Cinematic Era: 1969 Vintage

In this World War II documentary, we examine several of the controversial bombings of the war. Included is Allies bombing of the Benedictine Monastery on Monte Cassino.

An advertisement from 1969, as part of the It Happened in France: French animation from 1894 to 2018 program curated by the Ottawa International Animation Festival and the Embassy of France

Australian feature-length documentary, filmed by shark bite survivor and rock musician Henri Bource.

A 16mm feature film from Sudan.

There's big Jim Finney in a sweat suit, working out in the backyard in the rain, keeping in condition for a game he'll never play. He was a pro football player until he got too old. Then he could have been a coach, but he decided to be an artist instead. But he still runs in the rain.

Sand, wind, water and sun ballet on the beaches of Camargue.

Experimental dance film

A teen-aged girl defies her parents and the traditions of her family and becomes involved with counter-culture types.

Gideon Bachmann documents the making of Fellini Satyricon

Against the background of the escalation of the war in Vietnam, AMERICA documents the development of the anti-war movement on the home front. Conversations with Vietnam veterans, young teenagers, and African American militants contextualizes footage that graphically depicts the heightened incidents of mass protest and police repression.

Haikuesque impressions of things observed, events remembered, nightmares experienced. . . the sky bursts in spectral madness.

A life-light guilt trip, tragicomic psychodrama in the film time. Made in the darkness of my year in a women's dormitory. 1969, Tufts University, Medford, Mass. –M. K.

A ten-year-old girl dressed as a 1920s star gives a performance. She wears a rubber mask, sits in a large, red armchair, and reads magazines that revive actresses from the past. Annette Hanshaw sings in the background. Marlene Dietrich is bombarded with egg, chocolate powder, powdered sugar and currants.

The director and two writers and intellectuals interview the Artist in his atelier, and near some of his works, discussing its relations with his former poetic and philosophical works.

A dying religious ceremony, held only once every twelve years, is filmed for the first time.

A film by Naomi Levine from 1969

"This short film documents a day in our backyard while also standing in as a mini- creation myth. The film begins with word fragments written on the leader. There is sound, and the leader then lets there be light. Soon animal life appears on the earth, followed by people – and at some point, civilization and culture appear by way of a cast off TV set. Life continues as other events occur, and Time continually presses onward toward night. Throughout the film, we hear cryptic voices whose messages are unclear, and, as darkness descends and the TV set dominates, one voice from the ether constantly repeats a phrase. The sound is blurry, and as with a Rorschach test image, you will make of it what your inner life hears. I, of course, know exactly what the voice says, because I am the creator. But you will believe your own ears. (Spoiler alert. It’s in English). That’s the way of the world, and there’s no way out of it as far as I know." –Abbott Meader

An animated film using mixed techniques on the natural world and its metamorphoses, Primavera nascosta starts with a voyage in the tradition of abstract experimentalism, exploring sea creatures and then those of the air, only to digress towards heavenly space and astronauts, prior to the conclusion. —Tate Modern

A time capsule look at the year of 1968.

A series of intercut vignettes involving gangsters, dancing, and skydiving.

"From the 1969 exhibition, Bride in the Bath is shown in its sculptural form – a life cast of a model's body lying back in a bath and draped in black silk coated in resin. The footage is cut with film I shot of a model lying back in a bath in which black, then white ink is poured. The final images are shot in color from the position of looking down on oneself in the bath and reflected back in a mirror. All are part of my exploration of the female body in water, the body in the bath." - Penny Slinger

"This film was part of my thesis presentation at Chelsea College of Art in 1969. It expresses my interest in the human form and how two human forms can come together in various ways. My morphology teacher was also a dancer and he is the one in black moving with the white me in the cube. The film also includes photos I took, a number with multiple exposures, and drawings I did from the photos and from the work of Eadweard Muybridge, whose studies in motion inspired me." - Penny Slinger

Experimental documentary by the artist, showing various happenings carried out over the years with Marie Louise Alemann and Walther Mejía. As a ritual, the various elements involved in these events are thrown into a river. A film in the form of a personal diary that documents artistic events that took place over a period of time.

Reels from 1966 - 1969 compiled from loose footage and fragments shortly after Brooks's death by Jonas Mekas and Carolyn Brooks.

Adventures of a small dachshund.

An anthology of Italian short films directed by children.

