All Films

The sketches include too many feet, Whicker's World looks at marriage, somewhere in Hell...1982, at look at the use of language in Arra Gemme, Brideshead, Charmaine Globb on Probe looks at The Conned-Sumers, the unyielding parking attendant, high expectations, the upcoming ITV winter shows, finishing with the Fast Food Follies.

It’s the 1st of September, a sunny and joyful day in Pripyat. Children are going to school, and the builders, engineers, and supervisors of yesterday are sharing their thoughts about the future of the city and the newly built power station. Mr. Kizima, head of construction at Chornobyl, speaks about the city planning process, and Mr. Voloshko, head of the city executive committee, speaks about the creation of recreational areas for workers. The main architect, Mr. Oleshko, talks about the construction of the local swimming pool, and the head doctor, Mr. Leonenko, gives an ironic overview of the problems of high birth rates in the Atomohrad.

Space Invaders is a science fantasy that maps the terrain of what might have been regarded, in the 60’s, as a ‘global village’, the giant video screen of the disco, the home television and the video arcade game.

A bird transforms into a variety of objects and back into itself.

8mm film made in 1982 by the Bunkyo University Film Research Club.

8mm film work from 1982 by the Film Studies Department of Bunkyō University.

Inverting the form, style and time frame of commercial television advertising, Logue has produced a unique series of dynamic video portraits of avant-garde artists, writers, musicians and performers. In 30 Second Spots: New York, which Logue terms "commercials for artists," each of the succinct vignettes conveys the artistic essence of her subject with clarity, wit, and an elegant economy of means.

Film divided into three parts in which the Valencian musician Carles Santos explores various sonorities, using the image as a means of expression.

A look into the world of saucy Plymouth artist Beryl Cook, one of Britain's most popular painters.

A raindrop falls from a leaf and seeps into the earth. Within, it is permeated by beauty, cruelty, happiness and sadness.

Two reels of mis-takes in shooting Part II of 3RD DEGREE; Film was loaded in camera improperly and the image slides about off-center and becomes blurred, creating some rather amusing and mysterious imagery. A made “found” object.

By cutting up and zoom in on images of facades creates Matsumoto visual effects.

About how the boy's fantasies made him strong and brave.

In Relation, the focus of the viewer’s attention is guided by pointers moving through the screen.

ACROSS THE BORDER is a collage of found footage and documentary images, radio Spanish/English tracks and commentary by Philippe Bourgois, a Stanford Anthropologist trapped in an offensive by the United States-backed Salvadoran Military forces. The film’s position against U.S. intervention in the third world is stated in graphic visuals that employ techniques of optical printing and animation.

Muncie Central and Anderson High prepare to meet for the annual basketball game, a game charged with the spirit of long-established rivalry. An examination of the role of competitive sports (in this case, basketball) in the community, for the coaches and, most of all, for the players themselves.

In the Americanbom, educational films, newsreel footage and old television shows are appropriated for a sardonic exploration of nuclear age values. (LUX)

16mm film from 1982.

The film of Michael Engler from the year 1982 showing the different methods of operation of photgraphers Harry Callahan, Mark Cohen, Robert Frank, Ralph Gibson, Duane Michals, Joel Meyerowitz, Stephen Shore, Garry Winogrand and others

This film from the human fascination with immortalié stone, described by Roger Caillois in his book STONES. A cult of the stone has a long history in Asian countries like China and Japan. Moving from the mountain to the sea, the film unfolds like a dream incantatory which is the theme: In China, a mountain of Tséchouan, it is said that there was once a stone that had children. Beyond their age difference and the distance between them, those who dream of one stone are in constant contact. Fascinated by the same stone, their thoughts, their gestures, their desires end up merging. One day they will be reunited in a garden called the Garden of the ages. It describes the garden as the meeting in the same place and the same time the four seasons of life: the birth of spring, summer childhood, fall of man becomes an adult, the old man winter. This garden is both in and out, like a large house containing its own garden.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”

In this wonderful region all landscapes and characters come from counting rhymes that are known to many children. Here Greka sails on his boat across the river, here Eneki and Beneki eat dumplings and golden porch sheltered ordinary workers and the king's persons. Nothing is impossible in this country full of colors, fun and light-hearted children's happiness.