Cinematic Era: 1976 Vintage

The first part of the film shows the locomotion and resting behavior, phenomena of color change, burrowing into the sand and the ejection of ink clouds. The second part shows the behavior of cuttlefish during prey acquisition. Two techniques can be distinguished here: Advancing and retracting the tentacles for fast-moving and small prey; grasping with the eight short arms for defensive and larger prey. The third part of the film shows mating and reproductive behavior. The triggering signals for intercourse with conspecifics are predominantly visual.

Depicts life in the Middle Ages, showing medieval villagers, including a reeve and a serf, explaining something of their life and work.

Backstage of the movie "No toquen a la nena" directed by Juan José Jusid

Lost Zulueta short

Jasper Jenkins, a shy and quiet researcher transforms to a irresistible seducer.

Roger Jacoby is a filmmaker who makes unities out of contradictions.

"Gadflies, a record of a reunion of a group of old high school friends, is filmed with an eye toward the rhythms of conversation, of group gatherings, and with a kind of wit that catches off-guard moments and turns them into faintly unsettling ironies...but Gadflies and Trio may be the two weakest films of the ten [in Brakhage's 1976 Super-8 series]." - Fred Camper

An exercise in special effects, using conventional travelling matte techniques on a contact printer. A small box (whose classic dimensions animators using an Oxberry field guide will recognize) moves across the screen revealing certain objets d'interest, hiding others and performing other tricks. The last event features Patrick O'Neill in his first screen role along with a docile Siamese, busy ants and a palsied hand.

A film featuring Bolek and Lolek about traffic regulations.

Short educational film about language for pupils.

Short documentary by Cindy Neal about Sam's Shoe Service shop on West Roscoe St. in Chicago.

Recovered Zulueta short.

Ethiopian Film

Agouénou, a newcomer to a government agency, takes on the entrenched corruption and butts heads with the leader of the old-guard, Sénou. The film features music composed and performed by Nigerian Afrobeat luminary Fela Kuti.

A popular children's rhyme inspired the artist to create an original visual and sound collage, inspired by the visual achievements of Eadweard Muybridge, a pioneer of cinematography. Here are the individual phases of the horse's movement in a gallop from the photograph of the English master...

Super-8 film by Stan Brakhage. “Brief songs of light and line.”

"The flashing weather beacon on a Toronto building is the structurally fixed point in this precise composition of illuminated surfaces and positive/negative imagery. Noting the 'intuitive process' of the film's first half–which was shot on Super 8 and edited in-camera–McLaren analyses and ritualizes the visual information through a video playback that echoes and doubles the original, improvised 'score.' Tightly framed with a menacing soundtrack, WEATHER BUILDING generates a claustrophobia and paranoia that loosely suggest the violence and boredum of punk." –Ian Birnie, The Art of Gallery of Ontario

Lucky newspaper photojournalist Zakhar randomly meets an amazing red-haired girl from the village of Erofey Pavlovich and spends the whole day with her. The girl disappears as suddenly as she appeared, but leaves a deep impression on the hero's soul.

Sprocket holes moving across the screen.

The Long March Suite

A film which attempts to contextualise the work of English satirist, William Hogarth (1697-1764), and his contribution to the development of the popular print, with reference to methods of image reproduction.

My 10 minute silent b/w film made in 1975/76. Includes the first footage I ever shot of James Broughton (before he grew a beard).

Super 8, silent, 3:17.

“An exquisite homage to O’Keeffe’s ‘Radiator Building, Night’.” –Mark Webber

A visually dynamic story about teenage motorsport races.

A stylish Louis XIV chair leaves the interior of the house and exposes itself to the forces of nature. It falls prey to a chainsaw that turns everything into a mass of identical, practical objects.

A Film by Keiji Uematsu.

In Lost Shoe Blues, the camera walks looking over weeds growing in landfill sand dumped to extend the edges of Battery Park City. We hears a song about losing shoes and losing time as nature forces persist. At this time in New York City, there actually were lost landscapes strewn with single cast off shoes, weeds, and other bits of life.

A story about a kid wanting to be the god of heavens (so that he could skip classes and play around all day), Flying Dream’s witticism is equally applicable to situations in the world of adults. The second directorial work of Hữu Đức (who had by then appeared in a number of early Vietnamese animation project, often responsible for the art), Flying Dream marked ‘the maturity phase’ of Vietnamese animation in general and doll-based stop-motion works in particular. Flying Dream also bears the spirit of 1970s Eastern European animation through hazy spaces and colours floating freely between reality and a dream-world (created by artist Mai Long), and a score that recalls the best of psychedelic pop music of the time.

