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Psyche Out

The opening moments of "Psyche Out" introduce a young boy who craves the adventures achieved in the surf. The boy -- or at least his dreams -- seem like they could provide a recurring framing device for Walt Phillips' third film (following "Sunset Surf Craze" and "Surf Mania"), but that's the last we see of the boy or hear of ambitions. "Psyche Out" contains less poetic musing, travelogue, comic relief or similar stuff characteristic of surf films of the time, in favor of surf action at Malibu, Point Zero, Rincon and Steamer Lane. This is to the benefit of the film.

Psyche Out

6.0 1962
Playing a Note on the Violin While I Walk Around in the Studio

In this film record of a studio activity, Nauman set himself the task of walking while playing "two notes [on a violin] very close together so that you could hear the beats in the harmonics." The camera is set centrally in the studio in a stationary position so that when he walks outside of the camera's view at times, only the sounds of the notes and footsteps are heard. Sound and image are out of sync, a situation noticeable only at the end of the film when the sound stops but Nauman continues to pace and play. [Overview Courtesy of Electronic Arts Intermix]

Playing a Note on the Violin While I Walk Around in the Studio

NR 1968
Abstract animations from the 1960s - Part II

Pilař made the two surviving reels of animation experiments after his return from the 1963 Paris Biennale. The gestural brush painting over the surface of the originally black and white puppet film which he almost completely removed from the stock falls at the beginning of his programme works of expressive collage and assemblage. He returned to it repeatedly, as he did to the material he later reworked for Pink Floyd (ca. 1984) and Colours 1965 (ca. 1991).

Abstract animations from the 1960s - Part II

NR 1963
You See What I’m Trying To Say?

In this short film from 1967, filmmaker Henry English attempts to place a context around saxophonist and composer Marion Brown’s flurries of notes and expression. Juxtaposed against performance footage and scenes from Brown’s environment are the musician’s spoken observations in which he, in a gentle Georgia accent, explains some of who he is and how his chosen form of expression (wild, free lines of spontaneous sound) may not be as alien as it must have seemed in 1967. (Austin Film Society)

You See What I’m Trying To Say?

NR 1967
Migration

"Whereas SQUARE INCH FIELD was composed largely in the camera, Rimmer's next film, MIGRATION, made full use of rear-projection rephotography, stop-framing, and slow motion. The migration of the title is interpreted as the flight of a ghost bird through aeons of space/time, through the micro-macro universe, through a myriad of complex realities. A seagull is seen flying gracefully in slow motion against a grainy green sky; suddenly the frame stops, warps and burns, as though caught in the gate of the projector. Now begins an alternation of fast and slow sequences in which the bird flies through time-lapse clouds and fog and, in a stroboscopic crescendo, hurtles into the sun's corona. Successive movements of the film develop rhythmic, organic counterpoints in which cosmic transformations send jelly fish into the sky and ocean waves into the sun." - Gene Youngblood. Preserved by the Academy Film Archive in 2014.

Migration

6.0 1969
Windows

On Love, Sex, Violence, War and Tchaikowsky. "The filmmaker uses the objects of painter Salcedo to poke gentle and savage fun at society and its follies... a continuous mad charade!" -- Tom Chomont. On Arocha: "I know of no films more uncompromising in grotesquerie of burlesque, in gigantism of overstatement, than the comedies of Arocha. His actors are possessed to frenzy with their roles, filled to bursting with their identities; they hypertrophy into fantastic growths, revealing comic flaws enormous, monstrous enough to swallow whole the old familiar characters of Samson, Traviata, and Dracula, and even to make the best of us laugh." -- Ken Kelman.

Windows

NR 1969
Catch A Tiger

Catch A Tiger is an educational film that shows some of the spontaneous results in music, dance and art when the nursery school child's innate creative forces are permitted to find expression in a favorable environment. The audio records the children exploring the sounds of instruments, rhythmic language and song. Part one, was recorded and filmed at the Griffin Nursery School at Berkeley, CA, Elinor Griffin Teacher-Director Part two filmed at the South Mountain Cooperative Nursery School at Millburn, New Jersey, Blanche Dorsky Teacher-Director From Nathaniel Dorsky: Catch A Tiger, which showed the activity in two nursery schools that experimented with allowing four year olds to improvise in music and visual constructions and assemblages. I was inspired to do this by my mother, Blanche Dorsky, whose nursery school was one of the two presented.

Catch A Tiger

NR 1963