Cinematic Era: 1974 Vintage

A film by Amy Greenfield.

Colonel of the Citizens' Militia Stefko, after thirty years of absence, arrives in the town which was his place of work right after World War II.

A male figure on the screen is lost in thought. He hides his head in large hands clasped in the foreground. Suddenly, one hand moves towards the viewer and grabs a small figure from the other side of the screen.

From the film cycle "Exposing the Text"

A hammer attempts to subdue a nail, but the nail resists.

A woman goes through different emotions in her daily life.

A short, surrealist journey through shapes and bodies.

"An experimental portrait of the filmmaker's ten year old daughter. Based on footage collected over a two year period, the film explores the inner and outer consciousness of the child and develops the nature of her fantasy life in abstract terms. Although the film deals with the reality of her world as shown by the documentation of sensitive relationships with her animals, it supercedes reality by creating its own rhythms and new images. Her joy and moodiness are contrasted by the superimpositions of color and black and white footage; and we are also aware of the subtle changes that have begun to take place as she matures. The free spirit of the child is revealed by the sound track based on recordings of her favorite music box layered over her interpretive zither playing and the reciting of Andrea's original poetry." - RS

Three women, varying in ages and therefore perspective, agree that life on a small Chinese island in Hong Kong waters, is better for them now than in the past. They are treated equal to the men in the rigors of manual labor and now participate fully in the island's decision-making and economic life.

Featuring members of the Nancy Hauser Dance Company

Documentary about the Portuguese Revolution of April 25th, 1974 which focuses on events like the siege of the Carmo quarters and the release of the political prisoners at Forte de Caxias.

The director shows us an unofficial Lithuania, an indestructible village, old traditions and impressive faces. In the films of Shablevičius, the village, the land, the lonely tree standing outside are often filmed in winter, when everything gets the shade of a fairy tale and a miracle, and a rider on the road brings an unexpected message. The old mythical rural worldview seems to come alive in the eyes of the audience.

In this work, which documents a performance/installation, the tension derives from the ruptures between what is heard, what is seen, and what is ultimately not seen.

A factory worker constantly forgets proper safety procedures. Part of a series of 1970s era workplace safety shorts from the National Safety Council of America.

John Du Cane’s rarely shown films are amongst the most pure and radical of their period. In Cross, he uses the drawing of a cross (made without lifting the pencil) as a model for the camera movements and a score for the film. “The films are very physical, they are polyrhythmic and they are patterned in a manner designed to create a very definite way of seeing, of experiencing ... The films are silent to the extent that there is no soundtrack ... I believe films’ light capable of creating sound ... the films are there to be listened to. They are there to be felt." (John Du Cane)

Quneytra 74 begins with shots of people on the edge of the blasted city of Kuneitra. A woman breaks away from the crowd, makes her way towards the city, speeds up the step, as if to escape from the camera. Filmed on behalf of Syrian TV, the accuracy of Malas' light, shadow, silence and soundscape as essential elements of his cinematic language is evidenced here, as well as his interest in the issues of civil war, territorial war and identity destruction.

Letters from a young girl to her father.

I began to develop a high level of mistrust of the so-called logical structures, which is why I turned my back on mathematics and turned to film.

A child witnesses his father's death at the hands of an international gang made up of Korean Park Do-seok, Kuroneko from Japan, and Jackson from the Soviet Union. The boy swears vengeance and prepares for the next 20 years, training in various forms of martial arts.

Directed by Ian Russell.

A Frankenstein Monster made of chocolate cake terrorizes the countryside.

Deals with filmic reality and conformity in East and West. Won acclaim at 1976 Edinburgh Festival.

Bollywood 1974

Bollywood 1974

A camera surveys an abandoned apartment, while the voiceover describes it inhabited.

The Revolution also put an end to the colonial wars in Guinea Bissau, Mozambique and Angola. Vasconcelos recounts the absurdity of this bitter conflict. - Cinema du réel

Pinku from 1974.

NFL Films recaps the 1974 NFL season in Championship Chase.

Exhibition of the austere and viceregal architecture of the convent and temple of San Francisco in Lima.

