All Films

A film by Ed Emshwiller that surveys, without narration, the vast human and material resources committed to the U.S. space program. Uses recurring images and sounds to depict the past dreams and doubts, the planning and engineering, the hardware, the construction and transport, the teams and the astronauts, the definition of the moon voyage, the launch of the rocket, and visions for the future.

A young boy named David learns to pay attention and follow instructions, thanks to some poorly animated but helpful cartoon animals. Presented by Coronet films as part of their "Beginning Responsibility" series.

Cinema Verité about Fons Noyens who cannot pay for the damages caused by an accident as his ensurance company had become bankrupt. We get to see the public auctioning of his household effects.

An examination of the police brutality during the May '68 demonstrations.

“Fishing/boys and father/pure/simple/straight forward” – Carolyn Brooks

A documentary on the miracle which took place in the Usturt Mountains which is now a holy shrine where people go to worship.

In 1967, a few months after the famous exhibition Arte povera-Im Spazio at the gallery La Bertesca in Genoa (when the critic Germano Celant defined the first guidelines of arte povera), Alighiero Boetti, at the age of 27, had a solo show at the Turin-based gallery Christian Stein. The first part the film explores the works assembled with iron, wood and industrial materials (Eternit, camouflage fabric, enamel paint), then shifts to the reactions and relations with the works of the audience at the opening (the artists Michelangelo Pistoletto, Mario Ceroli and Giulio Paolini, and the dealer Gian Enzo Sperone are recognisable). The black and white images are accompanied by a saxophone improvisation by Carlo Actis Dato. —Tate Modern

Experimental short by Bruce Nauman.

Creative portrait of the artist Bruce Nauman.

To cheat or not to cheat is not always a simple problem. David has legitimately helped Bernard with his struggles with arithmetic in the past. Now is Bernard obliged to let David copy his geography paper?

The film shows electronically dissolved and distorted images of well-known celebrities, framed by a psychedelic musical setting. Ture Sjölander is an early pioneer of computer animation. Beginning in 1964, his electronic images were being broadcast by Sveriges Television AB (SVT), include productions; "Time" (1965/66 Ture Sjölander and Bror Wikström), "Monument" (1968 Ture Sjölander and Lars Weck) and "Space in the Brain" (1969 Ture Sjölander, Bror Wikström, Sven Höglund and Lasse Svanberg).

Produced by Leonard M. Henny in cooperation with the Black Panther Party and American Documentary Films. Camera by Steven Lighthill and Leonard Henny. Editing by Kees Hin. Speech by Stokely Carmichael. Dancing by Uzozi Aroho Dancers and Company, Birth of Soul Dancers. Portrait of the struggle for black liberation, the African heritage of American blacks, the need to form a Black United Front in order to survive the threats of white racism in America and in the world today. The speech by Stokely Carmichael was given at the occasion of the merger between the Student Non-Violent Coordinating Committee (SNCC) and the Black Panther Party in Oakland, California, February 1968. The merger took place on the birthday of Huey P. Newton, Minister of Defense of the Black Panther Party, who was jailed for allegedly having killed a policeman. The speech ends with the famous: "Huey Newton will be set free, or else ...."

A two-minute computer animation of a fantastical centipede having a spot of bother with a mischievous segment.

The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.

A psychedelic tour de force of animation and time drawing, involving the work of seven artists. A major portion of the drawing was done under the influence of LSD and a variety of other hallucinogens. The drawing is almost wholly non-representational. The sound score is a chaotic mind-bending flow which matches the character of the visuals. Preserved by the Academy Film Archive in partnership with UCLA Film & Television Archive in 2014.

It is an experimental quickie on family planning. Using pixelation and electronic music, the film depicts the idea that two children are enough for a family.

A MATTER OF OPPORTUNITY is an outreach film that was sponsored by the American Medical Association (AMA) and the National Medical Association (NMA) in response to the burgeoning civil rights movement in the U.S. and the limited opportunities afforded to African-Americans in the field of medicine. MATTER OF OPPORTUNITY signals a seismic shift in thinking and action within the institutions of education and medicine in the 1960s.

The Right to Dissent: A Press Conference, records a pre-convention press conference of the National Committee to End in the War in Vietnam. David Dellinger and Rennie Davis recount their difficulties in dealing with the City of Chicago to plan their protests against the 1968 Democratic Convention.

Law and Order vs. Dissent intercuts footage of the police response to the demonstrations at the 1968 Democratic Convention with press conferences by Mayor Richard J. Daley and a spokesman for the Chicago Police Department in which they place the blame for the violence on the student protesters.

Social Confrontation: The Battle of Michigan Ave. shows the events of Wednesday, August 28 at the 1968 Democratic Convention including National Guardsmen detaining protesters, mass arrests near Grant Park, and Mayor Daley cursing at opponents from the convention floor.

Discusses the identification, use and storage of virtually all dangerous products likely to be encountered in the home, including common poisonous plants.

Talks about how the deaf are capable data processing/computer employees.

Presents an overview of the social, legal and moral aspects of drug use and abuse in the United States. Includes interviews with drug users, legal authorities, sociologists and medical researchers, including scenes of hippies in San Francisco and of New York's Greenwich Village.

The film seeks to question how a certain image is perceived. The point of departure is a photograph of a street in Palestine. Later the camera moves to show that the photo includes (in a rear mirror) the image of the photographer with a camera. Finally, the image is reversed as in a mirror. The film is constituted of four unedited rolls of 100-feet 16mm reels, one of which was previously exposed in an 8mm camera.