Cinematic Era: 1970 Vintage

An animated film which uses the situation of a boy being trapped in a box as a basis for a study of man's needs, emotions, and values.

"A film of video light and color. Dancers move through computer-generated patterns and fields of soft color to the music of Ravel. An experiment in video graphics combining the new technologies of video matting and analog computer patterns. One of the most successful of the Boston Symphoney Experiments, 1972, aired nationally." --S.V.

In this film from the late 1960's Ron Scott collaborated with avant-garde musician Byrne Newhart in Fort Worth, Texas to produce a melange of light and sound channeling the psychedelic zeitgeist of the era.

A film made in 1970 in the home of Finnish composer Ilkka Kussisto (whose two sons are famous violinists) when the Bill Evans Trio visited him for a private performance.

Pioneering ethnographic filmmaker John Marshall casts an eye on the inner workings of a Pittsburgh police station, capturing law enforcement’s day-to-day handling of domestic disturbances, juvenile delinquency, suspect interrogation, and various cases to arrive at a sociological, vérité examination of civil liberties and the carriage of justice.

Animated pen and ink Cartoon space-like drawings on transparent acetate sheets & silver paint superimposed plastic bubble packing material & plastic helmet approaching 3D without the use of 3D glasses. Part of a series of yogurt culture film.

"This film, done in the fine tradition of hand-painted images and sound, deals with Western man's fetish for technology." —Keith Lock & Jim Anderson

A five minute super-8mm short from Vito Acconci

Painted pictures of castles, knights and flowers to a poem by Karl Vennberg.

About the mining strike at LKAB in Norrbotten 1969/70. Snapshots, moods, meetings, strikes, corporate staff and the local community.

An original ballet exploring the loving devotion as one of the paths towards the Divine

A short film about taking responsibility for the consequences of your actions.

A portrait of artist May Wilson, former “wife-mother-housekeeper-cook” and a grandmother who, at age 60 after the break-up of her 40-year marriage, moves to New York City and discovers an independent life of her own for the first time.

Interesting crime story about woman-prisoner, incest and murder..

Boldt's road movie, a blow-up of 8 mm to 35 mm Cinemascope, underlaid with the music of the Rolling Stones

Witnesses tell of the day the police took over the Peugeot factories in Sochaux on strike for 22 days. Balance: two dead, one hundred and fifty wounded. The first film by Sochaux's Medvedkine group, this film recounts one of the most violent episodes of May 68: the murder of two Peugeot factory workers by a CRS brigade during clashes on June 11, 1968. The film was shown two years later, on June 11, 1970, in a cinema opposite the factory, on the day commemorating the death of the two workers.

Early short film directed by Gillian Armstrong.

An animated fantasy that shows Canadians as urbanized people developing a vast wilderness with the aid of the latest technologies. Shown as part of the Urban Environment exhibit in the Canadian pavilion at the international exposition, Osaka '70.

A film that has chosen as its protagonist its own negative and will remain committed to that choice until the very end. More precisely, nearly positive, or rather, not all negative, it detains two characters in constant solitude afflicting them with visions and apparitions of the epoch of man and the epoch of the cinema.

Abstract animation.

One of the earliest minimalist video with flicker effects was produced in Tokyo in early 1970s. A flickering video with eyes, which super-impose the positive over the negative, open and close rapidly. At the same time the "blind" effects of video fast-forwarding accelerates/decelerates the picture synchronized with the sound.

A motley cast of characters offer their thoughts on what’s most important in life. Experimental short film preserved by the Academy Film Archive in 2011.

The story of a 21-year-old girl who was disillusioned with life until she went to Cuba to help with the sugar harvest and found a purpose in life in committing herself to the struggle against social injustice.

VERONICA focuses on Veronica Glover, a black teenager who has been elected to the Student Congress of her predominantly white high school in New Haven, Connecticut. Hoping to use her position to encourage conversation between her black and white classmates, Veronica narrates her experience in voiceover as we see brief, revealing scenes from her life: a debate in an African Literature class, discussions with her friends, and time spent with a teacher/counselor.

GROUP IV: BEADED LIGHT (1970, 4 min, 16mm, silent) “In BEADED LIGHT, Gerson applies an ambiguous procedure to our perception of color and light.” –Bill Simon, ARTFORUM DISSOLVING (1970, 4 min, 16mm, silent) An ambiguous shiny grey substance at the bottom part of the frame counterpoints horizontals of clouds and fog as the camera moves up and down – shifting the perspective and therefore the space. A lone bird flies across on a perfect horizontal path. BEYOND (1970, 4 min, 16mm, silent) “The foreground discloses the red hair and the shoulders of a girl lying on a beach. [...] At the very end of the film, he raises the camera to a higher angle and the portions of the beach previously obscured by the girl’s form becomes visible and the two spaces – the girl and beach, foreground and background – are joined.” –Bill Simon, ARTFORUM

A documentary look behind the scenes of the making of a television public service announcement for The Urban Coalition, with the slogan "Love - it comes in all colors."

Deals with the case of the only woman sentenced to death penalty in Puerto Rico: Luisa Nevárez Ortiz.

