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Johnny Cash - Live in Las Vegas 1979

Johnny Cash Live In Las Vegas 1979 is a completely unseen concert from the House Of Cash personal vault. Captured on the in-house video system at the casino, the set features Johnny, June and his regular backing band doing many of his most beloved songs as well as his more recent hits like (Ghost) Riders In The Sky and One Piece At A Time. The show was a special treat for the annual convention of the sales people at Century21 real estate and Johnny and June crack several jokes throughout about buying and selling property.

Johnny Cash - Live in Las Vegas 1979

NR 1979
Artpark People

Encouraging visitors to engage and connect with on site artist's, Artpark provides a unique environment for those craving culture away from the whirring city. Located in Lewiston, New York the outdoor venue opens itself to artists, musicians and performers seeking a spot to reflect and create. During the summer seasons Artpark serves as an immersive experience, inviting the public to observe the artists as they work. Artpark People observes the vibrant scene and captures candid interactions between artist and onlookers. With a heavy emphasis on outdoor space and environmental influence, Artpark asserts itself as a cultural and communal haven for creatives.

Artpark People

NR 1976
The Laughing Alligator

Merging the subjective and the objective, the autobiographical and the anthropological, The Laughing Alligator is a highly personal observation of an indigenous South American culture. Recorded while he and his family were living among the Yanomami of Venezuela, this compelling work distills Downey's search for his own cultural identity and heritage through the encounter between the Western family and the so-called "primitive" tribe. Challenging the anthropological view of the Yanomami as violent cannibals, Downey focuses on the tribe's myths, rituals and ceremonies, documenting funerary rites in which tribal members eat the pulverized ashes of their dead to insure their immortality. Subverting conventional modes of ethnographic documentary, Downey participates as an active presence, "shooting" with his video camera as a means of creating an interactive dialogue between artist and subject and addressing his own "yearning for a purer existence."

The Laughing Alligator

NR 1979
We're Alive

Made jointly by the Women’s Film Workshop and some of the inmates of the California Institution for Women, this is a moving analysis of why the women are in prison, what’s happening to them, what’s to become of them. It begins and ends with film taken outside the walls, while the rest is videotape transferred to film of the prisoners talking about race, sex and religion, class, economics and drugs. Occasionally statistics are inserted, but generally the women show such a degree of articulacy and radical thought that what they have to say is explanation enough. A remarkably undated combination of political anger and collective tenderness.

We're Alive

NR 1974
The Smallest Elephant in the World

Mocked throughout the jungles of India due to his small size, the smallest elephant in the world--no bigger than a house cat--has decided enough is enough. After all, if he's no bigger than a house cat, then a house must be where he belongs! After a long journey in the hold of a ship, this smallest elephant in the world finds himself a home with a nice little boy inside. But he must disguise himself as a cat to satisfy the boy's mother, and disaster strikes when he is confronted with his first mouse... Little does he know that the perfect home is waiting for him, in a circus where differences are celebrated, not scorned.

The Smallest Elephant in the World

NR 1977
Shinjuku Station

The Shinjuku district was the epicentre of Tokyo's art scene and the political fever pitch where protests took place on a regular basis during the 1960s. Jonouchi's compilation footage of the area defies documentary imagery and transforms itself into something altogether more poetically subjective, attempting to capture the chaos of the location through his camerawork and editing. In 1974, Jonouchi projected images of the past onto himself whilst reciting Dada-influenced and virtually inaudible poetry generating a cacophony of images and sounds, drawing from and participating in the maelstrom of political and artistic expression during the era.

Shinjuku Station

NR 1974