All Films

Attention, Focus, and Motion is one of Lucier's earliest black and white experiments with video technology and natural phenomena. Introducing themes that resonate throughout her work, Lucier investigates the intersection of landscape, motion and vision.

The Dislocation of Amber was filmed in the city of Suakin, a formerly flourishing port in Sudan, now in ruins. Its history is one of famine and opulence, devastation and progress, cultural damage and rich trade. Shariffe used symbols to accentuate a sense of desertion and alienation hinted at in the title. This surreal masterpiece of Sudanese cinema features poems sung by the late Sudanese singer Abdel-Aziz Dawoud.

Still at Work, a self-portrait of the artist in his places of work: the studio in Lower Manhattan and Sarah Lawrence College, the school where he taught. The film animates a still photograph through a grid of random dots.

All the members of an old men's club are large phalluses.

Overlapping Planes, all in negative image, begins with a completely white frame. A dark line appears at the top, proceeding downward: the surface of the paper is being cut from behind by Haxton. Two more incisions are made behind and then two alternate strips of paper are cut off horizontally and removed. Haxton then cuts incisions in a sheet of black paper hanging behind the sheet of white, directly behind the two missing slats. When he removes these, the frame is white again. He then cuts off the two white strips remaining in front, revealing the two posterior strips of black he had left. Finally, he removes these black strips so that the frame is white again. The film works with the relation between the flatness of the projected film and the depth one reads into a known spatial context.

Viewers are transported back in time to 1974 to see the annual Taoist celebration of the Dajia Mazu Pilgrimage. Thousands of participants accompany a statue of the goddess Mazu, who protects seafarers, on a 9-day, 8-night procession, stopping at several prominent temples along the way. The religious pilgrimage is a round-way journey from the Zhenlan Temple in Dajia, Taichung City to Fengtian Temple in Xingang of Chiayi County on the Western plains of Taiwan. The mesmerising festival takes place every year during the third lunar month and still attracts large masses to this day. The audio track of the film was once banned under the Kuomintang (KMT) due to the film’s inclusion of spoken Hokkien (Taiwanese), giving viewers at the time an altered and suppressed understanding of the event and its cultural significance in Taiwan. Viewers now can revel in the beauty of the Taiwanese language and see the film for the true spirit that it captures.

Parodist deformation of the famous painting by Manet Luncheon on the Grass.

Questions about ideas about the future are usually only answered in very general terms. In the "Workshop Future", everyday people have the opportunity to communicate their ideas and wishes through pictures. What will work look like in the next millennium, will everything be done by machines, what is behind the concept? Will work be more and more thinking? What will it look like in the household, what ideas do mothers have for the kindergarten of the future? Inspired by various ideas, visions of the future are to be presented together with the thinking viewer.

Shows how America's energy crisis happened and what possibilities the future holds. Examines some solutions through the development of coal, oil, and natural gas resources. Looks at nuclear, geothermal, and solar energy, and stresses the importance of conservation.

It is an attempt to put in representation of my own universe, my "I" being defined through friends filmed in familiar sets. This film precedes the serial movies that will follow. Nevertheless, the repetition is already very present for this film inspired by the music: that of John Cale, emblematic of my own passage from the rock aesthetics (Velvet Underground, Lou Reed, ...) to the minimal American music of La Monte Young, Philip Glass and Steve Reich whose composition processes will orchestrate upcoming films. Filmed with a Pathé Webo DS 8mm camera, the reel was shot several times in the camera in a series of layers of images overprint shot in Paris, Nanterre, La Défense and in the Perche. The filmic matter is apprehended in its thickness; I was very impressed by the film HYNNINGEN by Werner Nekes and Dore O.

The figure stood on the tops of two twenty-foot ladders, one foot on each ladder, and leaned against the outside wall of a warehouse. Two assistants took ten rolls of two-inch masking tape and stuck the figure to the wall, defying gravity, until sundown. –Jill Scott on Taped, 1975

An adventure film, a journey into light. This film is dedicated to Joseph Plateau, the discoverer of the cinematographic principle, who while exploring the inertia of perception stared into the sun until he was blinded. I made this film because I love the ending of the 'Adventures of Arthur Gordon Pym' by Edgar Allan Poe.

A portrait of Lima’s street mechanics.

On the sculptural work of the Austrian Günter Häese based on objects that vibrate at the slightest breath. The works of this artist allude to the natural elements of air, fire, water and earth, which is why abstract images, in negative, of the four elements, are combined with those created by the sculptor.

A student film starring transgender burlesque artist, Barbara LeMay, performing a partial reenactment of her signature act, the “hoochie show.” The film was made as a final project for a beginning filmmaking class at Los Angeles City College, though the professor banned its premiere screening for fear that the department would lose funding over the title’s “lewd” contents.

In the summer of 1975 I went to a farmhouse in KINASA Village - Nagano with my best friend Toda's family. Summer vacation sketches with a sense of intimacy. The main focus is on talking about the hearts of urban people who are attracted to nature, such as the color of flowers, the beauty of sunlight through the forest, and the fire of the colors. Music borrowed from Western album.

Traces the evolution of Canada’s system of taxation.

Optically printed frames of a flickering candle flame.

A ’train movie’ in the Urubamba valley, where a young gringo seems to be having bad dreams. All the racket of the train and the sound of a local band punctuate the elliptical editing of a phoney narrative, which pretends to end in Cuzco.

Edmondo Roth plays the role of Bette Davis in this campy dark comedy by Pier Farri.

On the occasion of his 21st birthday, Paul Wong walks southwest from his mother’s house at St. Catherines St. to the Quebec St. home of Kenneth Fletcher. Most remarkable about this video is not its careful camera work (shot entirely from a moving vehicle), but the driving that allowed for it – a feat that brings to mind the complementary (and collaborative) relationship between the shooter and the driver. On Becoming a Man was also the title of Paul’s 1995 solo exhibition at the National Gallery of Canada.

Computer/ video interface piece by Bill and Louise Etra with Dr. Lou Katz.

Al Wong’s Same Difference was composed over the course of a year, a 16mm camera set up on a tripod in the artist’s kitchen capturing views of the San Francisco hills through a large double window. Artist Ursula Schneider sits on a chair underneath the window, her presence and stillness an essential part of the work. With Schneider’s body in the centre of the frame, Wong shot freely at different times of day and night, cloudy or empty skies, and experimented with in-camera effects and editing to compose complicated choreographies of light, clouds and atmosphere.