Cinematic Era: 1972 Vintage

Mexican feature film

Mexican feature film

Mexican feature film

Based on an LSD trip, this is a cardboard and paper 2001: A Space Odyssey-styled sci-fi set in a Blake’s 7 quarry.

The film documents Andrew Jackson’s fight with John C. Calhoun over a tariff law in 1832.

Covers the disagreements between Thomas Jefferson and Alexander Hamilton in the 1790s on how our new government should be conducted.

A “Cinéastes de notre temps” series episode directed by french film critic André S. Labarthe, originally aired 10 May 1972.

"In another exploration of nonverbal communication, the camera moves back and forth, each time catching one of Acconci's hands in an expressive gesture. The result is a kind of narrative or dialogue of gesture." - Electronic Arts Intermix

A super-8mm short from Vito Acconci

The performer’s upside down frontal head fills the monitor, staring into the camera trying not to blink for the duration of a recording of Ray Charles’ “It’s No Use Crying”.

Using the example of a modern large-scale development, filmmaker Kurt Gloor examines the influence of the environment on children's development.

Chick Corea & Return To Forever performing Live in Molde, Norway, August 1972. Chick Corea (p, el-p) / Joe Farrell (ss, fl) / Stanley Clarke (b) / Airto Moreira (dr) / Bill Tragesser (perc, voc). Tracks: 1. Spain 2. Crystal Silence 3. 500 Miles High

In Sonnier’s video tape TV In and TV Out, two images are superimposed, one shot off network television and the other shot from a studio performance situation involving some of the materials and visual qualities of his sculptures. This live image is colorized by a device which adds color to a black and white image and in turn manipulates the color. Colorized color is more opaque and less three-dimensionally tactile than synthesized color, but it is tactile in its video scan-line texture. …

A man is busy with his own image in an empty building, and in a cinema.

Experimental film with a doll.

A collage-like work that plays with a variety of visual and auditory elements. The film combines scenes from Lausanne, Lake Geneva, and Odesa, interweaving cityscapes, stairwells, and street scenes. The images are accompanied by a mixture of distorted sound, choral singing, and marching music. Intertitles in Cyrillic script and humorous texts reinforce the film's experimental aesthetic. The film ends with a note stating that it was found in the year 3973 and dates back to 1972, with the assumption that the sound and colors were partially erased by radioactive residue.

The nearest Wagner ever got to religion was worshiping himself. Using opulent music he delivers his audience to an easy, pseudo-mystical experience. In this, one of his earlier operas, he is already showing signs of the mastery of the superlative that later would blossom fully together with his egomania.

Report on the Cuyaguateje River in the province of Pinar del Río. A journey along the western river, with a voice-over explaining the name of the tributary, the diversion of water to the lagoons, the sinkhole, and the life and work of the area's inhabitants.

Działania (Activities) documents a four-day action in a Warsaw television studio which can be understood as a “visual free-jazz concert,” or an attempt at interdisciplinary, collaborative improvisation. In their work, KwieKulik often attempt to mediate communication through different forms: language becomes movement, ideas transform into objects, improvisation acts as another form of theory. The surprising trajectory of these improvisations in sound, sculpture, discourse, performance and movement show the open-ended outcomes that Przemysław Kweik and Zofia Kulik were interested in pursuing during this period.

"Visits four cooperative "living experiments" in Portland, Oregon during the 1970s, where cohabitants form alternative relationships to the nuclear family. Co-op members discuss their reasons for choosing to live in communal and multi-family households and frame this lifestyle as an answer to urban segregation and isolation, materialism, the need to conserve resources and reduce waste, forging lifelong commitments, and some of the challenges of raising children.

Short animation from Pierre Veilleux. Honoured as best Canadian short animation in the Canadian Film Awards (precursor to the Genies). Here the animator gives vivid expression to his own memories of a child's first encounter with elementary school--at that tender age when grown-ups seem ten feet tall, a monster lurks in every corridor, and the very walls have eyes. Feeling, but not understanding, the regimentation imposed on him, the child seeks, in spite of it all, to be himself.

A short film featuring images of his grandfather’s just-demolished shoe-repair shop in 1972

The experiences of a young girl help to focus attention on some psycho-social aspects of the venereal disease problem. Written and directed by Rolf Forsberg (maker of Parable, Stalked, Ark, One Friday).

Hans-Dieter Grabe accompanies Mendel Schainfeld on his second journey to Germany.

Shot in Rio de Janeiro’s Guanabara Bay, the film captures artist Rubens Gerchman’s happenings.

This short film is a portrait of Montreal as seen from a local radio station's traffic helicopter. Freeways, interchanges, bridges and downtown arteries are laid out in miniature. A seething, teeming spectacle, this film presents a unique view of the city with comments by the traffic guide, Len Rowcliffe.

“Triangle” tells the story of a couple: an industrialist and an unoccupied and lonely bourgeoise whose husband’s many duties leave her adrift in the city. Inevitably, an affair with a younger man ensues and, with it, comes the husband’s jealousy. - MOTELX

Elusive portrait of a girl moving through a space that is both hers and not hers, where every gesture seems to be in search of something undefined.

A dramatic autobiographical film that is a multiplexed portrait of the San Francisco sub-culture of the 1960's, "a lasting testament to a time we will never forget"

At the Esalen Institute in California, group therapy sessions are held in the seventies, led by doctor William Schutz, who was also founder of the institute and author of the books Joy and Here Comes Everybody. The idea - then more revolutionary than now - was that people in group therapy could lose their stress and anxieties by confronting themselves and each other, guided by a psychologist, with their inhibitions and tensions. The heterogeneous group of fourteen people exposed their struggles with homosexuality, their marital fears and sexual frustrations. Director Whitmore compiled the documentary from more than sixty hours of film, shot in nine days; it took eight months to edit it. The filming was done behind glass walls, so the group wouldn't be disturbed by the presence of three cameras.