1969 Educational short.

David and Carolyn Brooks and friends. At Tibetan seminar, prison, Chandler Moore's house, etc. "Was going to tape Carolyn and my first conversation in about 5 months of no contact. Show true love (whatever that is). Couldn't do it. Chickened out. Didn't want to get something between us. (Carolyn, what's come between us?). Film sequence, love: single frame printing, break colors into basic three (in the order of red, green, blue) and A/B roll to create 'well-known symetry' and to lighten frame (AB brightens, bi-pack darkens) / Binarius is the devil / ah, love / one flesh / let no man put asunder." - David Brooks

David and Carolyn Brooks with friends. At Martha's Vineyard, on NYC bus, shooting at the beach, etc. "Was going to tape Carolyn and my first conversation in about 5 months of no contact. Show true love (whatever that is). Couldn't do it. Chickened out. Didn't want to get something between us. (Carolyn, what's come between us?). Film sequence, love: single frame printing, break colors into basic three (in the order of red, green, blue) and A/B roll to create 'well-known symetry' and to lighten frame (AB brightens, bi-pack darkens) / Binarius is the devil / ah, love / one flesh / let no man put asunder." - David Brooks

Rhea vows revenge when her lover Eugene - a successful psychiatrist - becomes engaged to another woman. She hires another woman to visit his office and strip so that she can be discovered nude in his arms by his fiancé and superintendent. Having lost both his fiancé and his position, Eugene vows revenge.

Construction workers denounce their working and living conditions in Montreal. In tune with its time, a political film that testifies Arthur Lamothe's militant cinematographic practice.

"A collection of footage from my friends or by my friends and me. It is amazing the number of events recorded by various means around London. Sowesto contains the opening of Region Gallery, The First Canadian Happening, Barbara Ann Scott in St. Marys, Nihilist events, etc." — Greg Curnoe

Trixi is Dwoskin’s most convulsive version of his recurrent theme: the confrontation of a solitary girl with the camera. Shot in one continuous 8-hour session. Trixi records Beatrice Cordua’s responses to the situation, from initial shyness, fear and withdrawal through teasing and posturing to naked surrender and final exhaustion …. The camera is highly mobile; often confronting the girl in extreme close-ups, sometimes swooping down from overhead, sometimes searching to “recapture” her …. The camera itself is the object of erotic desire, [in] the sense of giving a performance shifting imperceptibly in a helpless self-exposure in response to its constant stare. Clearly, the form of the film was dictated by the response of the performer. Beatrice Cordua proves Dwoskin’s most expressive subject to date, and the film is correspondingly “open,” the camera having been willing to choose its tactics as direct responses.

Bill Brodie takes a young Marine who has deserted from the Vietnam War and places him in front of a movie camera so that he can tell his own story.

The tale of a young boy who discovers a pair of magic sneakers that allows him to create thunder and kick a ball really far.

Recordings of a speech Bobby Seale held in Scandinavia intercut with roving streets and images.

Experimental short film by Anna Lajolo and Guido Lombardi.

The 16mm black and white films Onanism and Still Life were the artist's open revolt against the orthodoxy of the traditional mores that restricted female sexuality in 1960s India. In Onanism, Malani used a crane shot while filming a friend prone to hysteria, lying on the ground suffering a series of physical contortions.

A photographic art-film consisting of 42 one by one C-prints edited together and projected over roughly 49 minutes.

A portrait inspired by reading about John Millais' painting Ophelia.

Using fixed frame timelapse, 15 hours of a day in the mountains, showing the changes in the sea and sky, is compressed into eight minutes. Designed originally to be rear-projected onto a plexiglass screen framed in a false wall by a traditional wooden picture frame.

Semi-documentary featuring a would-be actress from South Dakota who tries to find success in New York and battles loneliness, frustration, exploitation and despair.

A sequel of his previous 1967 homonymous experiment, Doppler Effect II moves one step forward in the mission of organising seemingly random stock footage along a rhythmical axis. By using found footage of diverse origin - political announcements, animal life, porn - and intertwining it with images recorded by Agnew himself-- cityscapes, abstract light essays-- the film abandons any attempt of evoking meaning of any sort and focuses on a strictly formal exercise centred on time intervals and micro-relations between small sets of images. The soundtrack, recorded by Duane Hitchings (known for his collaborations with Miles Davis and Hendrix, but also for his Flashdance OST) on a Moog synth, is an engaging exercise in abstract sonic dynamics and an essential part of the Doppler experiment in that it not only provides different aural settings for the diverse footage presented throughout the film, but also aptly sets the pace for the fast succession of synched images.

Transition from psychedelics to Meher Baba. Cinema as path to reality.

A weathered portrait of Berlin: Irena Vrkljan has conversations at the social margins of the city, films as Wolf Biermann serenades the Wall, shows the trash of affluence at a dump in Grunewald, new housing developments on the periphery where commuters go to sleep and the student protests at the university.

Studio tape of special imagery in the form of a giant translucent balls swinging in pendulous motion, with electronic synthesizer music played by Terry Riley.

The story of a farmer who's also a railway worker, and his family.

A young man is shunned by his friends after he starts an affair with a dancer.