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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
Thumbs Down

In this cinema-verite documentary, a teenage youth group called Thumbs Down decides "to bring Christ to their neighborhood" by holding an anti-war Mass at their conservative Chicago parish. Neither militants nor hippies, they simply believe that Christianity means social action and concern with issues. They present this belief to the community and the confrontation reveals the deepening crisis of communication between the young Christians and their parents, priest, and neighbors.

Thumbs Down

5.5 1968
Forward to First Principles

There have been railways in this country for over three hundred years. In the nineteenth century, railways spread across Britain and changed the geography, history, economy, and the life of a nation, but already there existed primitive railways for moving coal and other minerals from the pits and quarries to navigable water and roads. This film scans the present and the past to show those economic principles governing the early railways have been rediscovered as a basis for modern freight trains.

Forward to First Principles

NR 1966
Oblivion

“Approximately thirty images comprise Oblivion. Most obsessively repeat themselves. Although the images appear to be solarized, the film was actually contact-printed, combining high contrast black and white negative with a colour positive of the same image. The high contrast accounts for the tendency of shots to flood. Images in the film swell and contrast, often disappearing into pure colour… Oblivion employs extremely rapid cutting. Some of the images last as briefly as two frames. The fact that we see so few frames, that a shot is representationally ambiguous, or shown upside down and sideways, often causes the viewer to project his/her own fantasies… When Jean Genet was asked to what end he was directing his life he responded, “To oblivion.” (J.J. Murphy, “Reaching for Oblivion”) (mikehoolboom.com)

Oblivion

2.0 1969
The Secret Panel

The film is set in the early 18th Century and involves smugglers and preventative officers. The on-shore leaders of the smugglers are a rascally lawyer and his wife who organise regular 'runs' of contraband. Richard Merivale, a wealthy young boy, whose parents are believed to have been lost at sea comes to live with them. By his efforts and with help of local children who endure many exciting adventures, the gang are brought to justice and Richard is reunited with the father.

The Secret Panel

NR 1962
Olga's House of Shame

In this third installment of the "Olga" series, our heroine adds jewel smuggling to her repertoire of dope pushing and white slavery. As the vicious Olga (Audrey Campbell) expands her criminal empire, she also encounters more resistance as a string of once-trusted partners turn traitor in an effort to steal the successful racket out from under her. The result is exactly what fans of the series expect, a barrage of torture scenes featuring soldering irons, floggings, spankings, and even an electric chair. As with its predecessors, Olga's House of Shame is a silent black and white film with narration to explain the action, but even with direct commentary it's difficult to keep track of the characters and Campbell (who is occasionally caught laughing out loud at the absurdity of it all) has all the menace of a kindergarten teacher, even when wielding a machete.

Olga's House of Shame

4.5 1964
The Longest Most Meaningless Movie in the World

"'The Longest Most Meaningless Movie in the World' is an underground movie made in the UK that runs to 48 hours long. No actual footage was shot for the project, which instead consists entirely of outtakes, commercials, strips of undeveloped film, Academy leader, and other filmic castoff material, creating a seemingly endless stream of newsreel and stock footage. It was the longest film ever made at the time of its release, but has since been superseded by many other films."

The Longest Most Meaningless Movie in the World

5.0 1968