Cinematic Era: 1976 Vintage

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.

A rhythmic play of light and shadow created via holes in the filmstrip, suggesting the idea of punch holes that are dancing across the 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.

A quasi-documentary film about a large agricultural cooperative founded in 1950 in the heart of Poland. Established by peasants in an area within a huge farm belonging to a landlord near the town of Kalisz, the project was turned into a modern enterprise admired by many visitors from abroad. Also featured are inhabitants of the village and workers at the Cooperative, the Chairman Stanislaw Krolik and his family as well as other families including the Glapas, the Kulas and the Pietrzaks.

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 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.

This work was started in 1967 as a documentation of Nakajima’s life. The footage was edited into a single piece for the first time in 1974, in time to show the work to the curator Barbara London, who was visiting Japan. Generations of his family were lost and gained that year, with Nakajima's mother passing away, and then his child was born. The piece is an installation with two monitors; the left presents his mother and himself, and the right, his child and himself. Nakajima continues to work on the sequels of "My Life" with his grandchild.

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.

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.

"At one level, Lee's title creates a pun on the film's organizing principles, re-membering, as the filmmaker dismembers and recombines elements of the image and soundtracks. But the Balinese source material of REMEMBERINGL CLEARING SPACE is not merely a fortuitous opportunity to explore fundamental qualities of the film medium. Rather, Lee attempts to inscribe into the film's form qualities of Balinese performance and dance." –William

Three shopkeepers' lifelong friendship is put to the test when two of their children decide to marry despite their religious and ethnic differences.

Peter Wiehl: Artwork 1975-2018 (2018) featured Cardinal Fires and Arrowcatcher, among other digitized films, paintings, and sculptures. The exhibition was held at the Mark W. Potter Gallery, Taft School, Watertown, Connecticut. Arrowcatcher was the subject of a 2007 spotlight presentation by the non-profit screening space Oporto, Lisbon, Portugal. After a couple of years in the San Francisco Bay Area, Wiehl moved and worked in the film industry. Wiehl has performed and exhibited at such venues as La Mamelle, San Francisco, Exile Art Gallery, Los Angeles, Spokane Art Center, Washington, Denise Bibro Fine Art, New York City, Albright Knox-Museum, Buffalo, New York, Nexus Contemporary Art Center, Atlanta, among others. Wiehl currently lives and works in Bridgewater, Connecticut.

Students in an eighth grade science class at Jackson Junior High study types of alcohol.

Filmed in a public place in a still shot, rhythms are created by pedestrians and cars moving, stopping or disappearing. The light, very white, induces a sensation of their passage.

The emergence of a "real" three dimensional object from its two-dimensional appearances is the subject of Painting in Object. The film is in negative and begins with a totally white screen. Haxton enters the frame and paints a large black square about person-height parallel to the frame: at first it looks as if he is painting on a flat piece of paper or on a wall, although it is hard to understand how the painting is perfectly done. He walks through the square to the back and "disappears", the lighting of the square is from the side so that it illuminates only a narrow slice of space. He then comes back into view from behind the square and paints in diagonal lines from the corners, the beginnings of perspective, stilI very flat, as if perspectival illusion. He disappears through the square into whiteness again and turns the square around so that the painted part vanishes, one sees that it is the frame of a wooden cube.

"Playing peek-a-boo with the moon."– Jane Brakhage, August 1977

"Abstract video art created in 1976. Video by Dean Winkler and Chris Lambiase. Music by Terry Riley. This was created in real time using an RE-4 Rutt/Etra analog video synthesizer. After spending our January college break building the facility that housed the RE-4 and related equipment, we created this tape (with lots of patch cords) the night before we headed back to school." -Dean Winkler

"This film was generated in the Image Processing Laboratory of the University of Southern California, and was the first computer-generated film made there. The image consists of a single black and white frame of a digitized glass container and then rotated in color following the gray levels of a computer (crt). The sound consists of an original dripping water composition, performed in a dark room in black and white. The film is part of a larger work entitled Manifestations of A Cube, which also includes photographic images and a book." –Sheila Pinkel

A simple portrayal of place by Gail Vachon

A film in the Turkish Bathing series by Robert C. Morgan.

A film by Gary Adkins

A man stands in an empty space, no bigger than a transport container. Grotesque, comic and mesmerizing at the same time, the one-man-parade ends in a close-up of a single light bulb, high on the wall. In what kind of cell is he kept and who is in control of the music?

Part I: The artist, in the role of a nurse, fantasizes on romantic themes, using a set of foot-high, hand-painted paper dolls as actors. A fantasy within a fantasy. The "Nurse Eleanor" paper doll performs as a surrogate self for Nurse Eleanor Antin and is the much put-upon but brave heroine of a succession of romances with a dying poet, a biker, and a doctor. Part II: "Nurse Eleanor's" romantic odyssey continues with two new lovers — a French ski bum and an anti-war senator.

This film depicts the cycle of the City of San Francisco, as one proceeds through a day of work.

