Cinematic Era: 1971 Vintage

City of Sarajevo from the view point of children.

The camera slowly zooms, in over a long period of time, on the light of the sun reflected in the mirror of a bicycle parked at the construction site. To this is added a slowly evolving flicker effect derived from negative-positive reversals, progressively dismantling the distance from the subject. Nakai created a masking film with a calculated pattern of black and white frames into which he inserted positive and negative images and made a print out of two separate rolls of film. The original projection speed was 16 frames per second, but the sound is separate from the open-roll tape rather than burned in, so it can also be screened at 24fps. Also, the original sound consisted of the friction noise of rubbing steel, but in 2019 a new version of the sound was created featuring the friction noise of glass. Two versions of the film exist: 24:15 mins at 24 fps and 40 mins at 16 fps.

An experimental film made by Millie and Morton Goldsholl, with kaleidoscopic effects in which light and color movements are recorded before a stationary camera with a distorted lens.

This film is a poem from Jean-Pierre Thiébaud, one of the workers participating in the Chris Marker-animated Groupe Medvedkine, and who took part in the 1967 Strike. It is a visual lyric, against war and capitalism, a call for emancipation.

Based on Roger McGough's PC Plod poems, a series of quick comic sketches performed by The Scaffold.

Sequel to "The Birth of Electronic Music: Part I" (1971) The 2nd installment covers the slightly more modern era.

Two young men, who have lived together for over a year, share their relationship and sexual pattern. The film begins showing them preparing dinner while enjoying kissing, joking, and flirting. After dinner, they become more sexually aroused, moving to the living room where they continue to kiss and caress. They stimulate each other manually and orally to orgasm. Post-orgasmic play continues the element of fun and affection, which is clearly shown throughout the film.

Jan Dibbets begins with an image of the sky, then moves the camera down and films a field in undulating movements. The horizon swings diagonally and the field fills the image. With his camera movements and unusual cropping of the image, Dibbets here moulds the flat landscape into mountains.

Filmed at Antioch College in Yellow Springs, OH, "Woman's Place & Dance" features a group of young women and men running around and enjoying themselves on the grass outside. Among their activities are jumping rope, posing in different positions, and wearing colorful masks, but the film is primarily concerned with capturing the sense of free play and communal joy among the people. JoAnn Elam herself is a participant and can be identified by her dark green t-shirt and keys around her neck. Other, unidentified people can be seen holding cameras, but it's not always clear if their footage has been included in this film. Elam attended Antioch and lived in Yellow Springs until moving to Chicago in 1972.

A farmer wanted words to go with the tune he was playing when he saw a frog sitting on the bank of the stream. The frog did something silly which gave the farmer the words for his song. The farmer went to the corner store to sing his song for people there.

Original inspiration for Attack of the Killer Tomatoes.

After a general view of the city Ghent, its horizon and roofs, we are confronted with views of streets and houses in one particular district that is threatened with demolition. A poster announces protest actions against the demolition of the Patershol district.

A slender chair works out while a cushioned one strains. Hand-drawn comedy with early cinema motifs. A woman arrives and sits, finding a perfect fit.

A set of short pure color studies, usually exploring one dominant hue. Most of these works were studies for longer projects. The last four "migraine" studies are rhythmically based around the five-cycle-per-second oscillation pulse of the typical fortification illusions preceding a migraine attack; this onset period, with its visually dynamic effects, is reported to be a quite vibrant and enjoyable state.

Documentary feature about the great days of variety.

A metaphor on fictitous catastrophe.

Two young women in love communicate through fantasy and touching in a rhythmic buildup, merging time concepts. Flashes of the past blend with the present and future in a collage of themselves, the hills, the sea and their sexuality.

A delirious pageant about violence and the decline of the West.

A feature-length documentary directed by Dorothy Wiley and Gunvor Nelson about five working San Francisco artists: William T. Wiley, Robert Hudson, William Allan, William Geis and Robert Nelson-- A profile of five friends and their creative processes.

Documentary research on the traces of a female pensioner, who committed suicide in Berlin in winter 1968.

A film about woman's onanistic fantasies.

A surreal animation of erotic images.

One frame of film for each page: the history of human knowledge becomes an illegible, strobing stream of images.

Experimental animation, via multiple screens.

Ruby is a school bus driver. Ruby's life and family are not exactly the typical American experience.

Peasants clash with the Party bureaucracy during a village meeting.

