Cinematic Era: 1977 Vintage

Human obsession with television is presented through 17 different situations and the same number of shots.

A young woman comes home and discovers that she has her period. She is forced to change her sanitary napkins continuously, while her husband eats eggs in the kitchen. Towels invade the room, then the apartment, then fall into the streets of the city. The chosen places are the headquarters of financial, political, police and religious power. They are centers of oppression.

Ultravox! Live at the Rainbow 1977

Uzbek women in earlier decades struggled for their right to freedom, taking off their yashmaks [the veil or niqab worn by some Muslim women to conceal their faces]. There is mention of their persecution and being massacred as a result of their struggle.

Birth registration ceremonies in Leningrad, in which representatives of the city's Supreme Soviet present medals and allegorical documents.

Due to the difficult financial situation, a young man leaves his native village.

In 1976 an anarchist exiled in Paris returned to Spain. He feels disappointed, comparing the anarchism of Barcelona in 1936 and the situation of Western democracy today. it is the story of 'a long night' that ends, a night that he understands as dictatorship and repression. A night in which ideas, sensations and memories intermingle.

Buena Vista Park in San Francisco like you've never seen it. "Playing" my 16mm Beaulieu camera like a musical instrument with extremely rapid zooming and inverted images. The virtuoso musician Peter Plonsky plays his Chromatic Khaen, an ancient Laotian instrument. He had never seen the film. One fourteen minute take, responding directly to the images in the studio.

is an informal, offbeat lesson in the electronics and mechanics of television. Sandin demonstrates basic video procedures, including use of the camera and editing decks, and explains the transmission of the television signal.

A student of peasant origin suffers from the confrontation of the two cultures in which he was educated: the rural and the bourgeois-urban. A camp with his companions near his village, now empty and ruined, causes him a lot of evocations, memories, and a feeling of death and destruction

"The Heavens"–Symmetrical chaos envelops a lone, topless man, whose symmetrical abstractions conjure up a psychadelic version of DaVinci's Vitruvian Man.

A French woman in Poland visits the concentration camp where her ex-husband died.

A swimming instructor takes part in a swimming marathon.

Illustrates possible hazards and improper procedures when using ladders. Ernie breaks many bulbs and falls a whole lot trying to change a lightbulb.

A documentary on an underground theater group in Hamburg, the film unexpectedly became a study in gay attitudes toward death when one of the actors was stricken by a heart attack.

The heroine of Kazimierz Karabasz's film is Maria Kolano, a first-year student at the Warsaw Agricultural University, who returns to her hometown of Żabno during the summer vacations to help her parents with their fieldwork. The documentary filmmaker equips Maria with a camera.

A time study, shot single frame, Saturday, June 11th, 1 p.m. to 2 p.m.

The eye of a female student becomes one with the eye of the camera in this refreshing 8mm film that vividly conveys the breath of school life at a women's college. The sensibility of the woman who shines through the carelessness of the shots is a fresh attraction.

Aspects of the religious and profane event that takes place in the Paraíba city of Pombal, gathering a large crowd.

The grey mullet is known for its roe, a beloved delicacy in Taiwan. Every year around the winter solstice, schools of grey mullet migrate south to spawn. When the cold current hits Taiwan, so comes the grey mullet. In order to catch the precious ‘black gold’ at dawn, local fishermen set out in the thick mist and follow the mullet in the dark. This documentary focuses on the mullet industry and captures the 300-year-old tradition of mullet fishing.

A montage of shots from Chicago’s major transportation system, the elevated CTA. We watch the train travel through various Chicago neighborhoods and seasons to a soundtrack of train noises, piano, and blues. Distributed by Chicago-based educational films importer and exporter, International Film Bureau.

A marauding gang of five causes mayhem in a peaceful Ukrainian village.

Two very cute puppies peer unblinkingly into Michael Rudnick's camera.

This is the first of three parts in the two-hour version, that Eizykman considers each part able to stand on its own.

"The film acts as an epithet for what everyone knows about our meager place in the universe. Succinctly stated in Jack Arnold’s "The Incredible Shrinking Man" (1957) and loosely ad-libbed by me in an inspired Cageian manner via a pompous (but difficult to produce) single-frame optical pan traversing the lofty soliloquy. The toilet paper in the bare autumn tree was encountered early one morning outside the school of the Art Institute of Chicago on Columbus Drive. With eclair and 12-120 zoom in hand, it was a no brainer. The combinations illustrate a mocking attitude that is much in line with most Hollywood expressionism, lofty ideals via a crass medium."

Short work.