Folklore and scholarly research: a field study on the congadas of the Festa do Serro, in Minas Gerais. The stages of the congada, divided into three groups: the catupi, the reinado, and the marujos. The cultural symbolism of each of them. The abundance of food during the celebration, representing the richness of the harvest.

The cartoon is about a hard-working donkey who achieves great success due to his faith, perseverance, and courage.

Documentary film by Jorge Solé.

Bae Tae-ok was a patriotic Korean who resisted Japanese occupation. After liberation, her husband brainwashes her into accepting the communist philosphy. During the Korean War, she was appointed to lead the Women's League For Communism but was later arrested for her anti-capitalism activities and tried for treason.

A unique snapshot of Mytilini in the early 1970s: the camera of Manos Efstratiadis, in constant curious motion, follows the streets of the town, enters shops and houses, records public ceremonies and private gatherings.

This film consists of almost twenty minutes coverage of a political rally, filmed by more than ten Sahia cameramen, during the celebration of the thirtieth anniversary of 23 August 1944, ‘the first day of the socialist era’. The Hottest Day is part of a rich author filmography, which includes around one hundred titles, such as A Life Dedicated to the Happiness of the People (1978); Homage (1983); The Party, The Homeland, The People (1986); Heroic Times in Legendary Lands (1987). When the Sahia documentaries obediently followed their political commission, their length could surpass the usual ten to twenty minutes, even reaching feature length. The Hottest Day was one of the shortest film in this category that we could find in the archives.

In his video »The Austrian Tapes«, Douglas Davis examines the medium of television. It was realized for a video symposium and the exhibition »Art as Living Ritual« curated by Horst Gerhard Haberl at the P.O.O.L Gallery in Graz.

A fragment of PKF from the May Day parade in 1953.

A documentary film about the remote island of Grímsey, the people that live there and the islands copious birdlife.

A film about the Icelandic sculptor Einar Jónsson.

The drought forces a peasant couple to go to the city, where they meet people's indifference. Only a trade unionist will offer them any help.

A study of the sophisticated process of sweet potato horticulture developed by the Dani. The film follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking, and eating. At that time the Dani had the simplest of tools - long pointed wooden poles used as digging sticks that are hardened in the fire and soaked in water - and they still used their stone-bladed adzes. (By now, most Dani use steel shovels, axes, and bush knives and make stone adzes only for the tourist trade.)

A BAFTA award nominated documentary tracing the development of the gear from the first recorded use in a crude form over two thousand years ago to its widespread use in many forms today.

A primer on the craft of editing a film workprint. Techniques used by professional editors are highlighted while examples are shown in the form of a slapstick silent comedy.

The shape and movements of a windmill as a starting point, but the theme of the film is more the sky and the space around the windmill, while the soundtrack reinforces the impression created.

Painting with Light consists of images produced by moving light. Techniques include re-filming slides in an animation fashion. Original slides are time-exposure images of color-filtered light. The experiment questions whether light can be controlled in a manner similar to that of the painter-artist. The use of an optical printed allows some manipulation or extension of certain scenes. Also, unmasked negative printing is intercut to strengthen the "painting" effect.

The film was realized according to the formulaic concept "TAM 4/71."

In Face of the Earth, Acconci's face becomes a metaphorical theater for a narrative drama of the mythic American landscape. Eyes closed, his face filling the screen in extreme close-up, the camera looking up from his chin, he inhabits a dreamlike, intensely theatrical space. Alternately humming and whispering, Acconci begins an oddly poetic, hypnotic monologue, a stream-of-consciousness fantasy of a gunfighter in the American West. "As if I were riding in from over the mountains... Where did I come from?" His fingers run over the landscape of his face in the rhythm of a galloping horse, or caress it as the narrative tension builds. With language as a catalyst, he conducts a riveting examination of his own identity through American cultural mythologies.

A part of Werner Nekes' lyrical anthology DIWAN.

Herman works as a tutor for the spoiled 16-year-old Judit.

It is a film journey tracing the footsteps of a German composer, Georg Philip Telemann, who was appointed a chapel master at the court of Count Erdmann II of Promnitz at Żary where he became fascinated with Polish folk music. The most memorable scene shows the stages of a hot-air balloon ascent. They could be shot thanks to a special camera and an external viewfinder attached to a wide-angle lens.