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‘New York Scenes’ (1967) is sketches of certain scenes and portraits in New York including, ‘Linda with a lens’, ‘Fire hydrants on Broadway’, ‘Jack Smith with his ‘Flaming Creatures’, ‘Akiko on the roof’, and ‘A hippie at the Central Park’.

A look at democracy through the eyes of one white family in one white suburb, challenged by the turmoil around it.

A woman hires her deaf-mute gardener to get rid of Judy, Tom's girlfriend, a young man she thinks would be better back with his old girlfriend Carol.

Honey Halfwitch conjures a cauldron full of monsters while Cousin Maggie is away.

The imaginary life cycle of a pair of scissors, from birth to reproduction.

Mr Magoo goes to what he thinks is a hotel but it’s actually a mad scientist’s castle and he’s after a brain...

This modern madcap explores futuristic living with space-age conveniences.

Begins with a close-up of Edie Sedgwick powdering her face with a powder puff. She is wearing two different earrings and has been lit harshly from the right. She holds her hand up against the light, laughs, and says something to the camera. The camera then zooms out, showing her seated on a stool.

Alexander Calder's La Grande Voile was erected on the Massachusetts Institute of Technology campus in 1966 with the artist directing the work. As the spectacular steel forms of this monumental stabile rise, it is filmed with time-lapse and verité photography. One can see that the structure owes its spare elegance to the precision of its design and construction. Calder remains absorbed in quiet concentration as skeptical students and bemused bystanders observe the somewhat peculiar event.

A satirical short film that humorously explores the absurdities of a corporate sales meeting. Through exaggerated interactions and miscommunications, the film highlights the challenges of decision-making and office dynamics in a comedic, insightful way.

Excerpts from the Bugs Bunny show compiled as a special feature for the Looney Tunes Golden Collection

Body Collage is a visceral "movement-event" from 1967, in which Schneemann paints her body with wallpaper paste and molasses, and then runs, leaps, falls into and rolls through shreds of white printer's paper, creating a physicalized corporal collage. "My intention was not simply to collage my body (as an object), but to enact movement so that the collage image would be active, found, not predetermined or posed," writes Schneemann.

Love affair between an older European woman and a younger Japanese man.

The Pink Panther finds a talking magic lamp and becomes a genie. However, he cannot get anyone to rub the lamp.

A second screen test featuring Nico and a Hershey bar — the last being ST245. Camera exercises back and forth, from side to side, swinging, stuttering, crawling while Nico enjoys a Hershey bar. She laughs.

16mm film transferred to video, black and white, sound

Short made by Mimi Gross and Red Grooms.

One of four finished Batman Dracula shorts shown publicly by Warhol.

Featuring Joan Adler (who also appears in Chinese Checkers), Soliloquy is one of the four early Stephen Dwoskin films that were awarded the Solvey prize at the EXPRMNTL festival in Knokke, Belgium in 1967. “In Soliloquy a girl broods uncertainly over a failed love affair, while the camera roves over her fingers, her cigarette, her knuckles, her lips and the hand mirror in which she peers. In its dark reflection one isolated eye seems a dead thing, twitching; the split between her body and her spoken thoughts becomes a strange bilocation of consciousness; towards the end, an aeroplane drones overhead” (Raymond Durgnat)

East Coast, West Coast, Holt and Smithson's first collaborative experiment with video, takes the form of a humorous bi-coastal art dialogue. Joined by their friends Joan Jonas and Peter Campus, Holt and Smithson improvise a conversation based on opposing - and stereotypical - positions of East Coast and West Coast art of the late 1960s. Holt assumes the role of an intellectual conceptual artist from New York, while Smithson plays the laid back Californian driven by feelings and instinct. Their deadpan exchange ironically lays bare the limitations and contradictions of both sides in the debate.

This newly unearthed film, which Warhol shot during a concert at the Boston Tea Party, features a variety of filmmaking techniques. Sudden in-and-out zooms, sweeping panning shots, in-camera edits that create single frame images and bursts of light like paparazzi flash bulbs going off mirror the kinesthetic experience of the Exploding Plastic Inevitable, with its strobe lights, whip dancers, colorful slide shows, multi-screen projections, liberal use of amphetamines, and overpowering sound. It is a significant find indeed for fans of the Velvets, being one of only two known films with synchronous sound of the band performing live, and this the only one in color.

