Cinematic Era: 1976 Vintage

Short work.

Short work.

A meditative study of the human hand. Coupled with our intelligence it serves as the genesis of success as a species and the ability to destroy ourselves.

Byron Grush's first handmade film.

Shot in Peru in 1974, this is an examination of a vintage mechanical mill crushing sugar cane.

A poetic encounter between a child and a butterfly

This edition of the London based news magazine series Today began as a behind the scenes look at preparations for the Notting Hill Carnival. Following violence and clashes with police during carnival, the programme became an examination of the tensions surrounding the organisation of the event. Organisers Selwyn Baptiste and Junior Telfer discuss the cultural significance of the carnival and the programme contains joyous scenes before confrontations with police begin.

Research on color and sound. A sort of diary reporting autumn-winter emotions.

It shows Korea’s traditional colors and culture through the use of superimposing. It is an experimental film, which not only tries to show Korean traditional culture through the use of color, but also tries to show the modern history of Korea.

Described by Beams as an “apology film” created after accidentally killing a friend's beloved cactus, this short work weaves text and image to depict the life cycle of a plant.

Local Minneapolis based filmmaker Kathleen Laughlin's short experimental film follows her sister on a spirited excursion through a tall August cornfield about to be harvested.

A man travels through the landscapes of the Basque Country, enters a cave, and continues his journey to the sea, where he dives into the emptiness of his inner reality.

Sir Halewyn’s magical song lures girls from afar to his gloomy forest, from where none returns. Based on a medieval song.

Painting Lights is about a light source in reverse: how, with negative film, light becomes a source of blackness instead of illumination -how the absence of light creates a light (or white) frame, and flattens out a three-dimensional room space to a two dimensional image in which there are only flat lines on the screen. The film begins with a woman in deep space, on a ladder, painting a vertical tube-light on one side of the screen with "White" paint. As she works, there is less and less light-the dark reflections of light on the floor disappear and the frame becomes whiter. She paints a second light, continuing to white out the frame, and then she dis-appears, leaving nothing except a few traces of black where the lights have been painted over.

Black and White Drawing is about the two dimensionality of the film frame and the illusion of three dimensionality created by drawing. A sheet of gray paper is placed on the floor front of the camera. The film switches to negative: the paper is now darker, a different shade of gray. Haxton sketches in with "black" chalk black areas in wavy lines and goes over and over them, making them more solid. He leaves the frame. There is a cut to positive image: the chalk draws along the first areas, uniting them into a single shape that looks somewhat like a twig or a tuning fork with one short leg which appears at first to be equal in length to the other. Haxton uses the conventions of shading as "shadow" to make the white areas look like volumetric or perspectival extensions of the black: the drawing seems very object like.

In "Forced Response", Jolanta Marcolla goes out to the crowded city streets with a camera operator to confront passersby with the camera and provoke their reactions, thus shaking them out of the fast-paced rhythm of urban everyday life.

The story of Gurdaspur-based Ranu, whose mother passes away, leaving her in the care of their servant, Rudhumal. Her alcoholic dad is more interested in a prostitute, Rajni, spends all his wealth on her, and ends up homeless and destitute. Rudhumal brings up Ranu, even gets her married to Ranjeet. Ranjeet re-locates to work in Delhi, and when she does not hear from him, she herself travels there, does locate him, but ends up devastated when he refuses to recognize her, and continues to live with a wealthy woman, Veena.

A short film made in 1976 directed by José Emmanuel Xavier.

A pilot episode intended to be produced for TV screening, this is the third film in the 'Other Realms' series. The 'Other Realms' episodes are tales of strange happenings where the bizarre becomes commonplace, melding atmospheric soundtracks, a mix of live-action and stop-motion animation, and sophisticated editing techniques. Filmmaker and animator Jon Coley was just 17 years of age when he directed, edited, animated, and starred in this production.

Mexican feature film

A silent Super 8 film by Willie Varela.

Documentary about monumental art in Kazakhstan, produced by the Central State Archive for Film, Photo, and Audiorecordings of the Republic of Kazakhstan

Disaster, a two-screen Super 8 film made in San Francisco, has been called the first situationist film made in the U.S. As an antidote to Hollywood’s 1970s disaster films like Earthquake, Millner and cowriter Ernie Larsen turned their attention to the disaster of everyday life.

The artist's sister is the subject of this structuralist film. Cha herself appears in a single frame.

8mm film by Ohtani Jun

"Filmed in large part during H.F.'s lecture-screening tour in the bay area: visit(s) to the Musee Mechanique, Land's End, the Cliff House. The San Francisco fog is proclaimed, as also are the cypress trees that line parts of our local beach. A visit to the Brakhage Colorado residence provided images of chickens/roosters."–Gail Camhi

When grandfather hedgehog sees the sun with its beams on the sea horizon, he thinks it's a hedgehog and tries to sail to it on a soap.

