All Films

Three-screen film. Three projectors with lamps of equal wattage are required, having lenses of 2" for normal projection: approx. 50 feet projector-to-screen. Place projectors side-by-side; screen images should be same-sized, separate but touching. Center reel is mixed color/B&W and carries the soundtrack. The two side reels are B&W, silent, and are to be run at 24 fps with sound turned off. Begin with center projector, sound turned on, and run alone until the title "Parallax" is finished: then switch on two side projectors simultaneously.

"We have tried to achieve a multi-layered mobile space – if you will – by means of the disparate motion of overlapping forms in flight. The frigate bird and flamingo were selected for their distinct light profile and unique movement. The film frame is a translation of my drawings. Sequential structuring of related forms in flight establishes the flow of content. The frame is contained in and moves through a limited sky determined in each segment by the peculiarities of the flight. Flight motion empirically introduces a perimental illusion of space as well as an illusion of distance between the film surface and viewer."

Scratched film with sensory effects.

16mm, b&w, 7'00

Set in L.A.’s Chinatown neighborhood, TO BE ME, TONY QUON offers a vivid depiction of Tony’s world, culminating with the food, firecrackers and lion dances of Chinese New Year.

An old cowboy is walking across the prairies. It seems that he has experienced everything. However, he will have to face his opponents a few more times - maybe it will be for real, or maybe it will take place in his mind.

Reclined underneath a bedsheet, Louise Etra reads an excerpt from chapter 3 of Legman's "Oragenitalism: Oral Techniques of Gential Excitation". Visual effects done on the Rutt-Etra synthesizer.

Bess Lomax Hawes’s final film is a portrait of Earl Collins, one of the premier Southern fiddlers of his generation. Shot in a modest living room in Downey, California, the work features Collins performing several numbers along with his son, relating the history of his career, and showing off his family’s heirloom hand-carved fiddle.

Director Bill Keating built a programme around following Rory through a day of his short 1972 Irish tour. At the center of the programme is a recording of the concert Rory played in the Savoy Cinema in Limerick on May 11th 1972.

Early work by Vince Collins, restored in 2021 by Mark Toscano at AMPAS.

A vampire named Andreadeus is awoken from his slumber by Van Helsing.

Nearly continuous colour changes rotating around a spectrum, occurring at varying speeds of rotation and in varying values of light. Colours are seen on the scraped area starting nearly white and rotating very slowly. As the film progresses the colour values become darker and the speed of rotation increases until by the end of the film, the colour is nearly black and is rotating around the spectrum about once per second. On the right the opposite occurs, starting nearly black, rotating very slowly. The moment to moment combination of colours and values is a function of the varying rate of rotation.

A Silvestre Byrón experimental short film.

Every gate opens to a new perspective, and every vision leads to a dream land. A land made with the creativity and imagination of a filmmaker. This film is a combination of a number of situations in which every child finds himself happily. In the end, there are questions that every child has to answer based on their imagination.

Two trucks with contrasting personalities each find love on the road.

"As an inauguration gift, I transformed a sketch of the new city hall into the coat of arms of my hometown Pforzheim."

"This film my first attempt to make a computer movie. I abandoned this short film because I felt it was too narrative. Subsequently I made the more abstract film 'Cubic Limit' (1973-1974)."

A comic cartoon, without commentary, showing that not everyone who rises to the challenge of sport can be sure of success. Pictured is a man with middle-aged flab who tackles the whole range of contemporary sports--swimming, bicycling, golfing, gymnastics, jogging--with great eagerness but equal ineptitude. At a time when physical fitness is much on the public mind, Sports Challenge is a friendly warning that fitness is not necessarily an inborn trait.

The outflow of population, mainly young people, from agricultural, mountain and fishing villages in Japan to urban areas became remarkable from around 1960, but the actual situation of Japan's depopulation, which is rapidly progressing in the shadow of high economic growth, was interviewed after 1970. Pick up the voices of the residents. We interviewed mountain villages and remote islands in Hokkaido, Tohoku, China, and Kyushu. The aging of villages and the rapid decrease of households affect all the lives of residents such as school consolidation, agriculture and forestry, and living road management, and the decline in village (community) functions is further accelerating remote villages.

Focusing on the Civil Rights Movement and a 1970 protest in New York, For Personal Reasons was inspired by the Black Panthers and Malcolm X. An innovative mix of fact and fiction—a kind of critical fabulation—it juxtaposes militant speech with avant-garde jazz. The film won an Honorable Mention at the Grenoble Film Festival in 1973.

Through books and their illustrations, the film provides an overview of the more than 400 year-old history of Estonian-language original and translated literature. The film gives an idea of Estonian publishing activities and book culture in general.

This documentary is about the solidarity march supporting the workers on strike at Lip (September 1973). Strikers, including Charles Piaget, talk about the action committee and its relationship to the union structure. Images of the march alternate with shots taken at various meetings.

The artist, emphasizing the objective dimension of the film camera, draws attention to the opposition between the space of the frame (what is presented) and the space outside the frame (what is excluded from the frame, i.e. the continuum of reality). According to Katherine Russel, such a strategy “emphasizes the subordination of reality to form. The picture frame, which has its own autonomy, limits the "view" to a simple economy: inside / outside. The nature of the "interior" is determined by the composition and detail, "outside" there is an unknown space that is never fully described. The fixed frame represents the intentionality of phenomenological consciousness, but at the same time it defines the limits of what is visible and knowable. The static frame indicates the subject of perception. The four sides of the frame also direct our attention to what is beyond it, that is: a continuum of reality defined by a kind of anti-continuum of the frame ”.