An older couple turns on the tv and is in for a surprise.

Deutrudes Carlos da Rocha, a 24-year-old Brazilian, black, illiterate, is a car washer and lives in São Paulo. Through his testimony and also holding the camera, he brings us closer to his experience and vision of the world.

Full of the youthful energy of the 1970s, this experimental work is an essential entry in the counterculture canon and features a score by Egyptian composer Soliman Gamil.

The adventures of one “sex swapping” couple determined to turn their neighborhood on to the joys of organized bed hopping.

A documentation of a live performance at New York University, Pryings is a graphic exploration of the physical and psychological dynamics of male/female interaction, a study in control, violation and resistance. The camera focuses tightly on Kathy Dillon's face, as Acconci tries to pry open her closed eyes. Dillon resists, at times protecting her face or fighting to get away. Locked in a silent embrace, the couple's struggle is violent, passionate; Acconci's sadistic coercion is tinged with a sinister tenderness. The body is a vehicle for a literal enactment of the desire for and resistance against intimate contact.

A section from ROLLS: 1971, which I feel stands well on its own. The continuous field of falling snow appears to break into three planes or zones of different density and speed. I think of Snow in some sense as nature's answer to SPRAY. - Robert Huot

An early study of light, form, movement.

The Tuna Estudiantil de Cayey interprets several melodies of popular Christmas music. Special emphasis of typical musical instruments such as guitar, mandolin, güiros, and tambourines are made.

This is an adaptation of film director Horst Blenek's own novel Die Zelle, which is based on the experiences he suffered as a political prisoner in East Germany and in Russia in the '50s. Filmed in black and white, the dark filming emulates the oppression experienced by the prisoner. In the story, the writer is a prisoner who has not yet been "broken." That is, he has not yet succumbed to the skillfully applied tortures and signed a written confession of his so-called crimes. He is supposed to have planned a bombing incident. He endures an escalating number of indignities, until a fellow prisoner tells him what happens at the next level of torture, in which he would be sent to a "psychiatric" hospital.

Film by Robert Huot.

Short film about accidents on war ships.

As the wreckers ball lays waste to a fine set of old building in East Melbourne a visiting professor considers the value of our national identity.

Part of BFI collection "Worth the Risk?"

‘At the work's core is an experimental approach to the stuff of film and a fiercely political outlook. Dresden Dynamo is an abstract assault on the senses. Eschewing a camera, Rhodes affixed patterned Letratone stickers to the film itself and used filters to create red and blue colours. Stripes, dots and wavy lines surge across the screen, and their forms dictate the accompanying barrage of white noise and atonal bleeps.’ --Ben Luke London Evening Standard 26 January 2012

Jane and the kids go to town. Directly in the tradition of SCENES FROM UNDER CHILDHOOD, this film may indeed constitute a 3rd chapter to 'The Book of Film.'

November 19, 1971, F Space, Santa Ana, California: “At 7:45 p.m. I was shot in the left arm by a friend”.

The painter Juarez Paraíso describes the assembly of panels at the entrance of the Cinema Tupi, in Salvador, explaining their meaning.

In 1968, Wakefield Poole filmed an exhibition of Andy Warhol's work at the Whitney Museum. He edited ANDY "in-camera" as he filmed it, then created a collage soundtrack and presented a print to Warhol as a birthday gift. When BOYS IN THE SAND opened in New York, Poole showed ANDY before each screening.

An aleatory film: each reel begins and ends with a fade from or to a different color and contains two scenes. The film reels are supplied to the projectionist with a die with each of the colors on a side. The projectionist rolls the die to determine the running order of the reels. The story is designed so that each ordering creates different implications to the film as a whole.

El Abnoudy's first documentary depicts women in a mud-brick factory in the centre of Cairo, where they are treated like 'horses', working at repetitive and monotonous tasks in miserable conditions. Nevertheless, El Abnoudy brings out the women's dignity, showing a beautiful choreography to their movement. By giving control of the microphone to the workers themselves, she also allows the women's own stories to be interleaved with their work.

Directed by Mustafa Abu Ali.

A thumbnail History of the Western World, all centered around the basketball court. - Canyon Cinema

The adventures of Possible Possum and his swamp-bound friends.

Film directed by M.S. Mani

An experimental film by Richard Myers about the cultural devastation of the USA.

Bollywood 1971

Film directed by Kunchako