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Passion in Hot Hollows

Cruel, conniving Norma Sue returns to her backwoods hometown with her stud lover to wreak havoc on the local denizens. Her main target is her sexually repressed sister, who runs the local hotel. At the same time, jobless slacker Billy Joe commences an affair with a broke immigrant lady whose husband is overseas. Pressured by his cheating wife to earn some cash, he decides to pimp his new paramour. Norma Sue's scheming eventually involves all these characters in intense, often nasty, interlocking liaisons, betrayals, seductions and violations

Passion in Hot Hollows

3.8 1969
Wonder Woman: Who's Afraid of Diana Prince?

The first attempt to translate Wonder Woman to the small screen in 1967. Diana lives with her mother close to a United States Air Force base. Much of the film consists of her mother berating Diana about not having a boyfriend. When her mother leaves the room, Diana changes into her Wonder Woman costume and admires her reflection in a mirror. What she sees is not Diana Prince, but rather a sexy super-heroic figure (played by Linda Harrison) who proceeds to preen and pose as the song "Oh, You Beautiful Doll" plays on the soundtrack.

Wonder Woman: Who's Afraid of Diana Prince?

5.2 1967
Devotion for Travelers

"The poet Rod Townley, who was a friend of mine, received a commission (and this will give you some idea of how the ’60s operated) to drive a sports car from Pennsylvania to Los Angeles in 2 1/2 days, but only if we could get it there in 2 1/2 days. I couldn’t drive at that point, so I just took along the Bolex. We left from Philadelphia; we stayed up all night the night before, and then got in the car & drove. The first night we stopped in Nashville, the second night in Albuquerque, and the last night, we got to Los Angeles. Rod delivered the car, & I took off for San Francisco, because LA seemed dull and dangerous. When I got to San Francisco, I looked up a guy named Terry Barlow, whom I hadn’t seen in years and years, and just walked in on him unannounced. The trip was shot in black and white, and the other stuff in color negative. I shot Terry Barlow in Golden Gate Park, doing an improvised dance next to a carousel.”- WWD

Devotion for Travelers

NR 1969
The Awful Backlash

“In their starkly minimal film, The Awful Backlash, directors Robert Nelson and William Allan, focus solely on a pair of hands as they begin to unravel what appears to be a tangled fishing line. Any further evidence of the title’s confusing ‘awfulness’ – other than the literal disentanglement of the line remains, however, tentative, left as it were, literally, at a loose end. The viewer knows nothing of the incident that led to this backlash or entanglement; nor of the directors’ initial motive for the title indeed not of any other attempt at blending an additional storyline beyond what is seen. There is, perhaps, one link with a reverse reaction – a sense of gradual recovery taking place, as the thread unfolds from a position of multiplicity back to a singular line.” (Pamela Kember, Rethinking Refunctioning, ‘Awful Backlash’ catalogue, May 2000) Preserved by the Academy Film Archive in 2005.

The Awful Backlash

NR 1967
Polaris Action

Since June 1, 1960, the Committee for Nonviolent Action (CNVA) had been in New London and Groton, CT for Polaris Action, a summer-long campaign to disrupt the production of nuclear-armed submarines at General Dynamics: Electric Boat and to educate the public about the dangers of the nuclear arms race. Most participants traveled in from other places and, according to the Hilary Harris documentary Polaris Action (1960), included “men and women, old persons and the very young, ministers and atheists, ex-servicemen and conscientious objectors.”

Polaris Action

NR 1960
Right On

This extraordinary film documents the first days of rehearsal for the performance Ceremony of Us, created in response to the Watts riots and staged at the Mark Taper Theatre in Los Angeles in 1969. No final performance film exists, but this film goes far in capturing its spirit. After working separately for months with all-white dancers in San Francisco and all-black dancers in Watts, Anna Halprin brought the two groups together in the politically groundbreaking performance. This film captures how Anna guided the two groups of dancers into experiences that both elicited and challenged racial stereotypes, creating a space where political and personal anger and despair could be expressed, and where reconciliation could be envisioned.

Right On

NR 1969
Eve-Ray-Forever

EVE-RAY-FOREVER is a silent, three-screen expanded version of COSMIC RAY (1961). Originally exhibited as an 8mm Technicolor looped installation at the Rose Art Museum in 1965, it was digitally restored in 2006 by Conner in close collaboration with his editor, Michelle Silva. By combining three channels of footage of slightly different lengths, EVE-RAY-FOREVER generates an ever-changing, chance-based juxtaposition of images that flash on the screen with dizzying speed. The film’s name reflects the tripartite structure of the work, with “Eve” referring to the nude woman who appears on the far left channel, “Ray” to Ray Charles, the inspiration for COSMIC RAY, and “Forever” signifying its looped playback, which allows the work to play and mutate continuously.

Eve-Ray-Forever

NR 1965
By Jiminy

Tom and Sukie arrive in Malta to spend the holidays with their father, an archaeologist digging for a legendary golden statue of Calypso on the island of Gozo. He fails to meet the children who make friends with Jiminy, a Maltese boy, and go to the villa where they overhear two crooks threatening their father. The cooks fool the police to whom the children have gone. They escape and make their way finally to Gozo to see their father's colleague where they all captured. Just before the statue is handed over Jiminy arrives with an army of children who rout the crooks and drive them into the arms of the police. Based on the novel. By Jiminy by David Scott Daniel

By Jiminy

NR 1963