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Stop Look and Listen

Stop Look and Listen is a 1967 sort comedy film written, directed by and starring Len Janson and Chuck Menville. It was mostly filmed in Griffith Park in pixilation [stop-motion photography].The film generates comedy by contrasting the safe and dangerous styles of two drivers who drive in the way made famous by Harold Lloyd: by sitting in the street and seeming to move their bodies as though they were automobiles. The film was nominated for an Oscar for Best Short Subject, Live Action.

Stop Look and Listen

7.0 1967
States

"No, not the United etc. but the conditions, forms in which things exist. Somewhat abstracted, a solid, a liquid and a gas: salt, milk and smoke: falling, pouring and rising are the stars of this classical film. Sheets, streaks and wisps, the protagonists are all white (light). The background, zero place, is black (no light). Silence. The ongoing film reveals the ephemera compartmented in a pattern of temporal proportions in which lengths of salt sheet activity are gradually overtaken by liquid streaks which are in turn overtaken by smoke drifts. But another solid is the sliceable, arrangeable film material itself: the intercutting and the logic of the arrangement introduces something diamond-like, sculptural to the natures presented. There is a profoundly satisfying unity of ends and means that is both 'natural' (the way the protagonists behave) and 'artificial' (the artist's structure). The sum is cultured, beautiful." - Michael Snow

States

NR 1967
Pagan Hellcat

In this intense drama, filmed in Tahiti, a Tahitian girl from a small fishing village fantasizes about becoming the bride of the local boy she works with. When he leaves, she is crushed. She is later raped by a sailor and to escape it all leaves the island and sails for Europe to become an artist's model. There she meets a handsome fellow with whom she has a brief affair. Then he too deserts her and again her heart is broken. The despondent girl begins hanging out in bars and having a series of brief encounters until she meets a man who seems different from the rest.

Pagan Hellcat

7.0 1961
Palindrome

While working at a photo lab, Frampton found that the waste at both ends of the rolls of processed film—where chemicals worked on the emulsion through clips used to attach the film to the machine—produced images far too interesting to be discarded. For Palindrome, Frampton selected images which he described as “tending towards the biomorphic,” resembling abstract surrealist painting. However, the rigid palindromic structure that Frampton imposes on the images—a motorized sequence based on “twelve variations on each of forty congruent phrases”—deviates from the subjective aesthetic of the expressive, demonstrating Frampton’s interest in the “generative power” of films composed by rules and principles.

Palindrome

6.0 1969
Monument

In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.

Monument

NR 1967
Laurel and Hardy's Laughing 20's

A compilation of primarly Laurel and Hardy shorts---From Soup to Nuts, Wrong Again, Putting the Pants on Philip, The Finishing Touch, Sugar Daddies and short clips from others---plus Max Davidson's Call of the Cuckoo and Dumb Daddies, with some cross-over Charley Chase footage, which, along with Robert Youngson's previous "The Golden Age of Comedy", "When Comedy Was King", "Days of Thrills and Laughter", led to a renewed interest in and a revival of television showings of Laurel and Hardy shorts. The cast was billed in order of their appearance: Oliver Hardy, Stan Laurel, Vivien Oakland (with a Vivian typo), Glen Tyron, Edna Murphy, Anita Garvin, Tiny Sanford, Jimmy Finlayson, Charlie Chase, Viola Richard, Max Davidson, Del Henderson, Josephine Crowell, Anders Randolf (as Anders Randolph), Edgar Kennedy, Dorothy Coburn, Lillian Elliott and "Spec" O'Donnell.

Laurel and Hardy's Laughing 20's

7.9 1965
Newsreel of Dreams 1 & 2

Dream matrix, history written in lightning image, memory and the TV syntax, images flowing and fused together to other images and electronic tapestry of images half seen, sought for, seeking man's dreams, movies as dreams, history as media. "The artist will tell you it is as much a process he is interested in ... as a result. Art is a process – life is a process – are they the same process? So many of the artists became unhappy about this eternal, unyielding quality in their art, and they began to wish their work were more like shoes, more temporary, more human, more able to admit of the possibility of change. The fixed, finished work began to be supplemented by the idea of work as a process, constantly becoming something else, tentative, allowing more than one interpretation." – Dick Higgins

Newsreel of Dreams 1 & 2

NR 1964