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Changes

It's the late sixties, a time of peace signs, free love and revolution; and Kent like others of his generation, is looking for a meaning to his life. Driving alone along the Big Sur, he flashes back to difficult memories about college, drugs, family and relationships. The flashback over, Kent is back in his car, but he loses control and crashes over an embankment. Stunned and hurt, Kent starts hitchhiking, not caring which direction. He wanders aimlessly, taking rides from strangers, never making real contact. Then he meets Julie who intrigues him and they move in together. Kent still has to find himself and the meaning of his existence.

Changes

6.3 1969
Felicia

This 13-minute short subject, marketed as an educational film, records a slice of life in the Watts neighborhood of Los Angeles prior to the rebellions of 1965. Filmmakers Trevor Greenwood, Robert Dickson and Alan Gorg were UCLA film students when they crafted a documentary from the perspective of the unassuming-yet-articulate teenager Felicia Bragg, a high-school student of African-American and Hispanic descent. Felicia’s first-person narrative reflects her hopes and frustrations as she annotates footage of her family, school and neighborhood, creating a time capsule that’s both historically and culturally significant. Its provenance as an educational film continues today as university courses use "Felicia" to teach documentary filmmaking techniques and cite it as an example of how non-traditional sources, as well as mainstream television news, reflect and influence public opinion.

Felicia

6.0 1965
Underground New York

A rare behind-the-scenes view of the exploding New York “underground” in the late sixities, a turbulent time and place that was to change American culture forever. A German TV crew, led by journalist Gideon Bachmann, explores the epicenter of the sixties revolution in art, music, poetry and film and interviews the main players in the “New American Cinema,” that was born on the streets of New York. Against a backdrop of cultural upheaval in all of the arts and growing political agitation against the Vietnam War, Bachman interviews the most prominent figures in “underground film,” including Jonas Mekas, Shirley Clarke, the Kuchar Brothers and Bruce Connor, and visits the most notorious location in the New York art world of the era - Andy Warhol’s Factory - to conduct an interview with the genius of Pop Art himself.

Underground New York

NR 1968
The Soba Man

Black and white UCLA student film, preserved by the UCLA Film and Television Archive. A Japanese folktale of the "Soba Man" and a demon without a face blends into the present when Mirico attends a party for her white boyfriend. Japanese-American Mirico is made into an object of fascination to Dom's white friends at a party, unsettling her. She meets Chuck, the host of the party and learns that she resembles a past lover. Mirico shares eerie similarities with the lover and the girl in The "Soba Man" folktale.

The Soba Man

NR 1963
A and B in Ontario

Joyce Wieland: “Hollis and I came back to Toronto on holiday in the summer of '67. We were staying at a friend's house. We worked our way through the city and eventually made it to the island. We followed each other around. We enjoyed ourselves. We said we were going to make a film about each other - and we did”. A & B in Ontario was completed eighteen years after the original material was shot. After Frampton's death, the film was assembled by Wieland into a cinematic dialogue in which the collaborators shoot each other with cameras.

A and B in Ontario

6.4 1967
Variations

Green spills over purple ridges and into deep cut valleys. Blue surges up from rounds and hollows, blending with incandescent pink plains, revealing what seems to be the outline of the human face. Scribble spins on blue space in abstract, erratic lines, gaining in momentum and mass to form a coherent link to something recognizable. Crude, bold, darting lines. Black and white scribble. A lace work of electric sparks. These are some of the variations encountered in Kuchar's new film VARIATIONS. Live subjects are broken down into their basic outlines and are then reconstructed into startling concepts of spinning patterns and pulsating designs.

Variations

NR 1968
The Lyrics of Alan Jay Lerner

Hosted by Cyril Ritchard, with performances by Florence Henderson, Barbara Harris, Stanley Holloway, John Cullum, Patricia McBride and Edward Villella. Songs include; On A Clear Day, The Heather On The Hill, Wait Till Were Sixty-Five, Wouldnt It Be Loverly?, Camelot, Why Cant A Woman Be More Like A Man?, How Could You Believe Me?, I Remember It Well, Without You, Gigi, Im Getting Married In The Morning, Hurry, Its Lovely Up Here, Melinda, On The S.S. Bernard Cohn, What Did I have That I Dont Have?, Ive Grown Accustomed To Her Face, Its Almost Like Being In Love, Bonnie Jean, Waltz At Maxims (She Is Not Thinking Of Me), I Could Have Danced All Night, On The Street Where You Live, and Come Back To Me.

The Lyrics of Alan Jay Lerner

NR 1966
Ganga Ki Lahren

Seema and Uma belongs to a Thakur family which earns their bread & butter through stage & dance performances and this leaves Seema disowned by groom's father, right at the time of marriage rituals. Ashok, son of Diwan Saheb, marries Seema, then & there, to save their faces. Diwan disapproves this marriage and Ashok leaves his estate. He stays in a small rented house with Seema & Uma and starts doing odd jobs. Seema gives birth to their son, Munna. Ashok is diagnosed with an ophthalmic complicacy and need Rs.3000 for an operation which they could not manage despite many efforts. Seema writes to Diwan for money for Ashok's eye operation. Diwan agrees on a condition that Seema leaves Ashok alone.

Ganga Ki Lahren

6.5 1964
Descendants of Hai Ba Trung

“This film features the Vietnamese Army, referred to as "sons" of the famous Trung sisters of Vietnamese history” (US National Archives). "The film draws from Vietnamese mythology to allegorize South Vietnam’s struggle with the North, drawing connections between the Trung sisters’ heroic resistance to the Chinese invasion in 40 CE to the conflict the South faced. Many of its sequences reveal the fingerprints of USIA and the American imaginary of Vietnam, moving between sweeping pastoral shots, montages of military preparedness, and scenes of graphic simulated violence upon people of the South—making the film ultimately prowar. However, the documentary renders a complicated, almost paradoxical visual expression of homeland defense. Instead of framing victory as likely and death as something to avoid, the allusions to familiar mythology cosmically situate the South’s resistance as a tragic duty that spans the long history of their nation" (Vukoder and Gharabaghi).

Descendants of Hai Ba Trung

NR 1963