From two color camera rolls filmmaker Michael Mideke and I shot on July 4, 1969, we began editing many versions, independently and together. I worked running a 16mm Bell & Howell “J” contact printer in San Francisco, which allowed me to make many generations of printing elements not normally available to customers.

An experimental film dedicated to the "blink". Dynamic abstractions (created through the use of prodigious optical printing and directly working the film frame) investigate the nature of human optics. Music by Maurizio Kagel.

Images exploded, abandoned, silently between childhood and schizophrenia. Color filtered delirium. Hallucinated journey.

“This was my first film using the matte-box. Using images of my own backyard, I found that I could create a kind of mysterious story, an almost supernatural effect. The mystery is never revealed, but there is something there. By photographing tiny vertical slivers through different mattes and lenses, carefully rewinding the film in the camera, then exposing bit by bit, I achieved this ‘corrugated’ effect. All of a sudden you get motion in something where there is no motion.” (Paul Winkler)

"Betty Ferguson's 'Kisses', an hour-long anthology of film clips presented without titles or voiceover, is the sweetest and, in avant-garde terms, the most conventional film on the program. Although the kiss reached its supreme expression as the on-screen replacement for copulation in post-Code Hollywood, Ferguson's material is drawn largely from silent classics and the less-fetishized European cinema of around 1960. She compares her film to a patchwork quilt, but it's basically morphological, cataloguing clusters of shots where kisses are delivered to the hand, the neck, rained down on a beloved face, perfunctorily bestowed on a spouse, awarded to dogs, dolls, gun, etc." - J. Hoberman, Village Voice

Concluding that “nothing is too small for a revolution,” Macdonald proposes that simple things like listening, reading to one’s children, and crying can be revolutionary acts.

One of two films of Macdonald’s about women’s liberation, in which he explores what an anti-hierarchical philosophy looks like in interpersonal relationships.

One of the most productive nods of amateur cinema in Argentina was the Peña Foto Cine 8mm Club in La Plata, which organized national festivals of Super 8 filmmakers in the Seventies. One of its most remarkable exponents was Julio César Otero Mancini, who capitalized his amateur origins and became a true independent filmmaker building a body of work as a Super 8 author by inventing his own mechanisms and aesthetics, challenging any technical or expressive limitations of the medium both technical and expressive aspects. Animation, documentary, science fiction, experimental, all at the same time or by separate, Otero Mancini’s short films multiply the audiovisual experience with his radical freedom and incorruptible originality. His biggest creation is probably Boomerang, an answer to the violence of the 1976 military coup made in collaboration with guitarist Skay Beilinson on harmony vocals, an agit-prop cinematographic affront that still surprises for its courage and vigor.

Roze Stiebra's animation film based on Latvian folktales.

Documentary film by Público founder Vicente Jorge Silva.

With Franco dead, workers' struggles become more visible, such as the Laforsa strike, a steel mill in Cornellà de Llobregat. Lumbreras's conviction to understand the fight as an always collective action, without hierarchies, meant that she promoted among the workers his own filming, that they had autonomy, in no case imposing any speech (Filmoteca de Catalunya).

In JGLNG, Blumberg achieves a graphic visual composition that cunningly encircles both abstraction and documentation. With an economy of means, he renders the ordinary extraordinary, superimposing two recorded images of a single event -- a juggler juggling.

The Second film in the Turkish Bathing series by Robert C. Morgan

The little, prickly hegdehog is very sad. Nobody wants to dance with him because of his prickly spikes. So he decides to go to the hairdresser and get a curly hairdo. Although he looks very pretty, he is not able to protect himself. When the fox tries to catch him, his friends save him.

Presents psycho therapist Arthur Janov's theory concerning Primal Therapy for use with neurotics. Contains excerpts of actual therapy sessions.

Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, "Gotta get outta here...gotta get outta here..." His chanting voice merges with the vibrations of the motor, forming an incessant soundtrack that echoes the jarring motion of the camera. Palestine creates a kind of composite instrument in motion as well as an "articulated personal drama". His stated desire for escape is contained by the boundaries of the island. Palestine was a trained cantor, and he often used his moving body and sustained vocalizing to generate a physical and aural intensity in his musical/video performances of this period.

A collaboration between Ed Emshwiller and William Irwin Thompson

Directed by Werner Nekes.

Documentary film.