Fresh sensuality, an almost childish naivety and a point of mischief, showing an attractive demi-mondaine archetype Aprende a pronunciar

Two cameras track performers running, in step, about an expansive studio space. Their directions shift when one of them knocks down precariously standing metal hurdles.

"Picture Without Sound is a film composed of variations on three basic shots that are organized in a pattern signified by the notation a1b1c1a2b2c2a3b3c3a4. Although the ten shots are joined by non-matching cuts, members of each triad are interlinked by the appearance of the same object in adjacent shots. Repetition is a method of approaching the definition of qualities that do not reveal themselves in a single aspect." (Susan Rosenfeld) Preserved by the Academy Film Archive in 2012.

To construct a film in an atomic way, starting from simple elements which combined with each other will produce a whole. Taking the dot as an elementary unit is not a coincidence if we think that the notion of pixels with video images began to occupy people's minds in the 70’s, decades before the arrival of giant led screens. [...] 9, and then 16 screens within one same screen allow an impressive process of simultaneous abstract sequences. The film partition shows a combinatorial process between monochrome colours in the background and pointillist compositions in the foreground. As many sequences as screens; each one is a reflection on abstract images: pointillism, geometrism, "nuagisme" or informal abstraction , are all nods to the history of abstraction in painting: Vassili Kandinsky, Paul Klee, or Augusto Giacometti seem to have been called together within a mondrianesque grid. JMB

Hannah Wilke Through the Large Glass documents one of Wilke's most effective and well-known performances, in which she performs a deadpan striptease behind Duchamp's The Bride Stripped Bare by Her Bachelors, Even (also known as The Large Glass) at the Philadelphia Museum of Art. Dressed in a fedora and a white suit, and evoking the style of 1970s' fashion icons such as Helmut Newton and Yves Saint-Laurent, Wilke strikes a series of poses and then strips. She is seen through the glass of the Duchamp sculpture. In her self-conscious affectation of the often absurdist posturing of a fashion model, Wilke willfully uses her own image and her sexuality to confront the erotic representation of women in art history and popular culture.

An educational short about families from around the world, what they eat and how they cook.

An educational short about families from around the world, how they work to earn money and what they spend it on.

The congada was born in Minas Gerais, two centuries ago and is the only popular Afro-Brazilian ritual linked to Catholicism. Every year, on the occasion of the Feast of Our Lady of the Rosary in Ouro Preto, descendants of the slaves from Angola, Congo and Mozambique gather to celebrate the enthronement of a new king.

This is a film on country life, on daily life in a village. Someone ’who knows the way and the language’ can feel at home somewhere or is at least familiar with the vicinity. This popular expression suggests the relations between people within the seclusion of their village. This programme presents a portrait of the quiet and yet filled life in our villages, which cannot be looked upon as an anachronism. Villages are the ’unconsciousness’ of our society.

This documentary, made in 1976, is a critique of naive painting in the Duvalierist era. It establishes the link between cultural and political context and deals in particular with the conditions of the emergence of this painting since the 40s, and the questions which it arises.

German film.

A film directed by Ion Grigorescu.

Observations of the Aberhart family home near Akaroa.

Here, Peter Campus explores video, not as a demonstration of special effects, but as a way of placing his own body in the presence of an immediate double.

A magic viewer teaches a bully a musical lesson in courtesy.

A barbaric feast of "Mad Masters" of our country hardly unexplored, originally on a very repetitive "kraft" music ....

A collage of footage and audio captured off of television during the course of one night. The footage is reshot and hand-tinted, giving it a ghastly effect, and becomes (as Glabicki describes) "religious drama, murder mystery, musicals, horse races and horror films."

A 16mm black and white film shot after the artist moved to a basic apartment building in a suburb of Bombay, Utopia has also been used in the two-channel installation of the same name, wherein the artist projected this film adjacent to Dream Houses, a 8mm color stop-motion animation that reflects the artist's engagement with the idealism and hope that modernism brought for the Indian middle class and the poor in the Nehruvian sixties. This format allowed her to juxtapose that idealism with the later dystopia of urbanism in the seventies.

Beegie is afraid to venture deep into the woods. She dreams about a magic egg entrusted to her by her father. To preserve its magic, she must take it into the forest and sing to it.

The film depicts the life and work of Webster Fabio, who died in 1979, through interviews and clips of her recording poetry albums for Folkways Records. The poet and educator is often credited as being the "Mother of Black Studies" for helping establish programs at UC Berkeley and Merritt College in the 1960s, and the film portrays her as "a spirited woman, sassy one minute and scholarly and critical the next minute," said Fabio.

In this structural-materialist film, colour is generated by landscape: from the sky, the grass and berries.

Images of the filmmaker on a train are intercut with shots of an ice cream parlour, shops, a woman glancing at herself of the mirror, etc suggesting the filmmaker’s reverie as she looks out of the train window.