Mary Ellen Bute

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Mary Ellen Bute (November 21, 1906 – October 17, 1983) was a pioneer

A native of Houston, Mary Ellen Bute studied painting in Texas and, subsequently, Philadelphia at the Pennsylvania Academy of the Fine Arts, then stage lighting at Yale University's Drama School in 1925. She studied the tradition of color organs, as a means of painting with light. She worked with Leon Theremin and Thomas Wilfred and was also influenced by the abstract animated films of Oskar Fischinger. Bute's film-making has two relatively distinct modes. She created a series of abstract films exploring the relationship of sound and image in cinema, and a second body of work focused on the relation of language and cinema through adaptation of literary sources. Bute began her filmmaking career collaborating with Joseph Schillinger on the animation of visual representations of music. Her later films were made in partnership with the cinematographer Ted Nemeth, whom she married in 1940. In fact, all her films were produced by Ted Nemeth Studios until 1952.^[2]

Before she began making films, she gave a lecture to the New York Musicological Society in 1932 titled 'Light as an Art Material and its Possible Synchronization with Sound.'

In the 1960s and 1970s Bute worked on two films which were never completed: an adaptation of Thornton Wilder's 1942 play The Skin of Our Teeth, and a film about Walt Whitman with the working title Out of the Cradle Endlessly Rocking. Her final film, inspired by James Joyce, was Passages from Finnegans Wake, a live-action feature produced and directed by Bute, made over a nearly three-year period in 1965-67, and recipient of a Cannes Film Festival award.^[4]

Bute was a founding member of the Women's Independent Film Exchange. She chose film historian Cecile Starr to distribute her short films.

Mary Ellen Bute died of heart failure at New York City's Cabrini Medical Center. She was five weeks short of her 77th birthday. Six months earlier, on April 4, she received a special tribute and a retrospective of her films at the Museum of Modern Art.

Filmography

• Synchromy – 1933, collaboration with Joseph Schillinger and Lewis Jacobs [unfinished].
• Rhythm in Light – 1934 (b&w, 5 min.) in collaboration with Melville Webber and Ted Nemeth.
• Synchromy No. 2 – 1935 (b&w, 5.5 min.) music: Evening Star from Tannhäuser by Richard Wagner.
• Dada – 1936 (b&w, 3min.) short for Universal Newsreel.
• Parabola – 1937 (b&w, 9 min.) music: Création du monde by Darius Milhaud.
• J.S. Bach
  .
• Spook Sport – 1939 (color, 8 min.) music: Danse macabre by Camille Saint-Saëns. Animation by Norman McLaren.
• Tarantella – 1940 (color, 5 min.)
• Polka Graph – 1947 (color, 4.5 min.) music: Dmitri Shostakovich's Polka from The Age of Gold.
• Color Rhapsodie – 1948 (color, 6 min.)
• Pastorale – 1950 (color, 9 min.) music: Bach's Sheep May Safely Graze.
• Abstronic – 1952 (color, 7 min.) music: Aaron Copland's Hoe Down and Don Gillis's Ranch House Party.
• Mood Contrasts – 1953 (color, 7 min.)
• Imagination – 1957 (color) compilation background for musical sequence, Steve Allen Show (November 17, 1957)
• The Boy Who Saw Through – 1958 (b&w, 25 min.) (producer) stars a young Christopher Walken [not abstract].
• New Sensations in Sound – 1959 (color, 3 min.) advertising film for RCA.
• Passages from James Joyce's Finnegans Wake – 1965–67 (b&w, 97 min.) (director and co-writer) screened at the Cannes Film Festival [not abstract].