All Films

Fartasia

2002 • 2 min • Canada

"Fartasia" was made by running film through a sewing machine. The result is, as the filmmaker says, "surprisingly organic."

Bask in the Sunshine

2002 • 50 min

Contemporary art has become a trend for young people in China. Young artists often organize activities in the form of art groups or small groups — but this is not only looked down on by the government, but is also subject to punishments and restrictions. This film documents a gathering of more than 200 artists in Nanjing, all from different regions of China, who to engage in a modern art activity titled "Bask in the sunshine."

Little House

2002 • 55 min • China

On the periphery of every city there live the poor migrant peasants looking for a better life in City. Although the shabby living condition, burst of laugh of two years old Wadan and her parents could be cached from time to time. The film depicts the kind and sincere character of the Chinese peasant and tries to give a positive outlook of their life.

Salty Wet

2002 • 9 min • Canada

A deconstructive look at translations and misconceptions of queer Cantonese and English slang terms through the eyes of immigrants.

Miss Edmonton Teenburger 1983 in: You're Eternal...

2002 • 7 min • Canada

This featurette stars a young Miss Edmonton Teenburger 1983, who escapes into a world of fantasy, as she deals with the pressures of youth.

Mass Gymnastics, 60th Birthday of Kim Jong Il

2002 • 43 min

On the 16th of February 2002, the DPRK celebrated the 60th Birthday of Dear Leader Kim Jong Il. The mass gymnastic display titled “under banner of army-based policy” was given by 10,000 school youth and children at the Pyongyang Indoor Stadium.

Canon

2002 • 2 min • United States of America

This video is a piece of pure visual music: a synchronous visual and musical canon. Each musical phrase corresponds to a visual movement: in this case, a filling of the visual plane with a color. The color fields are flat, corresponding to an unadorned melody, and the animated transitions give a visual form to the musical form. The animation is offset in time and composited atop itself to create a visual analog to a musical canon. Each visual layer fills the plane just as each musical tone of each voice is heard. Harmony of counterpoint is achieved visually with these overlapping layers.

The Gazes – a Phenomenology

2002 • 52 min

At different times, people look at the camera in different ways: at the beginning of the 20th century not the way they did in the 1920s, in the 1940s differently than now... The cinematic look, developing, begins to influence the human perception of all reality. A certain character, on whose behalf the narration is being conducted, searches in the film archive for frames in which people look at the camera, and carefully examines them, trying to discover the hidden meaning of these gazes from the past.

Figures in the Landscape

2002 • 12 min

“FIGURES IN THE LANDSCAPE…refers to older media, in that it was shot with a pinhole camera, a form of camera obscura. The images show a sprawling Chicago suburb, while texts refer to earlier inhabitants – the Indians. The tentative, not completely sharp pinhole image combines with text to suggest that the landscapes shown, like all the landscapes we create, are themselves impermanent.” – Fred Camper

Headache

2002 • 4 min

A short section of found super-8 lip-reading film set in a doctor`s waiting room, covered in bleach, drastically edited and completed with titles and a soundtrack of homemade electronic music. The sounds, all generated with Helliwell`s unique electronic generators, create a jagged accompaniment to the cut-up images.

Black on White

2002 • 2 min

An experimental music video where shadow-like people move in a rhythm of reggae in the spaciousness of a snow-white chilled jungle touched by a cool sunlight.

Untitled (Light)

2002 • 5 min

"The film’s haunting images are accompanied by the continuous sound of a helicopter circling overhead, which at the close gives way to the distant sound of police sirens. The beams of light, which seem to emanate from above, could be confused with helicopter searchlights, a reading whose symbolic significance evokes both security and baleful scrutiny. These sounds, however, are not only immediately associated with the events of September 11; they have also become a ubiquitous presence in the urban sonic landscape. Murray reveals the subtle disconnect of sound and image only gradually, allowing conscious recognition to develop slowly in viewing the film." -Whitney Biennial catalog, (2004). Preserved by the Academy Film Archive in 2014.

Hand on the Pulse

2002 • 52 min

Joan Nestle is the founder of the Lesbian Herstory Archives in New York City. This documentary traces her life; finding her community in Greenwich Village in the 1950s, celebrating the body in her writings and in her public readings in her black slip, having a lesbian archives in her home for 25 years, participating in the Black civil rights movement as a freedom rider, becoming a feminist, and helping to forge a new queer consciousness through grass roots organizing. This 2002 documentary features interviews with Joan in her sixties, as she continues to celebrate the body as an aging woman and as a woman with cancer.

Toys Killer II

2002 • 18 min • Italy

Part Two of the Toys Killer quadrilogy

Will the Weather be Fine Tomorrow

2002 • 2 min

Short film by Liang Yue.

This Burning World

2002 • 32 min • United States of America

"Varela’s use of the diptych form suggests many things: a Warholian endorsement of dispersed attention, a citation to image-in-image news media, an act of forced similitude. Unlike Warhol’s treatment of the diptych, Varela is not ambivalent to these images, which shift between personal observation, archival materials, commercial and news images, all cited to state an unambiguous outrage[...] the whole of it is weighted with heavy omens, that this age of cruelty and menace is still only in its infancy." -Stephen Broomer

Key West

2002 • 5 min • Austria

Key West is located near the southern tip of Florida, not far from Key Largo. In contrast to Key Largo (John Huston, USA 1948), Key West has no need of gangsters to reveal this paradise on earth to be an illusion. Looking back from a distance of nearly 50 years, it is sufficient to reconnect those images which – each in itself – represented a longing view of this paradise: images of boat-like cars sailing down the highway, of bikini-clad girls on the beach, of surfers riding the waves. A moral lesson? Possibly.

Moments of Magic: A Celebration of Hockeytown

2002 • 58 min

To understand Detroit's passion for the game of hockey one needs look no further than the ice at Joe Louis Arena. There inscribed in bold letters is one word, "Hockeytown".

Elder Sister

2002 • 16 min

Short documentary from a 2002 graduate of the Beijing Film Academy. Showcased at the 2002 edition of the Toronto-based Worldwide Short Film Festival (WSFF).

Vocalise

2002 • 7 min

Early 20th century romance in Périgueux. A woman separates from her young lover.

The color of the ray on water

2002 • 7 min

Mizuyoshi tries to highlight everyday landscapes through his camera. Capturing the movements of light on the water of a stream, or reflections through the grass, he seeks to render a certain cinematographic image quality.

A Different Kind of Black Man

2002 • 18 min

This short documentary takes a look at the ideas and feelings of successful, black gay men on such issues as sexuality and masculinity, as well as their perception of, and their role within, the black community.

The Saskatchewan Trilogy Part I

2002 • 6 min

Using home movies, vintage memorabilia, and the straight facts about Saskatchewan, the filmmaker creates an eccentric portrait of the first year of his life, and the province that shaped his identity.

Skinside Out

2002 • 10 min • United States of America

Skinside Out features paint on skin, carried out in an expressionist mode on both of the filmmakers' bodies. The emphasis is on the pleasure of looking -- at the edge of repulsion -- and the implications of making public an essentially private gesture. The film posits painting as a gendered, bodily act, whose location shifts continually within a context that's always changing. Images filmed in the studio are juxtaposed with footage of a construction barge along the Hudson. By examining both in relation to surface, the work paradoxically looks for what lies within, while questioning who and where we take ourselves to be.