Director: Bruce Conner

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Birthday: 1933-11-18
Born in: McPherson, Kansas
Biography: Bruce Conner (November 18, 1933 - July 7, 2008) was an American artist renowned for his work in film, drawing, sculpture, painting, collage, and photography, among other disciplines. He first attracted public attention in the 1950s with his nylon-shrouded assemblages—complex sculptures of found objects such as women's stockings, costume jewelry, bicycle wheels, and broken dolls, often combined with collaged or painted surfaces. Simultaneously during the late 1950s, he began making short movies in a singular style that has since established him as one of the most important figures in postwar independent filmmaking. He used an innovative technique that can best be seen in his first film, "A MOVIE" (1958), which was created by piecing together scraps of B-movies, newsreels, novelty shorts, and other preexisting footage. His subsequent films are most often fast-paced collages of found and new footage, and he was among the first to use pop music for film sound tracks. His films have inspired generations of filmmakers and are now considered to be the precursors of the music video genre.

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A Movie

Bruce Conner's landmark experimental film consisting entirely of found footage edited to a new score.
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6.8
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Bruce Conner’s most celebrated film for a reason: it takes historical moments that were replayed over and over on television—chilling repetition of Kennedy assassination coverage—and repurposes them into a meditation on how the media tries to exert authority and apply a sense of order to the anarchic. And though it may sound perverse to say so, the film is also—not incidentally—a thrill to watch. -- The A.V. Club
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6.2
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Breakaway

Breakaway plays out like a visual symphony. A prototype for the best (but still, lesser) contemporary formalist music videos, like Peter Care’s “What’s the Frequency, Kenneth?” and “Drive” (both for REM), Conner’s movie is an experiment in the visual language of film. But no matter how powerful a formal analysis of his filmmaking process may be in suggesting how Conner’s rhythms affect us, there is much in Breakaway – in Basilotta’s brash and unbridled self-assertiveness, in Conner’s feverish camera style, and even in the uncomplicated honesty of Cobb’s catchy lyrics and tune – that defies verbalisation… and must simply be loved! -- Senses of Cinema
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6.7
Breakaway