5317 Matches Found
Filmed photo portraits Erwin, Toni, Ilse, is one of Friedl Kubelka’s first films. Influenced by the Nouvelle Vague and Existentialism, it was shot in the late 1960s at 16 frames per second and have not been edited.
The broadcast (transmitted by Sender Freies Berlin/ARD, 10.40pm, 15 April 1969) begins with a studio-recorded opening that has something of the atmosphere of a vernissage. Following short speeches by Schum and Jean Leering, the director of the Stedelijk Museum, Amsterdam, the artists' contributions are shown with no commentary. The eight artists from different countries (Richard Long, Barry Flanagan, Dennis Oppenheim, Marinus Boezem, Robert Smithson, Jan Dibbets, Walter de Maria, Mike Heizer) co-operated closely with Schum. The filming concentrates on the works of art that are created in rural sites, and there is none of the usual TV portrayal of the artist in a ‹studio atmosphere.› The elaborate productions were shot in Europe and the USA. Schum expanded the message of the emergent Land Art movement, which avoided the conventional ‹studio – gallery – collector› distribution channels.
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.
Music composed, modified and assembled by Vladimir Ussachevsky at the Columbia-Princeton Electronic Music Laboratory. The complete, extended composition is synchronized with a film by Lloyd Michael Williams, expressly created for the occasion. During the final stages of composition all sound materials were further modified and assembled at the Columbia-Princeton Electronic Music Studio.
Kids and animals get busy with their bodies.
This short film encourages children to keep reading.
Uses common household appliances such as toasters, lawn sprinklers, and popcorn poppers to help visualize physical exercises.
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.
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. Her first film, Still Life is a five-minute self-portrait, in which Malani chose not to film herself, but trains the camera on her personal articles of clothing and books as they are dropped on a bed.
Dream Houses is a 8mm color stop-motion animation that reflects the artist's engagement with the idealism and hope that modernism brought for the Indian middle class and the poor in the Nehruvian sixties. It has also been used in Utopia, Malani's first multiple-screen installation, wherein this film is projected adjacent to the film Utopia, shot after the artist moved to a basic apartment building in a suburb of Bombay. This format allowed her to juxtapose the idealism of the sixties with the later dystopia of urbanism in the seventies.
A photographic art-film consisting of 42 one by one C-prints edited together and projected over roughly 49 minutes.
the cops bust a bunch of kids chilling in the park.
A portrait inspired by reading about John Millais' painting Ophelia.
Short by Hans Sachs.
GROUP II: WATER (1969, 4 min, 16mm, silent) Two images of a lapping water level, used at the beginning and end of the film, counterpointing the middle section consisting of flying through clouds and mist. CONTEMPLATING (1969, 12 min, 16mm, silent) The body fluids reacting in unison with the ocean waters.
Vic Deaves is a fourth generation bushman. For as long as he can remember, his family has lived in and off the Australian bush, often as timber-getters in the coastal valleys of New South Wales. Vic is a bullocky, one of the last of his kind. In this film Vic talks about his life and work, his bullocks and his friends. The area where he works is very much a part of another Australia, now past, but Vic and his surroundings represent the best of it.
The Magical World of K. Gordon Murray Presents All of the Famous FAIRY TALE CHARACTERS
The theme of the film is political assassination and it is presented with lightening-fast collage. The figures of Malcolm X, Martin Luther King, John and Robert Kennedy, and Lee Harvey Oswald flash by at great speed with animated images overlaid on these flashing figures. The sound track is a hodgepodge of speech excerpts, news broadcasts, and jarringly discordant music. Preserved by the Academy Film Archive in 2013.
Directed by Jeff Keen.
Renowned jazz pianist Art Hodes hosts this hand-clapping, foot-stomping special on Chicago style jazz, featuring electric performances from George Brunis, Jimmy Granato, Nap Trottier and Bud Freeman.
The film shows Marcel Broodthaers trying to write while the rain constantly washes away the ink. In the final scene, during which the artist gives up and drops his pen, the inscription “Projet pour un texte” (Project for a text) appears.
Coffin orange film is a Malay film which was published in Malaysia in 1969. The film Coffin orange issued in the form of black and white film without color.
Bollywood 1972
Classic Bollywood film with music from T G Lingappa and more.
ONE FLIGHT UP is both the name of this documentary portrait and the title of a piece by artist Alex Katz. The work-of-the-same-name figures prominently (or, more accurately, entirely) in the film-of-the-same-name.
Bollywood 1969
June Steel’s extremely entertaining film consists of audience reactions to a 1966 exhibition by Edward Kienholz at the Los Angeles County Museum of Art, which includes his well-known pieces ‘"The Birthday’, ‘Back Seat Dodge’, and ‘Roxy's’.
On Love, Sex, Violence, War and Tchaikowsky. "The filmmaker uses the objects of painter Salcedo to poke gentle and savage fun at society and its follies... a continuous mad charade!" -- Tom Chomont. On Arocha: "I know of no films more uncompromising in grotesquerie of burlesque, in gigantism of overstatement, than the comedies of Arocha. His actors are possessed to frenzy with their roles, filled to bursting with their identities; they hypertrophy into fantastic growths, revealing comic flaws enormous, monstrous enough to swallow whole the old familiar characters of Samson, Traviata, and Dracula, and even to make the best of us laugh." -- Ken Kelman.
About this film, Sonbert wrote in the London Filmmakers' Co-op catalogue: "New York again and some Morocco. First sketches of varieties of people. East west city country, rich poor, old young. Many levels. Less movement but more editing and geometric progressions. It's over before you know it." -- Jon Gartenberg. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.
A lonely, crippled youth meets a stranger and discovers the boundaries of his world expanded in close friendship.
Pirate Sally and Frede Puppet show with songs about a little girl who pretends to be a pirate.
First, assembly line work in a printer's. As one, the workmen put together newspapers. Then other hands assemble, punch holes in, and attach together sometimes mysterious materials, using machines of ultimate design. Then there is no more human presence; only a ballet of automated machines. Finally, we are in a foundry, amid sparks and smoke.
A 1969 documentary on the Moon landing missions by NASA.