Eames is a middle aged man, with a boring, routine job. His life changes when he meets a young girl and a painter. This rekindles his youthful artistic leanings, which he blames his father for stopping.

Illustrates, through animation, various types of angles and how they may be added, subtracted, measured and drawn.

No synopsis and plot is known

A boy who walks on his hands enjoys a different view of the world, much to the chagrin of the adults in the town in which he lives.

Tchai is the word used by Ju/'hoansi to describe getting together to dance and sing; n/um can be translated as medicine, or supernatural potency. In the 1950's, when this film was shot, Ju/'hoansi gathered for "medicine dances" often, usually at night, and sometimes such dances lasted until dawn.

Black and white UCLA student film, preserved by the UCLA Film and Television Archive. The film paints a portrait of the anarchist hippie group, The Diggers, in the Haight Ashbury District of San Francisco in the 1960s. Members espouse their views on creating a society free of captialism and money, overlayed with footage of communal cooking, gatherings in the parks, concerts, and protests. Includes footage of gawkers who stare at and film the hippies in the Haight from their cars.

Kind of a "News," for the people of the 24-hour a day vigil around the US Marine Ammunition Depot at Port Chicago, California.

This cinema-verite-style documentary interweaves the pregnancy and childbirth of a young woman with the lingering death of a cancer patient to comment on the celebration and tragedy of existence. The tenderness and intimacy of the young couple, and the mystery of birth are contrasted with the dignity of a man who faces his death without deception.

1964 screen test of Herko running 4 minutes, 36 seconds in length.

A stock car racer gets involved with gangsters trying to fix a race.

Shot in 1969, this film documents the building anger of draftees in the U.S.military, and the growth of the anti-war movement within the military. Soldiers are interviewed and seen as they face brutalizing treatment and indoctrination in bootcamp, military training that made the war atrocities of the Vietnamese War all too possible as "just following orders". The film blasts the U.S. presence and forsees its future in Vietnam, while comparing the South and North Vietnamese armies and their reasons for fighting.

Surrounds two high school students, who fall in love, get married and realize problems multiply, compared to their previous single life as carefree teenagers.

Documentary film about three veterans of the Civil Rights movement who have become peace spokesman for the new opposition activist. It traces their thought and action over the past year, as they see themselves moving from demonstration to political organizing.

Presents a dramatization of the extended field trip made by Mark Catesby in colonial Virginia and the ultimate publication of his two-volume illustrated natural history of the birds, animals, plants, reptiles and fish he observed and sketched in the new world.

Hippies, peace-niks, students, beautiful girls, civil righters, old ladies and more, protest the war. Who dares to say that they don't influence the mainstream? Beautiful color and exciting montage capture the feeling and motion of the march on the United Nations.

Meet a couple of hipster swingers addicted to love. He's a novelist and she's a leather fetishist who provides valuable and stimulating research for his lurid erotic adventure tales! Their open marriage allows the couple to travel a delirious, flesh-filled but barren human landscape where endless carnal thrills can take their toll on the soul!

From the Film Australia Collection. Made by the Commonwealth Film Unit 1965. Directed by Bern Gandy. From beach inspectors watching for danger to the ice cream vendors helping people cool down, Australia’s major beaches in summer have the hustle and bustle of a small town. Surf Beach looks at the proud tradition of surf lifesavers, who give up their weekends voluntarily to patrol our beaches, keeping ordinary folks safe from disaster. Witness the thrilling rescue of a young woman who has got herself into trouble, and the military precision of the surf lifesavers as they bring her back into shore. The highlight of the season is the Surf Life Saving Championships – a marvel of pageantry as surf lifesaving clubs from across Sydney march proudly along the beach, led by the UNSW Regiment brass band. Beautifully shot and set to a swinging soundtrack, Surf Beach pays tribute to an Australian icon: the beach.

