Cinematic Era: 1976 Vintage

Written, produced, and directed by John Simeon Block.

A documentary directed by Tadayoshi Himeda

A feature film directed by Chi-Ming Lei

Depicts a day in the life of the Miami River. Starting at the Brickell Bay Bridge, where the river meets Biscayne Bay, the journey takes us upriver to show tug boats guiding large cargo boats – with comments by the skippers of the tugs; views of the various bridges that span the river being opened; and a party in progress on the Latin party boat El Galleon. General views of the river and city are seen. Made by Miami filmmaker, George Vallejo. 16mm

A schematic animation of matter transforming into energy.

A film about music itself, and about how conceit and arrogance can ruin it.

An imaginative, animated adaptation of Sándor Petőfi’s comedy epic using folk motifs and elements of modern painting, with visual means only. Enemies of the village blacksmith lock him in the church because there is a plot to win over his lover, the pub owner. The blacksmith breaks free, catches the seducer red-handed and a heated punch-up ensues. Finally, the local magistrate arrives and dispenses justice.

Animated short about guy going out and picking up a lady

A 16 mm film shot in three sequences. First exhibited at Winchester School of Art in 1976, then at the New Contemporaries– Live Show, Acme Gallery in London (1976). The film was sent to the International Festival of Women Artists, Film Museum, Copenhagen, Denmark, 1980. It languished in the archives in Denmark until its re-discovery by the KØN – Gender Museum Denmark in 2021. A new 4k digital scan was made by the DJCAD Media Preservation Lab at the University of Dundee in October 2021.

Spadina Avenue and College in the early 1970's with Lorne Fromer on clarinet and Isaac Applebaum on Saxaphone.

The subject: the self and the super-Self.

In the arabesques of a castle, a vampire arrives.

The poet Donald Campbell gives workshops in an Edinburgh high school.

This silent, 8mm film combines two camera procedures: time lapse and the zoom lens. It aims not for technical smoothness but a beguiling abruptness. Starting at the same time each evening, the camera records, in jerky leaps, the moment when the sky darkens and an urban streetlight turns on, illuminating the screen. Alternating zooms-in and zooms-out, Ranmaru Usui – part of a Japanese 1970s movement that explored 'cinema of the soul' – offers transcendence within the everyday. – Adrian Martin

Cast - Usha Chavhan, Leela Gandhi, Vivek, Manikraj, Sarala Yevalekar, K.Ghorapde, Barchibahaddar, Bhalachandra Kulkarni, MA.Pavan. Directed by Keshav Toro.

Directed by Arun Vasudev Karnatki. With Usha Naik, Ganpat Patil, Ashok Saraf.

Lata and Lanka are twin sisters performing in a Tamasha troupe a wanted Dacoait kidnaps their troupe and asks to follow their ways.

Director: Babasaheb S. Fattelal. Cast: Nilu Phule, Usha Chavan, Yashwant Dutt, Sarla Yeolekar, Lalita Pawar, Raghavendra Kadkol, Jaymala Kale, Master Aboo, Dinkar Inamdar.

Cornelia Froboess and Christian Doermer are looking for Theodor Fontane in Berlin today. A small plot in loosely linked scenes holds the whole thing together. Cornelia Froboess recites poems and prose texts by the Brandenburg poet set to music.

Like Video Clouds, Fireworks presents electronic colorization tests, here fireworks.

Electric Light Orchestra performing live in London.

Another opportunity to see the entertainment spectacular, originally broadcast on BBC One on New Year's Eve 1976, which looked back at the musical highlights of the first 25 years of Queen Elizabeth II's reign.

Manhattan, Abstraction, Maryvonne, Marylin, Flèche d’argent

The film follows Mohamed Fazal Hussain, elder statesman and all-round Mr Fixit of Bradford's Muslim community, as he works on his newest project; an adrenaline-fuelled, Bollywood-style romantic thriller, shot on location in Ilkley.

The sinking of the oil tanker "Olympic Bravery". The problem of regulation is posed.

The drought of 1976 marked the history of agriculture by surprising in its duration and extent. But if there had been better management and use of water...

A game, maybe a dream, an exchange of identity with Dalibor Martinis, Sanja Ivekovic and Goran Trbuljak. But who is Luigi Viola? The man who is praying, the man who is shaving, the man who is drinking, the blonde girl who is playing ping-pong? This is just a starting-point.

Violence and dependency, chance and madness in psychological and personal relationships. The family considered a paradigmatic knot.

The work resulted from one of photographic and film seances, as the artist called them. The use of the procedures of multiplication and the mutual overlapping of semitransparent images on photographic film produces the impression of movement: veiling and unveiling the private parts of the body, but also a sense of artificiality and subversion inherent in photography and film that records the image of reality and “falsifies” it at the same time.

