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The Green Gate: Magellan at the Gates of Death, Part II

"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH constitute perhaps the most gripping, monumental, and wrenching work ever executed on film...Frampton in 1971 began his filming of cedavers at the Gross Anatomy Lab at the University of Pittsburgh. He returned to the lab four times over the course of the next two years and then spent nine months assembling his 'forbidden imagery' into an extraordinary meditation upon death."–Bruce Jenkins

The Green Gate: Magellan at the Gates of Death, Part II

NR 1976
The Candy Tangerine Man

Sunset Boulevard is a lucrative place to work for the Black Baron, a pimp with a distinctive red and yellow Rolls Royce and plenty of girls on his books. He don't take no mess from his girls, his madam or his competitors and viciously defends his patch. First, he clobbers the Mob who attempt to move in on his patch. Second, he tracks down one of his girls who runs off with a suitcase full of his cash. Third, he disposes of two policemen. But by now he knows his pimping days are numbered, so after a final explosive gun battle he switches to being his alter ego, mild-mannered businessman Ron who lives out in the leafy suburbs with an unsuspecting wife and family.

The Candy Tangerine Man

5.0 1975
Volcán

Volcán captures a raised mound of earth set against a grassy riverbank. A white silhouette in the shape of a female body lies atop of the form. The same shot then cuts to a frame where the base of the white figure spontaneously starts smoking. It then quickly sets aflame. As it combusts, a deep cavity is revealed, even as it is cloaked in growing flames and smoke, evoking a volcanic eruption. Finally, the entire body is engulfed so that only ashes remain in the negative space, human remains. Mendieta short the work in 1975 at Old Man’s Creek in Sharon Center, Iowa, near where the artist was living at the time.

Volcán

NR 1979
Still

"This collapse of separate times into one image creates another push/pull with the experience of depth. The superimpositions seem to lie on top of the image, yet they move into depth, creating what Gehr describes as a 'teasing play with planes.' But the play with space and position here involves more than tension between layers. The variations on light and shadow on the two levels cause the double-exposures to pop in and out of depth. A shadow on the first level can give the superimposition a sudden burst of solidity. Gehr calls our attention to the multiplicity of depth cues that operate in a film in addition to perspective recession. The cue of overlap creates much of the amusement of the film, as the vehicles on one level plow through the phantoms on the other. Gehr was particularly fascinated by the way depth cues provided by color (with warm colors coming forward) interact with the logic of space..." – Tom Gunning

Still

4.0 1971
Atonement

UCLA Student Film, Preserved by the UCLA Film and Television Archive. Most of the story is told without words. A man is shown climbing into and then trapped inside an abandoned zoo cage. At the end of the film, the man's wife's voice is heard over a loudspeaker, asking him how it feels to be treated like someone who doesn't count, the way he treated her and his ex business partner, her accomplice. He falls to his death, and the wife and the accomplice are shown removing all evidence of their complicity.

Atonement

NR 1979
Dream No Evil

Grace is a troubled young lady with some serious daddy issues. She was adopted as a young girl and raised up in a family of traveling faith healers. After the patriarch of that little group passes away Grace's world is thrown into turmoil. The eldest brother turns his back on the family business in favor of medical school despite being engaged to Grace and she is left alone with the shady younger son who puts Grace in a skimpy leotard and incorporates some circus style showmanship to draw in the rubes.

Dream No Evil

5.7 1970
Lost in the Garden of the World

Cannes is the town in France where Bergman meets bikinis, and the art of filmmaking meets the art of the deal. In 1975, a group of expat Kiwis managed to score interviews with some of the festival's emerging talents, indulging their own cinematic dreams in the process. Werner Herzog waxes lyrical on the trials and scars of directing; a boyish Steven Spielberg recalls the challenges of framing shots during Jaws; Martin Scorsese and Dustin Hoffman talk a gallon.

Lost in the Garden of the World

NR 1975
Happiness Is...

Humorous adventures and dangerous escapades of young Mike Adams and his mischievous friends. Together, they learn when character counts. This delightful, Tom Sawyer-like story presents the adventures of Mike Adams and his mischievous friends. Their efforts to keep the neighborhood tomboy out of their secret “boys only” club lead to a series of humurous and harrowing escapades. Heartwarming entertainment that will bring back memories for parents as they watch it with their children, HAPPINESS IS…illustrates that faith, truthfulness and honesty are possible in today’s world.

Happiness Is...

9.0 1975
Pleasure Faire

From British Columbia, a day at a youth festival reminiscent of the folk fairs of medieval times, organized by people who choose to live outside the usual social pattern. The Pleasure Faire offered crowds a wide variety of hand-made objects--jewellery, beadwork, leatherwork, art, pottery. More than that, it provided a day of music, minstrel songs, dancing, and people participating in the spirit of the occasion, free of any commercialism or constraint. A day of joy, relived through the film.

Pleasure Faire

NR 1972