Stop-motion recording of a pillow being folded and crumpled.

The artist apply herself with 4 injections. After each, she writes names for her vaccines in a internacional health control file in order to exit the country.

‘Here Bodger demonstrates how shots of a single light bulb, the sun and clouds can become, through the use of different laboratory treatments, magnificent abstract tableaux.’ C. Brunel

Super 8 film on 16mm film (high contrast), refilmed. This film is about : black and white tones, tension between cinematic space and illusionist space and the bi-dimensional surface ; film as succession of pictures within a certain reality or illusory time period.

This film is based on the colour separation process. High contrast film stock was run three times through a stationary camera; once for each of the light primaries. In the composite image, anything moving is represented in primary or secondary colour whilst anything still, having been filmed through all three filters, is represented in “correct” colour. When projected the film resembles a moving impressionist painting but the passing of time is not represented by the coloured marks of a painters brush but by the colored emulsion of the film stock.

This Rockpalast was recorded on 1st December 1976 in the Sporthalle Cologne and shows the inventors of the legendary "dual lead-guitar/twin guitar sound" with the classical line-up of the band from Andy Powell (guit., voc.), Martin Turner (bass, voc.), Steve Upton (dr.) and Laurie Wisefield (guit.) in captivating form and mood. In 1976 Wishbone Ash were at the zenith of their career. Their albums, from "Pilgrimage" to "New England", reached worldwide top positions in the album charts, were refined with silver and gold, the band was constantly on tour around the globe and tracks like "The King Will Come", "Warrior" or "Blowing Free" achieved cult status among fans of guitar-oriented progressive rock and are milestones in rock history. Characteristic of Wishbone Ash is their melodic, guitar-oriented rock, which is dominated by two electric guitars played in duet. In addition there is an almost ballad-like vocal style. This Rockpalast edition is a must for every Wishbone Ash fan!

The film shows the difficulties girls face in learning a so-called male profession.

After the turbulent 60s Patton embraced the back-to-the-land movement. As presaged in his earlier film, Blue Mountain, he was drawn to a simpler rural life, close to nature. In 1969 he threw in with a group of people to form the Jones Farm on Quadra Island in British Columbia. He lived in a small cabin with no electricity or running water for 3 years. He supported himself as a welder and carpenter. These were good times. During this period basically gave up filmmaking, yet he still managed to shoot bits and pieces of the landscape and characters around him. This footage sat in a box for several years. He moved to Vancouver in 1974 to resume his filmmaking career, In 1976 he returned to Quadra Island with better gear and enough film stock to shoot additional footage. The result is a quirky personal journal in documentary form.

This is my first film based on the unity of the photogram, started in the fall of 1975 and finished at the very beginning of the following year. What to do after Sharits, Kubelka, Kren? How to continue their contribution to cinema? Refusing to accept a cinema where the randomness of images would be the rule, I imagined myself inspired by the musical model. [...] I imagined starting from a fixed photograph that was the vision of my window and building from this image chromatic variations that would select parts of the image. The film was written entirely with the help of a score and was inspired by Steve Reich's repetitive music composition models. [...] - JMB

In the summer of 1975, with a mobile rotoscoping station in tow, Mary Beams and Susan Hodara recorded locals and tourists alike musing on Paul Revere beneath his statue in Boston. With cerulean-washed frames and shifting white outlines of visitors, the documentary soundtrack creates a unique portrait of place and time.

A derelict piano in the yard outside the old Film Co-Op. The keys had come loose and floated off. I play it, moving the keys and listening carefully.' - AN.

How do you handle customers? Coronet will teach you!

Created in 1976 by Mort Jordan, a student at Temple University, “Time and Dreams” is a unique and personal elegiac approach to the civil rights movement. The filmmaker has described “Time and Dreams” as a personal journey back to his Alabama home, where he contrasts two societies: the nostalgia some residents have for past values versus the deferred dreams of those who are well past waiting for their time to fully participate in the promise of their own dreams. Through vignettes and personal testimonies, the film portrays Greene County, Alabama, as its people move toward understanding and cooperation in a time of social change.

Awesome men who gather in loyalty and scatter in loyalty. The gangsters who have been scattered to do good for the town they live in gather again in the middle of Myeong-dong. The reason is the news that new rogues have appeared. Gathering to correct their unjust behavior, they unite to punish the bad guys and go back to their respective hometowns.

Windowframe is an investigation of the way in which we may perceive a specific image – that of two people, seen through a window, involved in some activity. This is the image seen at the opening of the film. Subsequent sections of the film present to the viewer differing juxtapositions of the four segments of this image which are created by the cross-bars of the window. Tensions are created between what we expect to see, and what we do see. We see the original image as a single whole.

"This experiment determines what happens when a negative is superimposed upon its own positive image. The center of the picture forms the optical soundtrack on both left and right screens so that what you see finds its aural equivalent in sound." - Anthology Film Archives

A Golden Globe-nominated short film.

About what will happen to the baby bear if he is only fed and not given the opportunity to move and do sports.