An impressionistic study of a young married woman isolated in her Melbourne home.

1972 Mexican experimental film by Cooperativa de Cine Marginal

A narrator tries to figure out “what’s the deal with Cathy?” (but she’s a riddle no one can solve).

“Skala’s films combine the principles of informel painting and abstract expressionism applied to the media of film. His approach was based on the manual method, on the application of artistic techniques to a scroll of raw or already exposed film – engraving, scratching, painting or drawing on it, burning holes in it or using specific chemical procedures.”

This cartoon is based on a humorous Ukrainian folk song about how wives decided to sell their disgraced husbands. One wife wants to get rid of the reveler, the other - from the drunkard, the young woman is tired of the old man, the worker is lazy, and the tall - the husband is too small in stature.

Peter Gidal's 'Upside Down Feature' is one of the most important films to have been made in this country. It makes a complex and original foray into the nature of film, and, by extension, confronts its audience with a thorough reappraisal of its ways of dealing with film. I found the film exhilarating, but it's unfortunately necessary to add a rider that if you're unused to this type of film, expecting anything remotely similar to what the Big Boys from Wardour St dish you up. then you're in for a major piece of culture-shock which could mean anger, frustration and resentment.

This film, shot in 1952-53, documents the scarification ceremony called "marking" which was traditionally held for Ju/'hoan boys after they had killed their first large animal. Here, /Ti!kay, a boy of thirteen, shoots his first wildebeest with an arrow. /Ti!kay's father, Kan//a, and Crooked /Qui help the young hunter track, skin, and butcher the animal. After the meat is brought back to the village, a scarification ceremony takes place, symbolizing the importance of hunting and /Ti!kay's passage into social manhood. He is now considered an acceptable son-in-law by the parents of the girl to whom he has long been betrothed.

In this film a five-year-old named Debe refuses to let his mother Di!ai go gathering without him. Di!ai appeals to her daughter N!ai to entertain the child but Debe resists. In the end Di!ai leaves with Debe on her back. This is a companion film to The Wasp Nest which shows Di!ai, Debe, and other women and children on the subsequent gathering expedition.

Short documentary depicting the preparations for a Communist congress in Sarajevo, including the use of large billboards to obscure the view of run-down neighborhoods.

Compilation film specifically designed to commemorate the Foundation 21st birthday. Compiled from: SCRAMBLE; THE MAGICIAN; COUNT DOWN TO DANGER; ALL AT SEA; ALI AND THE CAMEL

Features a little man who has a hippopotamus he loves dearly and keeps in his garage. Unfortunately nobody else love the hippo... (Animated Film) Based on a story by Patrick Barrington.

At the beginning of the film the word FOME (hunger) appears written with bean seeds. The germination of the grains is recorded step by step until it gives rise to exuberant plants, thus creating an ironic metaphor that inverts the meaning of the word. The film refers to the misery that was experienced in certain areas of Brazil in the 1970s. One of the works of the "Quasi Cinema" movement in Brazil.

Conceived in 1927/28, but only realised in 1972, with the support of Robert Darroll.

In the kitchen of a Vermont farmhouse, four people come to sit around a table. The silence of solstice holds them together. Before a ritualized meal they each tell a story. Their stories are ominous, yet, as in the first OOBIELAND film (INTRODUCTION TO OOBIELAND), they are incomplete. Earlier, the titular mother has passed on her powers to a young woman. At the close of the film, this young woman enters the farmhouse and, with final simplicity, restores the old order.

In May 1972, Matta-Clark installed an industrial waste container between 98 and 112 Greene Street in New York?s SoHo district. He collected discarded doors and pieces of timber and divided the interior into three openings. This piece records an opening-day site performance by the artist, Tina Girouard, Keith Sonnier, and other friends.

Automation House 1972, 32 min, b&w, sound, 16 mm film on video This tape is an exercise in spatial perception, using mirror reflections of people and their movements. Producer: Carlotta Schoolman

Hudina's move into cinema with his old drawings, paintings, and photographs animated onto film.

This film records the complete process of the destruction of Matta-Clark's truck (which he called "Herman Meydag") by a bulldozer in a rubbish dump. Part of 98.5, a compilation of films by Ed Baynard, George Schneemar and Charles Simons, this piece was shown in Documenta 5 in Kassel, Germany. Camera: Burt Spielvogel, Rudy Burkhardt. Producer: Holly Solomon, Burt Spielvogel.

A group of young militant workers, OS at the Peugeot plant, solicited at home by the in-house recruiters, disembark in Sochaux carrying all their belongings on their backs and immediately snatched up by the chains of the Peugeot empire, manufacturing chain, bachelor hotel chain, Peugeot department store chain, jokingly named Ravi...

“…(a) serialist comparison-contrast of the variations in nine naked male and female torsos.

The filmmaker describes his work as 'a single take, fixed camera meditation on a dead rabbit on Highway No. 1, outside Iowa City.' As the viewer stares at the almost still-life, the elements of composition come together in sad juxtaposition; the silence of death is set off against the impersonal whizz of passing cars, their momentary appearance in the frame creating almost subliminal flashes of bright metallic color.

Art film part of the REWIND + PLAY, An Anthology of Early British Video Art box-set.