“I was playing with colour, and its emotional effect...green for hope, red for violence, blue for a bit of mystique—a very dark purplish orange blue...but very basic. For instance, the only way I could think to convey jealousy, on film, was by shooting through a blob of yellow. Of course I knew all about Eisenstein’s dialectical montage. I intercut my own footage with old 8mm stuff. I kicked off with an innocent image...just white, then a stuffed toy dog. Later a red colour then an image of a warship coming into Sydney harbour...a primitive metaphor for war. This was some of my first film in a more abstract style, and it was greatly discouraged at the time...everyone was heavily under the influence of British documentary filmmaking. People said, ‘this isn’t really how films ought to be made.’” (Paul Winkler)

This documentary (first of a five-part series on education) examines the battle to educate at Junior High School 57-a slum school in Brooklyn's Bedford-Stuyvesant ghetto. In September 1966, New York University's Clinic for Learning, backed by a Ford Foundation grant, began an educational rehabilitation program at the school. The object: to reach apparently unreachable and disinterested students before they become drop-outs. Cameras look in on a seventh grade class, observing new approaches to working with disadvantaged youngsters: challenging students to be more aggressive in their studies; permitting class members to hold arguments pertaining to their lessons; and attempting to establish more personal contact between teachers and students. There are also problems. Discipline is poor among the students, who must be taught to have respect for themselves and for the education they can get.

Motel operator Ann Porter and bar owner Dan Mullins decide to set up a key club to satisfy sexually their clientele. The club's membership consists largely of married people seeking extramarital sexual excitement. Inhibitions are cast aside and some unexpected results are achieved: Bob and Patti, a married couple who have independently joined the club, by chance receive matching room keys; and their encounter revitalizes their their faltering marriage. Meanwhile, some of the married women discover that they are sexually attracted to other women. Ann and Donn eventually throw a party for their clients. The members indulge their individual sexual preferences and all goes well until the husband of a participant, Sharon, makes an unexpected appearance and begins to beat her. Bob tries to intervene and he is accidentally killed by the jealous husband. The police then raid the party and break up the key club.

Thoms dedicated three months and a toolkit of pins, razor blades and scalpels to create the rich, abstract surface texture in Bluto. The result, according to the filmmaker, ‘was something like thunder and rain, interspersed with burps, belches and farts, which added an urgency that seemed to express the anxieties of the time’.

An anthology film of two classic tales from Edgar Allan Poe. A re-edited and dubbed version of Masterworks of Terror (1960) for American cinemas.

Mayhem on a Sunday Afternoon was the last of three documentaries William Friedkin made for producer David Wolper. It concerned the world of pro football.

From the obscure TV series Out Of The Inkwell, syndicated in the early '60s, featuring new cartoons with classic Max Fleischer characters. In Mean Moe Tells William Tell, Mean Moe eats William Tell's apple.

A documentary in which Brendan Behan acts as guide to Dublin.

Avant-garde film documenting the "Doom Show," an early-1960s New York City gallery exhibit featuring artworks dealing with the threat of nuclear war. "A ritual fire dance in a cellar on 10th Street in the shadow of the shadow over Christmas." - Ray Wisniewski

This short film by Les Blank with Skip Gerson features the charismatic legendary blues icon Lightnin' Hopkins sing a beautiful song about a stuttering boy who learns that he can communicate through singing. Also features Billy Bizor on harmonica.

ONE FLIGHT UP is both the name of this documentary portrait and the title of a piece by artist Alex Katz. The work-of-the-same-name figures prominently (or, more accurately, entirely) in the film-of-the-same-name.

A series of musical vignettes formed from the dreams of a slumbering workman.

Harry Smith’s screen test by Andy Warhol.

A violinist on a world concert tour gets insurance on a Stradivarius that comes with a guard who makes sure the violin remains safe.

This video registration of a performance in his studio shows Bruce Nauman walking the perimeter of different shapes: circles, spirals and figure eights. Nauman recorded the performance on video because, unlike film, video was a medium that allowed him to make longer recordings. This videotape was recorded in a single take lasting almost one hour, which was the maximum capacity of video tape at that time. This aspect also serves to underline the time-based quality of the performance. By inverting the camera, the artist appears to be walking on the ceiling, an effect that Nauman amplified by holding his hands above his head – a physically demanding task in itself. In the video, Nauman’s arms seem to dangle at his sides. -- Stedelijk

a Terrytoons Cartoon

a Terrytoons Cartoon

An animated colour film in which the artist has free rein to show how he thinks letters got from one place to another in the early days of Canadian transportation. The film's colour, style and sparkle make this view of the subject a lively one for most people, and there are some facts of postal history for those who are interested.

1960s SM-themed sexploitation movie