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Reel 1

In Reel 1, Wegman creates deadpan one-liners and ironic sight gags from materials that include his own body, everyday objects such as balls and dolls, and his dog Man Ray. The humor derives from the wild incongruity of expected and actual behavior or events. Inanimate objects are personified; extended actions lead to absurd anticlimaxes. In Stomach Song, Wegman sits in a chair, his bare torso facing the camera. As he gruffly hums a song, his torso becomes a face, with nipples as eyes, navel as mouth. Raising his arms, the "facial" features change gender and he hums in falsetto. Other segments find him blowing a feather from his nose and creating pendulous female "breasts" by folding his elbows to his body. The ever-obliging Man Ray drags a microphone in his mouth, laps up milk that Wegman has drooled onto the floor, and, in an oddly poetic exercise, runs through a darkened room with a flashlight in his mouth.

Reel 1

NR 1971
Somebody Waiting

Somebody Waiting is a 1971 American short documentary film that examines hospitalized children with severe cerebral dysfunction who are among the most physically, emotionally and mentally handicapped in society and are totally dependent on hospital staff. It shows how these "hopeless cases" can be helped by environmental stimulation and therapeutic handling and how their response to improved care improves the morale of the staff so that all concerned benefit. It was nominated for an Academy Award for Best Documentary Short.

Somebody Waiting

5.8 1972
Genesis: Four Billion Years in the Making

The Great Valley in Africa - a crack of more than 6,500 kilometers in the earth's crust - is the result of the continental fracture that began about 20 million years ago. Volcanic eruptions, like the spectacular eruption of Hawaii's Kilauea volcano in Genesis, are the result of powerful tectonic processes that continually reshape the earth's surface. “From the first moment a supernova explodes in a burst of light and sound, Genesis audiences won't just have a front row seat to watch the creation of the world. The public will be immersed in the creation itself and will be fully aware that the creation is still going on” – Richmond, News-Leader. "Genesis attests that if the public is offered what it wants, it will break down its doors" -Minneapolis Star.

Genesis: Four Billion Years in the Making

NR 1978
Transsexuals

In 1971, a group of students in New York City learning how to use the nascent technology of portable video interviewed Deborah Hartin for this documentary short. Having spent 20-plus years trying to conform to life in the body of a man, she followed her destiny all the way to Casablanca to receive the gender affirmation surgery that she had long yearned for and had attempted to self-administer in the past. Along with Esther Reilly (who was recently post-operative) and others in the transgender community, Hartin shares her story, revealing how the procedure had transformed her body, her life and her activism.

Transsexuals

6.0 1971
Testament

"TESTAMENT is James Broughton's exquisite self-portrait. A major figure in avant-garde filmmaking and poetry since the 1940s, Broughton views his life and life's work with irony, charm, humor, and a combination of joyous self-love and gentle self-depreciation. Scenes from his earlier films mix the elements of humor, magic, slapstick, melodrama, and romance which mark his aesthetic. A plethora of rich personal symbols is woven throughout the film, tied together by verbal games, Zen poems, anecdotes, songs, a child's prayer, dreams, and visions." - Karen Cooper "James Broughton's TESTAMENT is one of the most remarkable films ever produced within the American independent cinema. It is the most moving and most sublimely detached of the recent trend of filmic autobiographies - by Jerome Hill, Jonas Mekas, and Stan Brakhage, to name only the masters, and Broughton's peers." - P. Adams Sitney "A beautiful, important, mysterious work." - Amos Vogel

Testament

5.8 1974
Chromatic

Experimental short contrasting the grey interior of a house with the vibrant colour of its garden. Sunlight shines through leafy trees. The camera zooms in until the image is out of focus. When it zooms out again, it reveals sunlight through leaves reflected in the window of a house. From inside the house, we see a woman, in colour and fully dressed, walk by a window. Outside, the camera and photographer are seen in a mirror. The woman, in black & white now and inside the house nude, walks around a large room, trapped. Further images of the naked woman are interspersed with colour images of the garden outside: pond, lilies, etc. Eventually, the image of the cameraman and his mirror returns and the reflection in the window and the sunshine through trees are repeated.

Chromatic

NR 1972
The Walt Disney Story

The Walt Disney Story film, which uses Walt Disney interviews and other recordings for the narration and features rare stills and film clips, was eventually released as an educational film and in 1994 on video cassette for purchase in the parks. This film is based on the the Main Street attraction at Disneyland, in the Opera House that opened on April 8, 1973, taking the place of Great Moments with Mr. Lincoln. It is a movie, narrated by Walt himself, that tells his life story.

The Walt Disney Story

10.0 1973
Harem Hangups

If you're a younger gent, your exposure to grindhouse flicks may only be with a Quentin Tarantino film, which is fine--but grindhouse flicks really began in adult cinema and that's what's on display here! Don't let the name fool you. While the moniker might suggest coitus elevated to a transcendent level of Eastern-influenced sexual enlightenment where mind, body and soul come together as One in the act of lovemaking, you can be sure that Harem Hangups delivers a bunch of dudes in genie pants and turbans...but more than its fair share of mindless, clueless, soul-eroding screwing where any glimmer of magic has long since departed.

Harem Hangups

2.0 1970
End of Summer

Enrique Vila-Matas directed in 1969 a black and white short film entitled "All the sad young people". The copy was lost and today there are only a few photographs of the shooting. In 1970 he directed his second work, "End of Summer", played by Maria Reniu, Luis Ciges and Yvonne Sentís and photographed by Xabier Miserachs. The film was premiered at the Benalmádena festival in 1971. The second exhibition took place 39 years later at The Peripheral Film Festival (S8) in La Coruña in a program dedicated to opere prime of filmmakers of the Spanish transition and which had as title: "Peter Pan in the cinema of the Spanish transition"

End of Summer

NR 1970
The Woman's Film

Produced collectively by women, this documentary is a valuable historical document of the origins of the modern women's movement in the United States. The film delves into the lives of ordinary women from different races, educational levels and social classes. Filmed mostly in small consciousness-raising groups, from which the women's movement grew, the women talk about the daily realities of their lives as wives, home-makers, and workers. They speak, sometimes with hesitancy, often with passion, about the oppression of women as they see it.

The Woman's Film

4.3 1971
The Women's Happy Time Commune

The first all-women Western. Set in a fictional 1850, the movie is about one woman's attempt to recruit others for an all-women commune. "..a Warholesque frolic" -- Daphne Davis, Women's Wear Daily " Some great comments about women, men and the pros and cons of living with either." -- Women & Film: International Festival, 1973 "A group of wonderfully idiosyncratic women improvise characters close to their real lives and fantasy lives. Funny, ambling, off-handedly lyrical, the film....is above all excellent for sharing warm feelings in a group." -- Ms. magazine

The Women's Happy Time Commune

NR 1972
In Marin County

"IN MARIN COUNTY approaches the subject of America's ecological disaster as a comic yet bizarre vision. The tradition of Old MacDonald's farm has long since disappeared and in its place are bulldozer and insect sprays. Our fascination with these mechanized wonders of civilization may well prove to be more lethal than we would have imagined. Peter Hutton has succeeded in making an important statement on ecology and the strange delight Americans take in destroying things." - Whitney Museum of American Art

In Marin County

7.5 1970