Cinematic Era: 1972 Vintage

A BAFTA award nominated documentary looking at educational practices in junior schools across the West Riding of Yorkshire.

Gary Drucker's brief “Jog,” a student film about a pretty but single‐minded girl athlete who finally must choose be tween the appeal of the 100‐ meter dash (or something) and the appeal of her house mate's boyfriend, succeeds mainly in introducing its director as a decent and very graceful observer of irresolution. - Roger Greenspun, The New York Times, May 5th, 1972

16mm Film by Al Wong.

16mm film, black and white, silent.

Children's safety film from the Institute of Makers of Explosives.

A little good will goes a long way--between persons, and between nations. That is the lesson to be learned from this animated film. It begins with a confrontation between a man who grows flowers and a technologist who operates computers. A flower pops up in the computer room; a computer tape appears in the garden. Each man destroys the "foreign object." When they come face to face they discover that understanding is better than distrust, respect better than hostility.

Le Chant des signes by Yves-André Delubac makes an image reappear and multiply from the very word, but with difficulty and after long black shots. This short film, which makes maximum use of the black screen, could pass for an experimental film, but it is not experimental in the sense that we give it. It is a "theoretical and rhetorical work" on the difficult birth of an image that extracts itself from the black. Nothing to do with Kubelka or Frampton. It's a film that comes directly from what one could read in Cinéthique or Cahiers at the time. This appearance of the image is like a Caesarean section from the text.

Concerned with the relation of a word to what we hear or see in our mind when we see it. How this relates to film and color.

Free – only if requested with 3 other titles. Old maids of the "gay 90s" lament over Sister Kate's Shimmy. In the end they find that the shimmy is also possible for them! All synchronized to music's rhythm + words." –D. D.

A man is lonely. In his tragic alienation he cannot become close with another person.

Felix has a number of fun adventures to go through. His opponent, The Professor, is after the magic bag ...

A look at Jordi Bonet as he executed the work on the famous mural at the Grand Théâtre de Québec.

Screened at the Ann Arbor Film Festival in 1972

This film is my bridge from filmpainting to live-action filmmaking. A grant from a former teacher, through the National Counsel of Churches, enabled me to purchase camera, tape recorder, and editing equipment. DAYLIGHT combines filmpainting and live-action techniques. It took two years to make and starts with the words: "And so the journey ends." Although some people at the time called it a very moving film, I haven't looked at it in 20 years.

Jon Else’s open-ended documentary showing Death Valley, Calif., as a cruel and sublime backdrop against which a small group of aging residents reminisce about a past that seems like a distant, half-remembered dream.

This is a film which I keep changing. It's a structural comedy starring people's garbage, shot in the Harpur college snack bar; indigestion yellow. The beginning of thinking and working in a particular way with image-sound/image-silence relationships. –H. K.

Short study of a cube transforming to random points and back.

The artist faces a mirror on a window. The silvering is scraped away to reveal the trees outside. Another mirror is slowly put back in place.

Eyes may be the windows of the soul, but when the gaze is directed outward they become much more than organs for perceiving the world, they become also an instrument of involvement in all of life's drama. In this highly imaginative animation film, one disembodied eye (one is all it takes) embarks on life's adventures, entering into and disengaging from all the many passions, vicissitudes and conflicts that beset one's course.

This work belongs to the series Soldats soldés, which Miralda produced in Paris between 1965 and 1973 based on his experience in compulsory military service. The series began with drawings and collages, which gave rise to found objects covered with hundreds of toy soldiers, and continued with a series of public interventions in Paris featuring the reproduction in fibreglass of one of these life-size figures. The culmination of these actions was the Paris urban performance. La Cumparsita, produced in collaboration with Benet Rossell. The film shows the figure's journey through different locations in the city: its passage through the Place du Tertre, the Champs-Elysées, the Louvre, the demolished market of Les Halles, etc., which is intended to find a pedestal on which to stand.

A film made for police, firemen and first responders to alert them to special care that needs to be taken when resuscitating a laryngectomy - a person whose larynx has been removed, usually due to cancer.

Music as sensuous and longing as a fragrance. Phrases that rise and fall slowly at first, then more and more passionately. A love poem. And also a study of the relation between film phrases and musical phrases. As in the music, the film uses only fades and dissolves between statements. Based on Samuel Barber's "Adagio for Strings."

In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas' approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video.

Mexican feature film

Mexican feature film

Mexican feature film

Mexican feature film

An hour-long documentary on Project One, a unique living/working community in a converted five-story warehouse in the South of Market district of San Francisco. This video documents the activities of Optic Nerve and other artists working within the collective space, sharing resources, new technologies, etc.