A Super 8 film by Narcisa Hirsch

Sunday in London's parks - Speaker's Corner, courting couples, people swimming in the Serpentine, tramps, etc.

Strains of Wagner's Das Rheingold and African tribal ululations collide with bi-/tri-sected television footage while negative-positive visuals smash heedlessly into their mirror images, an unbounded series of “meaningful” artistic fender-benders that amount to little of resonant substance.

An Interface not only between two continually switched over images but also between documentary tape, imagery taken from "reality", and its transformation in the electronic sphere.

A fractured, psychedelic fairy tail presented as a school play.

Nine girls turn up at a Kensington studio for a supposed screen test to 'show what they can do'. In fact the test becomes the film, a candid camera.

'I tried to make a kind of environment in the room where I lived in Kentish Town and to make a film within it. There were pieces of paper and screwed up, transparent gels hanging from the ceiling; it was quite dense in some parts. I wandered through it with a camera and then other parts were filmed on the rooftop at St Martins. I think I was just very much trying to find my way in a whole new area of work. I remember it involved a lot of refilming, which was the part I liked. The process was very fluid, similar to painting. I got quite interested in the specks of dust and dirt on the film and the re-filming gave me a chance to look at that more closely. Probably the thing that attracted me to film was the light ... the kind of floating quality you can get, images suspended in light.'

In this film you will simply see a group of young people talking.... they are not actors; there was no script. As you watch, we hope you will feel like a member of the group--- if you could join in, what would you want to say?

Part of BFI collection "Worth the Risk?"

Rayday Film was shown projected in several 100-foot length parts from multiple projectors. The friends and family who featured in costume and character within - like Motler, the Word Killer who reflects Keens preference for action over thinking - performed similar actions in front of the screen. After a final performance in 1976, Keen spliced the parts together so it could be shown according to normal cinematic convention.

A morphing self-portrait of artist Bill Plympton

What differentiates "Daisy Does Hollywood" from its peers is the incompetent performances by the cast. Their ad-libbing is horrendous, and the sex scenes are never sexy.

The documentary is divided into three large segments, which ironically about the "press of the movement"

Short 16mm film by artist KP Brehmer examining language, landscape and the visualization of global capitalism.

Hell Hole film is a film Malay published in Malaysia in 1970. Hell Hole Film issued in the form of black and white film without color. Hell Hole film directed by director Nordin Ahmad in 1970.

Family drama starring Balraj Sahni, Mala Sinha and Shatrughan Sinha

Beautiful Radha lives in a small hill-station in India. One day, Mahesh comes for sight-seeing, both meet, fall in love with each other, get intimate, and Mahesh promises to return, marry her and take her with him to live in Bombay. He does not return, Radha continues to search for him in every train that stops at Shampur, in vain. She eventually gives birth to a baby girl, Laxmi, and both are looked after by Shampur's kind-hearted Station Master. Radha does come across Mahesh, but he refuses to recognize her, and she kills herself. The Station Master takes Laxmi to her next of kin, in all two families, but all reject Laxmi, consider her inauspicious, and will have nothing to do with her. He leaves Laxmi with her maternal grand-parent, Bhagwanti and her husband, but Laxmi is abused and she runs away to Bombay, where she is befriended and looked after by a blind beggar, Anwar.

A lovely, poetic, humorous and crystal investigation of mankind standing, sitting and lying down.

An experimental film in seven parts for continuous projection. With the excepti on of parts 1 and 2, each film can be hired individually. Individual parts as f ollows: Part 1: Sheep (3 mins st.) Part 2: Sheepman (10 mins st.) Part 3: Window (45 mins) Part 4: Lane (18 mins st.) Part 5: Farm (25 mins) Part 6: Blue plus greed plus red (15 mins) Part 7: Sheepwoman (16 mins sd. commag.)

An experimental film with no plot. Consists mostly of static shots portraying train wagons. The word COMPOSITION in Serbian has a triple meaning here – a train composition, composition of a shot, and music composition. Regarding the third meaning, the “soundtrack” of the film is a 5 second loop that keeps repeating itself over and over again.

An experimental film: dozens of pictorial techniques applied directly on celluloid; a work of impressive aesthetics that recovers certain ideas of abstract expressionism: endless chromaticism, constant mutations, the music of the cosmos, mysticism, synesthesia… and an enigmatic title that, although it imitates the phonetics of the Basque language, means nothing.

Mat is contented working as a rag-and-bone man. He is offered a paper bag that he thinks is just filled with shards of glass. It turns out to contain jewels worth millions of dollars that he unknowingly gives away to his friend Hamid. The owner sends his henchmen on a wild goose chase to hunt down the bag. This bewilders Mat as he is forced to be on the run. He puts on various disguises and encounters a slew of obstacles and colourful characters along the way.

A short documentary exploring the enduring (and erotic) appeal of the female circus performer.

A documentary produced by Hanna/Barbera, where teens talk about their use of drugs, and the sense of hopelessness that led them there.

Six films by photographer Paul Nadar in 1896 were combined into a program in 1970 by the Cinemathèque Francaise. It contains four dance routines and two Paris-based actualities.