A César nominated short documentary film.

8mm short showing an aspiring actress and her audition in Mauro Mingardi's studio.

An unused excerpt for Blackstar: Autobiography of a Close Friend. No sound copies are known to exist.

A documentary about a pioneer of Icelandic film making, Óskar Gíslason, with excerpts from some of his most famous work.

GODS IN EXILE shows a Santeria priest performing an Akan religious ritual, and features Afro-Brazilian artist Abdias do Nascimento whose paintings reflect contemporary religious symbols. The presence and practice of African religions in the United States may be a discovery to many in the dominant religious groups in this country.

The Fifth Minute' is the second episode of eight in the series 'Other Realms' by writer, director, animator Jon Coley. Coley was just 17 years old when he made this episode. These 'Other Realms' episodes are tales of strange happenings where the bizarre becomes commonplace, melding atmostpheric soundtracks, stop-motion animation, and sophisticated editing techniques.

A film by Daniel Nicoletta.

Les Gazolines is a group from the Homosexual Revolutionary Action Front (FHAR) formed in Paris in 1972 and dissolved in 1974. The movement was founded by Maud Molyneux, Patrick Bertaux and Paquita Paquin as a “kind of continuation of FHAR”. The small group stands out for its aesthetic and ideological provocation, and its games on gender. Their rallying cry is “Dick!” Initially, the group was nicknamed the "Camping Gaz Girls". Its members showed a "camp" humor, proclaiming that "makeup is a way of life", or even "Proletarians of all countries, caress yourself” and “Let’s nationalize the glitter factories!” Their behavior often caused scandal, for example when the Gazolines overturned a police van during a demonstration against the destruction of the Halles de Paris or during the funeral of the Maoist militant Pierre Overney. Films such as The Sperm Bank by Philippe Genet and Pierre Chabal testify to their liveliness and impertinence.

Two strains dominate the film “… VALDEMAR…”: one celebrates a delight in the mesmeric state induced by the random repetitive movements of a mechanical toy car with its flickering coloured light and the second traces recollections of the humorous process of shooting the film. Oscillations between these two elements underscore the play between illusions of physical reality and consciousness-altering. “… VALDEMAR…” is an entire 400-foot camera roll with synchronous sound.

For this film I made a contact printing box,with a printing area 16mm x 185mm which enabled the printing of 24 frames of picture plus optical sound area at one time. The first part is a composition using 7 x 1-second shots of the statues of Versailles, Palace of 1000 Beauties, with accompanying soundtrack, woven according to a pre-determined sequence. Because sound and picture were printed simultaneously, the minute inconsistencies in exposure times resulted in rhythmic fluctuations of picture density and levels of sound. Two of these shots comprise the second part of the film which is framed by abstract imagery printed across the entire width of the film surface: the visible image is also the sound image.

Portrays people who live in a high-rise but dream they were somewhere else. The visual anarchism of animation technology enables all dreams to come true. The last one featured is an old aunt who kicks down a fence to free some elephants. "Is it her anger coming out?" Annie asks. "It's clear that she's angry," replies Lilian, "I hope so anyway."

An older man comes from the provinces to meet his son, who is a famous actor.

Iwona goes to a small town, where she sets up a youth recitation club at the Cultural Center.

The action of the show begins in 1964. The heroine - Agnieszka, an assistant at a university, lives in a hotel for young researchers. She differs from the rest of the inhabitants, she is lost and closed in on herself, which triggers malicious reactions in the environment that turn into acts of collective psychological aggression.

A discovery of Bhutan, a tiny landlocked country in the Himalayas. An approach to its economy, one of the few on this planet that can pride itself on its self-sufficiency. A meeting with its people, characterized by their religiousness and their incredible propensity to happiness.

A BAFTA award nominated documentary explaining how well-logging equipment enables the petroleum engineer to obtain evidence of the potential of the oil reservoir.

All observers need that which is not themselves to be themselves. All forms of energy channel the continual redistribution of energy in the universe.

One of Varela's luminous abstractions of the moon.

B&W Vasulka project with a rotating camera, keyed and alternating directions. This experiment is excerpted in their 1977 work Orbital Obsessions.

"A Tree for the Angel-men." One tree one afternoon.

It is a parable about the inhabitants of Przechwałków. They could not come to terms with who was doing the most important work. Their quarrels shattered the unity in the city, which led to a threat.

Presence of Mind deals less with physical space and more with psychological and mental space. The film is simply a series of shots of people and their surroundings. Some of the shots are synchronous sound, some are non-synchronous sound, some are silent and some are just sound without picture. My experience is that synchronous sound situations create a mental reality or presence which is greater than the sum of its parts. In other words, the synchronous combination of picture and sound forms a spatial reality which is uniquely present. Presence of Mind deals with variations of this spatial presence created by sync sound film.