazine of the Arts\u003C\/em\u003E (1963).\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EInfluence\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EAccording to the Museum of Computer Art, de Hirsch\u0027s work \u0022influences and anticipates the work of many later and current video artists.\u0022 Her use of technical devices such as painting and etching directly on the film stock has been called pioneering, although those techniques had been used before by Len Lye, Stan Brakhage, and others. Tools and techniques aside, critics have characterized other aspects of her work as inventive or groundbreaking. Stan Vanderbeek called \u003Cem\u003EThe Tattooed Man\u003C\/em\u003E \u0022a major work in terms of style, structure, graphic invention, image manipulation and symbolic ritual.\u0022 Gwendolyn Foster cites \u003Cem\u003EJourney Around a Zero\u003C\/em\u003E (1963) for its unusual treatment of male nudity, which reverses the cinematic tradition in which male filmmakers objectify the female body. Shirley Clarke, noting that \u003Cem\u003EGoodbye in the Mirror\u003C\/em\u003E focuses on female characters and their reactions to a series of events, called it the first \u0022real woman\u0027s film\u0022; Wheeler Dixon cites it as an \u0022example of early Feminist cinema that led to the later work of Yvonne Rainer, Jane Campion, Sally Potter, Julie Dash and others.\u0022\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"}