Two young lovers, Mary and Tim, deal with pressure, parents and change in this heartfelt drama.

With Illuminated Music #1, Stephen Beck shows off the well-modulated movements possible with a synthesizer that needs no external image source.

The Film Unit at Sheffield University Union of Students produced many fascinating films during the 1950s, ‘60s and ‘70s. This one, with its surreal landscapes and alarmingly prescient storyline, is definitely on the imaginative outer limits of their collection. It has five men on the run from a controlling state organisation that is capturing the population on 3D film images, thereby making everyone dispensable.

The history of the fifteenth-century genius and his contributions.

Educational film about the dangers of consumer deals that apepar too good to be true. It turns out they are! Includes "testimonials" from upset customers and tips on how to avoid being swindled.

"In this exercise in nonverbal communication, Acconci explores facial expressions, and their psychological resonance, as a mode of performance narrative." - Electronic Arts Intermix

A sponsored film made by Charles Dee Sharp for the Illinois Institute of Technology (iiT). The film showcases scenes of the city of Chicago, along side scenes of iiT student life, both within and outside of the classroom.

Educational film on safety checks for moped users. Step Training Film No. 2.

"Cine-Sonnet. The film-maker's impressions of Charlotte Moorman's 9th Avant-Garde Festival of the Arts aboard the old steamboat, 'Alexander Hamilton,' docked at the South Street Seaport

Built and produced in collaboration with a group of eight young market gardeners from Saint-Omer, this film is a testimony to a specific moment in time of awareness of the agricultural socio-economic problems faced by these young people belonging to a specific and relatively closed social and economic group.

Portrays the loneliness and alienation subway riders experience in the dirt and graffiti laden New York City subway. Screeching cars, pulsing escalators and moving platforms, nervous and stressed riders as they wait interminably or as they surge forward to compete for a seat during rush hour. The underground claustrophobia is finally relieved as the trains emerge above the ground and rattle to the end of the line.

Shirley shares her masturbatory pattern while a narrator describes each of the steps in self-sexual exploration. She is first seen in the bathroom showering, drying, and brushing her hair luxuriously. In the bedroom she moves and strokes her body sensuously, gradually focusing in on her breasts and genitals. She then uses a vibrator on these areas, and moves into an exuberant orgasm. Close-ups show the vaginal area contractions of the pubococcygeus muscle during orgasm. Her delight continues to be visible after her orgasm, as she caresses and stretches her body.

Financed by Guggenheim Fellowship. The serpent embodies the primal chaotic life force in mythic symbology. SERPENT uses natural and electronic imagery to convey this elusive creative force. An outstanding piece of art. Striking, kinetic. Its form, techniques, and texture patterns should be studied by all aspiring young filmmakers. A beautiful combination of pure visual poetry and ideas about man and the world. – Jurors, American Film Festival.

The long version of the film titled in the short version "THERMOGENESIS"

"The Åkerblom Movement" - Attempted murder and perjury are not usually associated with a Christian movement. But members of Maria Åkerblom's cult would be convicted for both of them. In her youth Maria Åkerblom (1898-1981) experienced holy visions and revelations. She became a so-called sleep preacher who held her sermon in a translucent state, claiming that her words came directly from God.

«A hand at the top right of the screen throws three dice. They tumble, become still, are picked up and thrown again. The scene is projected on two large walls that face each other; the two projections are asynchronous. A malaise sets in with the consciousness of the presence of a mirror against which the dice bounce. The spectators are prey to a monochromatic phantasmagoria where real and virtual images of the die faces in the mirror are confounded, where a wall becomes the mirror of the other. The black dots on the dice faces such as dead heads taunt us with their random apparitions.». (Jean-Pierre Bertrand)

The film starts with an extreme close-up of television static. Through a series of carefully controlled processes, the abstract nature of the image (which is concerned with pattern, colour and time), is juxtapositioned with the formal images of domestic room interiors and exteriors. With this work, Leggett questions the legibility of the image, examining the illusion produced by the two great illusionists – television and cinema – and the extent to which these can be manipulated and do manipulate.

ZOCALO is a color, optically-printed experiment that uses as its base the Zocalo Square in Mexico City. Unlike my other films … it began as a class experiment … and because of my feelings towards the square itself … pursued it in all its variations … finished in December 1972.

Four teenagers and a narrator discuss ways in which to recognize and correct pronunciation problems.

A composite of four excerpts from an original, now unavailable open-reel tape shot by the German art collective Telewissen in 1972 as part of their exhibition "Documenta 5." The recordings depict candid conversations of the "Documenta" audience, recordings of whom are latter incorporated into the live piece, presented on a video monitor mounted in the back of a van