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Contacts

Contacts is one of a series of tapes in which Acconci creates a controlled performance situation to explore the limits of a private space. Applying intense mental concentration and intuition, he uses the body as a vehicle to explore perception and interactive communication. Acconci stands blindfolded, the static camera focused on his torso. A woman kneels before him, holding her hand over parts of his body, concentrating on her hand's location to convey its placement to him. Acconci tries to intuit her hand's location through body heat; she answers "yes" or "no" and moves it to another location. Acconci has written that "her hand is used as a kind of dousing rod — the ground responds."

Contacts

NR 1971
Petula

In a staggering example of lacking imagination, Petula Clark's third US TV Special was given the exact same name as her first. Unbelievably, a third special also had that exact same title a few years later! Guests: Peggy Lee, Dean Martin, the Everly Brothers, David Frost. Songs: Beautiful Sounds, duet w/ Peggy Lee (I'm A Woman/Wedding Bell Blues), Games People Play (w/ The Everly Brothers), duet medley w/ Dean Martin on a horse (Hey Good Lookin'/Detour/Things/I Walk The Line/Just A Little Lovin'), medley (Come Together/Great Come And Get It Day), When Johnny Comes Marching Home (w/ Lee), Fool On The Hill.

Petula

NR 1970
The Johnny Cash Christmas Special 1978

For his 1978 Christmas special, the third in as many years, Johnny Cash moved the taping of the Christmas Special to Los Angeles, and, predictably, the program takes on a Hollywood feel. Guests include Kris Kristofferson and singer Rita Coolidge, both friends of the Cash family who perform a heartfelt "Please Don't Tell Me How The Story Ends," and Steve Martin, one of America's hottest new comics at the time. June Carter Cash, as always, performs with her husband, and other family members make appearances in this special as well.

The Johnny Cash Christmas Special 1978

NR 1978
Angus

A film portrait of Angus Mowat, with commentary by his son, author Farley Mowat. At seventy-six, Angus still shows an enviable capacity for life, turning his hand to things that the leisure of retirement now makes possible. One of these is the rebuilding of an old fishing boat, converting it to sail. This is a picture of a man who has reached his later years with no slackening of interest in life, who finds a good and constant companion in nature, and contentment in the quiet isolation of his cabin by the shore.

Angus

NR 1971
The Chaperone

Extremely rare roughie in the vein of LAST HOUSE ON THE LEFT. A group of young hippies go camping accompanied by an uptight, sexually repressed, middle-aged chaperone. The chaperone is envious of the youngster's liberated ways and doesn't trust one of the young men. Then the group is plagued by a series of vicious knife murders. Directed by Israeli-born Jourdan Alexander (as "Jaacov Jaavoci") and written by Svetlana, both of whom would make a name for themselves in hardcore porn, this one's nearly impossible to track down nowadays. The only known home video release occurred in Australia on the King of Video / Video Budget label and their release is reduced down to just 70 minutes from the original 87.

The Chaperone

4.3 1974
Rude Awakening

Sonbert's vivid color palette enhances the ritualistic nature of each action observed. Set against this lush panorama, Sonbert subverts the expectation of classic cinematography with a liberal sprinkling of avant-garde techniques. The incorporation of the materiality of film, the treatment of light, and the use of a hand-held camera, all suggest the influence of Stan Brakhage (Sonbert's "hero"). Sonbert's use of the shot as the foundation of his silent montage works parallels the use of the frame as the basic filmmaking unit in the films of Gregory Markopoulos (Sonbert's "mentor"). -- Jon Gartenberg. Preserved by the Academy Film Archive in 1998.

Rude Awakening

7.5 1976
Betty Blokk-buster Follies

A film record of Reg Livermore's successful one-man stage show, featuring characters and sketches centred around Betty Blokk-Buster, a bare-bummed German maid who entertained the troops during the war. In April 1975 Reg Livermore stormed the stage of Sydney's Balmain Bijou Theatre with his groundbreaking show Betty Blokk Buster Follies. A tour de force, an irresistible blend of music and comedy, the show caught the imagination of audiences all round Australia filling theatres wherever it played. This record of the show was released in cinemas during 1976. Songs include Family Of Man, Hello In There, Captain Jack, What Makes A Man A Man, The Entertainer and Celluloid Heroes, with well known characters, Betty Blokk Buster, Tara the Incredible, The Old Man and Vaseline Amylnitrite - a football star who joins the Australia Ballet.

Betty Blokk-buster Follies

3.7 1976
Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday

The setting is an Olongapo bar. Lolita Rodriguez is an ex-movie queen trying to earn a living for her son and herself. He is mortally embarrassed by her livelihood and sometimes refuses to acknowledge her as his mother. Bembol Roco is the son of a prostitute who has disappeared from his life. He is looking for his mother in the honky tonk bars. He meets Lolita Rodriguez whom he fancies as his lover. However, he thinks of her as a decent woman. But Lolita has financial problems. In order to pay for her debts, she is forced to perform a striptease. Bembol happens to be in the bar when she starts to gyrate, but she ignores his presence. This destroys his illusions. When they are alone together, she berates him and teaches him the value of survival and acceptance of one’s fate.

Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday

NR 1976