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Raggedy Ann and Raggedy Andy in the Pumpkin Who Couldn't Smile

Aunt Agatha threatens to call the police on innocent trick-or-treaters. Her nephew, Ralph, would love to be out with them. But what he wants most of all is a pumpkin. From across the street, Raggedy Ann and Andy watch the drama unfold. Andy is furious at Agatha for preventing the boy from enjoying the wonderful, horrible holiday. Ann, with her irritating insistence on fairness, decides that Agatha has merely forgotten what it's like to be young. The pressing matter ahead is getting Ralph a pumpkin. Andy scoffs at the idea of finding one at this late date. Ann reasons that if there's a little boy who needs a pumpkin, there must be a pumpkin who needs a little boy. She's right. Not far away, a miserable pumpkin is blubbering out pumpkin seed-tears because no one wants him for Halloween.

Raggedy Ann and Raggedy Andy in the Pumpkin Who Couldn't Smile

5.7 1979
Reality's Invisible

Fulton made the film during his brief time at Harvard, where he had been invited to teach by Robert Gardner, his friend and collaborator (Fulton would later serve as a cinematographer on Gardner’s 1981 documentary Deep Hearts, among others). Reality’s Invisible could be described as a portrait of the Carpenter Center, yet it is a portrait of an extremely idiosyncratic and distinctive sort. Fulton moves us through the concrete space of the Center’s Le Corbusier-designed building—the only structure by the architect in North America—but, more centrally, presents us footage of students making and discussing their work alongside figures like Gardner, theorist Rudolf Arnheim, artist Stan Vanderbeek, filmmaker Stan Brakhage, and graphic designer Toshi Katayama.

Reality's Invisible

5.9 1972
Pregnancy Dreams

In "PREGNANCY DREAMS" Barbara Rosenthal, nude and nine months pregnant, reads from her Journal dreams of filthy bathrooms, impeccably clothed men, and other parallels. Originally shot in Super-8 film by Bill Creston (seen nude in the mirror with his camera on this very hot August day) as tests of filmstocks for his recording of the birth and subsequent film "OLA: A FILM BY HER FATHER", "PREGNANCY DREAMS" was greeted by calls of outrage when premiered at BACA (The Brooklyn Arts and Cultural Association) in 1979, but digitally remastered in 2005, it has gained an increasingly receptive audience through the years. By Barbara Rosenthal (1975, Super-8/DVD NTSC, 4 mins., color & B&W, sound)

Pregnancy Dreams

6.0 1979
Infantile Film

A film and installation a loop of clear film together with a loop of magnetic recording film the same length was laced in a double band projector, (a projector which can play/record a separate sound film, used for editing and post production) Various hand and mouth marks also to spraying ink using a primitive mouth diffuser used for fixing drawings etc, marks onto the film surface. The mark making was accompanied with a wide range of guttural noises in synchronization with the hand made marks being made and recorded onto the magnetic side of the projector. with the performance version the erase head was removed so as to accumulate the various sounds on the loop; The film makes a humorous contradiction to a current stylistic convention that the hand made mark would give an appropriate noise when passed through the optical sound reader on the projector.

Infantile Film

NR 1979
Cheonmasingeom

Lee Ryong and Mrs. Byeon meets a boy when they come back from a prayer for a hundred days to get a son. They name the boy Jeong-Nam and put him under an old monk to practice martial art. As he finishes mastering martial art, Jeong-Nam saves a girl on his way from the mountain and names her Ri-Ok who comes home with him. As the devil king of Chil Bo Mountain finds one of his follower is assaulted by Jeong-Nam, he kidnaps Lee Ryong couple. Then Jeong-Nam starts to Chil Bo mountain to save his parents. He defeats the devil king with his long trained martial art and help of Ri-Ok in spite of dangerous adventures and finally saves his parents.

Cheonmasingeom

NR 1974
A Bit of Matter and A Little Bit More

The male/female, subject/object investigation in A Bit of Matter and a Little Bit More has no titillating introduction; the appetite is not whetted beforehand. Hardcore, the opening shot, shows the crotch areas of a male and female body engaged in coitus. At the end of the tape a male voice says, "Some questions and five answers relative to moved pictures, five questions and some answers relative to moved pictures—" a reference to the artists' book, 100 Rocks on a Wall.

A Bit of Matter and A Little Bit More

NR 1976
Self-Portrait

Access to video technology had largely been limited to corporate-run TV studios until the Sony Portapak, a battery-powered video tape recorder that could be carried by one person, was popularized in the early 1970s. This device also allowed artists to see what they were recording in real time and to immediately play it back, prompting investigations of technology’s increasingly fluid relationship to the body, language, and time itself.  Shigeko Kubota’s ”Self-Portrait” embodied the boundless potential of the new medium and the freedom from precedent it represented. This work, in which Kubota interacts with her own image, contains some of her earliest known experimentation with video. Here, she used new tools to manipulate the electronic signal, creating previously unimaginable colors and patterns, and unraveling established conventions of image-making right before our eyes. [Overview courtesy of Erica Papernik-Shimizu via MoMA]

Self-Portrait

NR 1971