All Films

The Limits of Human Possibilities

1984 • 4 min • Poland

“The Limits of Human Possibilities” is an example of on-camera performance, a sequence of poses reminiscent of asanas in yoga adapted by the artist, for which the outline of a mountain range is a kind of point of reference.

L'alphabet des Animaux

1984 • 3 min

The commentary, in their language, of my bestiary filmed by three young women: Eloisa: Brazilian; Giovanna: Italian and Nelcy: Colombian.

Tech Knowledge

1984 • 15 min

Started during a residency at the Experimental Television Center in upstate New York in 1982, Nancy Buchanan’s Tech-Knowledge brings together video footage of technology used in a variety of fields—everything from agriculture and food production to communications and video games—as people in voice-over discuss the social, economic, and political dynamics of these technologies.

Punch

1984 • 1 min • United States of America

Arnold's slight build heightens his physical provocation, as in Punch from 1992, where the artist asked an athletic man to punch him in the stomach.

Five Year Diary, Reel 41: California, Massachusetts & Wyoming (August 28–December 25, 1984)

1984 • 25 min • United States of America

Stevie Ray Vaughan live at Munich

1984 • 43 min

Stevie Ray Vaughan and Double Trouble - Live at Munich Rock from Alabama 27.8.1984

Suite Poursuite

1984 • 4 min • France

All the images in this film, dedicated to painting, are strewn with blows and incisions in the colored matter. Between attraction and repulsion, a fight is engaged at the accelerated rhythm of a drum solo.

Cut violently

1984 • 29 min • Japan

This work was made as a "myth" with the poet Nejime Shoichi as the main character. Nejime Shoichi, who aims to be a reading poet, rides a train to visit senior poet Iwao Abe and asks for the secret of reading. Nejime Shoichi is good at being "naked".

Ian Breakwell's Continuous Diary

1984 • 57 min

Developed from Ian's published diaries these short works provide an objective, compassionate, often humorous and bizarre view of events that happen around us daily. Commissioned by Channel Four and made in collaboration with independent producer Anna Ridley, this series of short pieces were broadcast over a six week period in April and May 1984.

Kiss Me Gentle Rubber

1984 • 6 min • Yugoslavia

A new combination of a drawing put in a classical artistic space and of surrealist contents arising from metaphors and associations. Classical cartoon heroes are swapped with their animated movements and silhouettes.

Dumping Core

1984 • 13 min

In Dumping Core, a frenzy of images appears across thirteen video monitors, creating an information overload set to a proto-techno soundtrack. The installation mimics and exaggerates the pervasive media culture prompted by then-new television networks like CNN and MTV.

Confused [The Videotape]

1984 • 52 min • Canada

A visual/aural non-linear narrative. A layering of ideas, facts, opinions, prejudices, fears, and styles. The story is based upon the innuendoes and interrelationships of four main characters – Gary, Gina, Jeanette and Paul. Distinct video forms are used to build the narrative and to handle the complex range of information and technical styles. The video’s intent is to develop a broader understanding and tolerance by its viewers towards a new sexual attitude.

maranntzのＣＭ

1984 • 1 min • Japan

In 1984, a commercial for a radio-cassette maranntz. Yoyogi Park. A strange girl.

From the Family of Eggs

1984 • 8 min

Eggs, mountains, thistles and ultimately a glorious burning bush, pulsing to a contrapuntal samba, harboring a bit of the surrounding void, the human heart. Computer generated.

Spectral Brands

1984 • 7 min

"[This] is my first attempt to construct a video piece using one set of generative intervals for both sound and color. All of the color in the piece is orchestrated in brightness ‘octaves’ corresponding to the registration of the pitches in the soundtrack. Each hue from a circle of twelve corresponds to one of the pitches of a tempered scale. The articulation of the piece consists of a series of loudness and brightness ripples which move across the piece in speed relationships derived from the hue and pitch proportions. The image content, or the ‘instruments’ through which the colors resonate, are an alphabetical set of identifying symbols for 32 of the largest corporations in the world." - Bob Snyder

Deposit of Faith

1984 • 11 min

How may be unknown, but attaining the goal is certain. Dichotomous branching fractals incorporate carefully shepherded randomness. "Good Faith" Share the riches! Here's the catalog! "Bad Faith" Microbes of our soil zip beyond Pluto? "Justification by Faith" A leaf sings of seed forms. "Otis's computer animations glow as none other with intelligence of form, astonishing life-likeness of movement and the deep impress of personality." - Stan Brakhage

Eponine

1984 • 10 min

"When I began to write and shoot my film Eponine in 1975, I wanted to consciously ‘test’ this and other concepts of analysis with a film; the character of a mother without a face; the suggestion through sound of an outside world that one never sees (since the film takes place within the walls of a house from which one does not go out); the creation of an imaginary topography. The success of this film showed me that the concepts ‘worked’. Thus, for me, theory is not a dead demonstration. A living theory must be drawn from a personal experience." - Michel Chion

XV/84 Vogelhaus

1984 • 9 min

Short sequences repeat, the filmmaker walks slowly towards the window, his dark shape before the camera coming to a halt in front of the bright window. In three different scenes, the figure is seen running from behind, five times in a row towards the window, then onto the balcony, and finally to a body of water, accompanied by the same sound track: birdsong from an aviary.

XVI/84 Fenster III

1984 • 4 min

A game involving windows, their grilles and surfaces: the darkness of the crosses contrasts with the lightness of the panes. The crossbars are almost constantly in motion, sometimes as a single bar, sometimes as a group of several, and finally as a single bar. The moving crosses resemble film strips at times, but then they turn in a circle or shift and reveal the outside world: trees, bushes, or the sky. The images move faster and more frantically, superimposing on top of each other until they are interrupted at the end by individual freeze frames.

The Beads

1984 • 15 min • Japan

A beautiful abstract image is created by shining light from various angles, changing the colour of the light, and moving the camera horizontally and vertically on a vast number of polka dots and marbles. The beads change colour and shape to create a symphony of images. This experimental work achieves a crisp rhythm and the fresh texture of water drops through precise technique and calculated screen composition.

福助

1984 • 4 min • Japan

Soaring-over-the-time Symptom

1984 • 25 min • Japan

There is a nationwide epidemic of "the symptom of running through time", in which a person's body suddenly begins to flash in and out of existence, becoming faster and faster until it finally disappears. As a countermeasure, the high school's health club started a daily treadmill exercise program to encourage regularity. This film is a sincere question by the 17-year-old filmmaker about the meaning of his own existence and the society in which he lives.

End, End

1984 • 22 min • Japan

The film begins with a "Dog of Andalusia" style image. I don't mind if it's an imitation of Godard. The film begins with the words "I don't care if it's an imitation of Godard", and then a series of images that seem to imitate some film appear and disappear one after another. The film is interrupted by a sceptical narration, which pauses to describe the artist's anguish at not knowing how to end the film, even though he wants to. A light, self-assertive film that pretends to be a film imitation.

Manjushaka: Lycoris Radiata

1984 • 25 min • Japan

When a boy wakes up, his memory is lost and the town is empty. Suddenly, a girl appears selling manjushage flowers, saying "Don't you want flowers? The girl, who walks with a basket of red flowers on her head, is actually not from this world. The film is a very honest look at the question of what true beauty is. The girl's voice repeating, "If it's a red flower, it's manjushage" is impressive.