Mid-length work

Looking at the fittingly-named Advanced Garbage Film, we see a slop of drawing, scratching, and any number of direct cinema interventions on what looks like camera footage of a projection of different handmade films. The camera zooms in and out of these images while the extra-photographic layers on top remain. It’s psychedelic but not too heavy. The film has a sketchy, literally “experimental” feel to it. A search connects the film to the legacy of abstract graphic works made at CalArts, as it was shown in a fifteen-program retrospective of CalArts films at the Centre Pompidou in 2007. After CalArts, Luttrell started the company Cynosure Films which did optical effects for films like Stranger Than Paradise and Down by Law. -Herb Shellenberger

basu bhattacharya film

Short film.

The misappropriation and use of information.

Picture, film or picture in English, a generalised term that is lacking in the French vocabulary, yet the association is encouraging: filmic space no longer exists, there is only what one makes of it, suggests and sees in it.

Twenty-three-year-old Hong Yeong-mae marries Park Gyeong-su, a wounded veteran. She takes in her ex-wife's five children and, with her devoted love and affection, builds a family and gradually transforms the village. They build a dam to divert water from the lake, successfully establishing an all-weather project, and resolve to establish an electricity line. However, their financial situation makes this impossible. However, the dying Heo Yeong-gam donates his entire fortune to a psychic, pledging that the villagers will unite and contribute to the village's development.

A succession of humorous sketches in which a critique of machismo is articulated through the use of transvestism and parody of the roles of gender to thus draw attention to a series of characteristics of the consumer society that favor androcentrism and that make social behaviors and consumption habits pass as natural that are actually constructions devised from the approaches of patriarchy.

A ritual, a silent and painful game for a moving sphinx and two servile martyrs. A three-headed and tormented monster loving itself confusedly through gaze, contemplation and firm observation. One single monster within three distinct and simultaneous incarnations.

Coal workers are one of the professions that disappeared in our time due to the rapid technological development of industrial society. The film refers to the survival problems faced by both the coal traders and its producers, mainly the coal miners. Black and white emphasizes not only the product of production, coal, but also the acuteness of the problem. In addition, he follows the latter throughout the production of charcoal in the forests of Evia, where they move as a family. It describes the different phases of the production process, alongside the different phases of their reflection on the future, the whole family together and each member separately. Alinda Dimitriou does not use a questionnaire to elicit their thoughts – she lets the conversation "unravel the tangle of confessions", as she typically said.

Short film by Público founder Vicente Jorge Silva, staring Miguel Silva.

Pola Weiss' first videoart. It shows a series of images in shape of a flower with different colors with experimental techniques.

Pyramid Drawings opens with a white screen and a narrow floor area at the bottom. From the left, a performer enters, carrying a bucket of paint. The film is in negative therefore everything light is dark and everything dark is light. The performer begins to draw black lines on what appears to be a white wall. The drawing gradually becomes to be a pyramid seen in perspective. The performer leaves and the drawing is left for contemplation by the viewer. The performer re-enters with a pair of scissors and cuts what appeared to be lines. The lines fall to the floor. The performer then commences to build a new pyramid with new strings stretched back and forth in the space.

Record of an artistic intervention by Ana Hatherly at the Quadrum gallery, in Lisbon.

Farhad, who is the son of a taxi driver and works on his father's taxi in the afternoons, is interested in his sweet classmate, but a deceitful young man named Khosrow, who is trying to marry Shirin and take over his father's fortune, wants to have a relationship. Disrupt the two. With the help of a woman named Laleh, Farhad intends to become a successful singer. Khosrow makes Shirin pessimistic about the relationship between Farhad and Laleh, and Shirin, in retaliation, turns to a young man named Jalal. After severing ties with Laleh, Farhad clarifies the matter to Shirin and goes to Shirin's courtship with his parents. Shirin's father agrees and his mother opposes the union. Khosrow's friends kidnap Shirin's father's jewelry store and drag Farhad to the police station as a thief.

A production by the spanish Colectivo de Cine de Clase (Class Cinema Collective), which illustrates the formation of a union.

From super 8mm original. ... is a drawing about a morning routine. It's about waking up, visually, first seeing details that are detached from meaning and then making sense of a picture as a place in the world. –K. M.

In THE WEB I delved for the first and only time into film as mischief-making; wicked, like a child.

“This little-seen abstract work of Worden’s began with short expressionistic/biomorphic color sequences he generated from scratched and abraded film strips made via a liberal application of the titular cleaning agent. These passages were then spun into an elusive, experiential coherence via Fred’s analytic and poetic optical printing, resulting in an evolving cascade of loops and rhythms.” —Mark Toscano

A minimalist absurdist comedy about a martyr and torturers.

Ramos' astute deconstruction of television news focuses on the media coverage of President Jimmy Carter's 1977 declaration of amnesty for Vietnam War draft resisters, and his personal involvement with the issue. Ramos, who had served an eighteen-month prison sentence for draft resistence, was interviewed by New York news reporter Gabe Pressman. Using repetition and juxtaposition, he contrasts the unedited interview footage — and patronizing comments of the news crew — with Pressman's final televised news report. In his ironic manipulation of the material, Ramos exposes the illusion and artifice of television news.