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Loose Ends

Loose Ends is a collage film about the process of internalizing the information that bombards us through a combination of personal experience and media in all forms. Speeding through our senses in ever-increasing numbers and complicated mixtures of fantasy, dream and reality from both outside and in, these fragmented images of life, sometimes shared by all, sometimes isolated and obscure, but with common threads, lead us to a state of psychological entropy tending toward a uniform inertness… an insensitive un-involvement in the human condition and our own humanity. —Chick Strand

Loose Ends

NR 1979
River Yar

A camera recorded one frame every minute (day and night) for two separate three-week periods in autumn and spring. The film is shown on two adjacent screens, each having a soundtrack that was recorded on a sampling basis. The left hand screen was shot at the autumn equinox and the right-hand screen at the spring equinox. The structure of the film is based on the rotation and tilting of the earth as we pass from summer to winter and back. The centre of the film coincides with the equinox and is the point at which day and night are the same length on both the left and the right screen.

River Yar

8.5 1972
Hero Commandos

In the early stages of WW2 Japan invaded China. Obviously historical accuracy was not paramount in the movie creators minds. The Japanese set up a puppet government in Manchuria to act as a centre from which to conquer the rest of China. As part of their strategy the Japanese headquarters in Manchuria plans to process a large quantity of illegal opium in a short period. With that amount of drugs floating around temptation was close by. The money raised from the opium processing plant is to be used to fund the military expansion. But not all goes to plan.

Hero Commandos

NR 1979
This Surface

This surface and Edge [also being screened in this programme] are two of 5 Films (View, This surface, Actor, Edge, Between) made by David Hall and Tony Sinden in 1973. These works investigated the primal conditions of cinema itself. The films explore the relationship between screen image and spatio-temporal illusion – the materiality of the screen in relationship to the image as representation. Ideas that each artist would continue to explore after collaboration. But further to these concerns, these films mark a vital phase in the process of both artists as they sought to create a body of work with intellectual rigour without sacrificing the imaginative and aesthetic qualities of art.

This Surface

NR 1973
Cross

John Du Cane’s rarely shown films are amongst the most pure and radical of their period. In Cross, he uses the drawing of a cross (made without lifting the pencil) as a model for the camera movements and a score for the film. “The films are very physical, they are polyrhythmic and they are patterned in a manner designed to create a very definite way of seeing, of experiencing ... The films are silent to the extent that there is no soundtrack ... I believe films’ light capable of creating sound ... the films are there to be listened to. They are there to be felt." (John Du Cane)

Cross

NR 1974
Rubinstein: In Performance

This historic film captures the legendary pianist Artur Rubinstein in rare performance film footage. The first portion of the program features Rubinstein playing solo works. The next segment of the program takes us into his home, with the master playing a program of Chopin. The concluding portion of the film is the result of LIFE Magazine's famous photographic story on the great soloists Rubinstein, Jasha Heifetz and Gregor Piatigorsky in rehearsal together. It is an intimate study of genius at work.

Rubinstein: In Performance

NR 1977
Such Dust as Dreams Are Made On

David Janssen plays Harry Orwell, a retired L.A. cop who was shot during a robbery and whose partner was killed in the incident. Harry is in constant pain due to the bullet lodged near his spine, but he works off and on as a private detective to supplement his pension. Late one night, Harry is approached in his home by one of the men who shot him (Martin Sheen) to help find the other man (Sal Mineo) involved in the robbery, who he says is trying to kill him. Is it a setup? This was the first pilot for the ABC detective series *Harry O*, which (after a second pilot, *Smile Jenny, You're Dead*, was picked up) aired from September 1974 to April 1976.

Such Dust as Dreams Are Made On

6.3 1973