University of Michigan - Michiganensian Yearbook (Ann Arbor, MI)

Page 31 text:

The men and women who spend most of their day in studios at the Arch Building are probably more consci- ous of their art than the English major or the speech major is. The man who works in ceramics (left) or in painting is more detached from the real world and more interested in the world of representation. The men who are working with unistrut construction (far left) are probably more practical, but not less artful. Ann Arbor is more or less a Paradise Regained for the student seriously interested in music. Evening recitals are more or less a semi-weekly affair at the Rackham Amphitheater, and Inter Arts Union provides oppor- tunities for expression in student opera and original compositions. As an example of the school ' s attempt to bring the best instruction to campus, Edwin Franco Goldman of New York (below) conducts a practice session of the concert band in Harris Hall, while regular conductor William Revelli looks on.

Page 30 text:

The creative mind at Michigan finds many outlets: there is the music of Edward Chuda- coff and the paintings of John Goodyear and Hal Macintosh. There is the fiction of Bill Wiegand and Saul Gottlieb and the dance and poetry of Anne Stevenson. Because several years ago it was thought necessary to provide an agency to hold all art together, the Inter Arts Union was established. With this union, nebulous as it must be, art came to be looked upon as less a bastard-son of a liberal education and more as the ultimate aim Friday night at the Bull Ring on the Left Bank of the Huron might start with Sartre and end with Slosson (Prof.), or it might start with Klee and end at Rice ' s. Philosophy and beer, a little night music perhaps from the juke box, a little talk. Campus Dixieland fans had all the chance they wanted to enjoy the more liberal arts. Bob Leopold ' s combo, the only strictly Dixie group on campus, played at informal jam sessions and during inter- mission at the larger dances.

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, THE MAKING OF A MOVIE Cornering most of the artistic talent on campus in just about all branches of endeavor, a group of student film-makers chalked up a whole series of firsts last winter. With the production of a 70-minute feature movie, Metamorphosis, a screen translation of Franz Kafka ' s short story, growing interest in the medium of the film reached its high point. On December 10 and 11 at Hill Auditorium, premiere audiences got their first look at the unusually photographed psychological drama of a man who turns into an insect. Production of the film was a year-long job. Supervised by William Hampton, graduate student and president of Gothic Film Society, it was shot in an old house in Ann Arbor. Its cost, under $5,000, was regarded as exception- ally low for a full-length sound production. Mood and tone were very important to the overall effect of the film. Photo- graphed, as it was, from the eye level of an insect, camera angle and unusual lighting suggested the unique quality of Franz Kafka. William Wiegand ' s screenplay and Edward Chudacoff ' s musical score captured the flavor too. Experienced actors were recruited from local theater groups. They played the roles of a German family of the Twenties whose dialogue was as stylized as the costumes. As Metamorphosis went to other cinema societies across the country, tentative plans were being drawn to produce other movies here. Film was at last in the curriculum. 28