All Films

An experiment with color fields.

“Breaking in. Patrice Kirchhofer’s Anorexie 4 continues on the path of the narrated narrative (a short story by Chandler) and Décembre 79 on the path of photography. At the end of these two journeys, the film becomes the subject and the trace of the same act of breaking in. In Anorexie 4 the voice shapes the images (the play of chess and of light) and in Décembre 79, shot in the same abandoned mining region, the photos shape the film: chemical deposits, fossils instantaneously striped and imprinted by signs of life and haunted by their ghostly presence. A space of dreary grey, of desolation, which is in a never-ending process of dying because the place, even before being filmed, already went through a vampire-like depletion. In accepting the invitation of these tracking shots of abandoned factories, the spectator is summoned to riverbanks similar to those of Dreyer’s Vampyr and Murnau’s Nosferatu.” Charles TESSON. Festival de Digne. Cahiers du Cinéma n° 314 – Juillet–Août 1980.

A film and installation a loop of clear film together with a loop of magnetic recording film the same length was laced in a double band projector, (a projector which can play/record a separate sound film, used for editing and post production) Various hand and mouth marks also to spraying ink using a primitive mouth diffuser used for fixing drawings etc, marks onto the film surface. The mark making was accompanied with a wide range of guttural noises in synchronization with the hand made marks being made and recorded onto the magnetic side of the projector. with the performance version the erase head was removed so as to accumulate the various sounds on the loop; The film makes a humorous contradiction to a current stylistic convention that the hand made mark would give an appropriate noise when passed through the optical sound reader on the projector.

Wäinö Aaltonen began this sculpture in 1917, the year of Finnish independence. For Peippo it represents the generation growing up in the young nation.

a super 8 movie realized by Jomard Muniz de Britto, a brazillian director

Experimental film on 16mm by Alexandru Pecican as part of Kinema Ikon.

Gorewitz abstracts footage of highway traffic, gradually transforming the ordinary into a multi-layered world of shifting colors and sounds.

Spiral 5 is in the inaugural collection of Video Art at MOMA [Museum of Modern Art] in New York. It was the fifth in a series of performances of a piece called Spiral. Most of the Spirals were performed live in front of audiences by people controlling digital computers and playing on the analog image processor (IP), with musicians jamming along. The GRASS digital system combined with the IP formed the digital visual instrument used in the performance. Spiral 5 was performed in front of a studio audience and the music was re-recorded later. It is an abstract, mathematical animation based on the linear spiral, in something you might call the visual music tradition.

Eerie transformations of human and animal forms, rendered nearly abstract through image-keying, resonate with visual power in Heads. -EAI

One of Jadwiga Singer's analitical, conceptual films, showing how, using the simple tool of a 16 mm film camera, we are able to manipulate the conception of reality.

A couple of bumbling private detective siblings get hired to investigate a bar robbery, in this short, low budget, action/comedy send-up of the 1970s "TV private detective" genre.

Punk rock group FLESHTONES perform the song "Soul City," as tiny black & white cut-out figures, (with hand-tinted flesh tones), against a flickering background of brilliant color. In the film, Jones 'recycled' the same basic movements of his subjects by reconstructing totally new motions from the same severely limited amount of footage. This was done through alteration of perspective, and reversal of selected movements at varying intervals. The number of movements a subject can make, artificially created from a few basics, becomes almost limitless once an understanding of what motivates activity in that subject from the beginning is achieved.

Four years after the great struggle and strike at the Lip factory in Besançon, the Cinélutte collective gives the word to the workers, two women, making an unforgettable portrait of two working class heroines.

The daily lives of children with double disabilities (hearing and visual) and the treatment given to them by teachers are presented in order to relate moments of leisure and directed instruction. The film also addresses the behavior of these children through dramatic games.

Digital TV Dinner is a video art clip from 1979 created using the Bally Astrocade console game to generate unusual patterns. The Bally Astrocade was unique among cartridge games in that it was designed to allow users to change game cartridges with power-on. When pressing the reset button, it was possible to remove the cartridge from the system and induce various memory dump pattern sequences. Digital TV Dinner is a collection of these curious states of silicon epilepsy set to music composed and generated upon this same platform.

A collection of tapestries designed and sewn by the filmmaker illustrates the lyrics of a song about a young girl's hometown. Animation is created through a combination of sewing and cinematic techniques. The needlework, done in a naïve style, is particularly well suited to the bright colours and varied textures of the work. This lively film is designed to promote interest in the art of tapestry.

Uses an analogy of basketball game strategy in dealing with gum problems. Recognizes the opponent (gum disease) and his style of play (plaque), effective defense (proper home oral hygiene and regular professional care), and the cost of losing (loss of teeth).

An ‘educational’ documentary on the evils of shoplifting is itself shoplifted, mocked, and then remade or extrapolated on the Proudhonian principle that ‘property is theft,’ with the figure of the shoplifter freed from the zone of morality and re-situated as a vital part of an alternative economy. The dual aim is to shake up the disciplinary role of the educational doc as well as conventional definitions of criminality.

The film is composed primarily of a series of zooms inside an apartment in Logan Square accomplished by running or walking with the camera, and also features two cats and footage of the blizzard of 1979.

With an audio track of children describing their dreams, Beams’s animation depicts them soaring above fields and through the clouds in scenes of youthful revelry.