Cinematic Era: 1978 Vintage

Instants in the private family life of Dal Maso, mixed with shots of the urban life around him. Suddenly, the film unexpectedly changes into a fiction

Vampire comedy

The 360 degree camera movements in opposing directions on each screen are filmed from the centre of the crater. A stereo track of wind, crows and bowed cymbal was added in 2009. (Arthur Cantrill & Corinne Cantrill)

One of the main “mysteries” of working with the lab involves grading the print: adjusting or “correcting” the color balance for overexposures, underexposures, or unwanted color shifts in the original. Grading is done by adding or removing degrees of red, green, or blue light on the copier: the standard setting for an average exposure in our lab is 30 Red, 30 Green, and 30 Blue. Filmmakers often leave this work to the lab technician, and they only have a general understanding of the process. In our case, we wanted to use this film to learn more about it. We filmed a scene, under the light, of our son Ivor holding a Kodak Colour Patch Card (a male version of the "Kodak Lady" often spliced ​​for quality control purposes on a print). This normally exposed scene is subject to a range of 84 different print light settings out of 132,651 possible combinations. The soundtrack consists of a voice announcing the print light variations used. (Arthur Cantrill & Corinne Cantrill)

“The difference between a computer and people is absurdity”: this phrase, one of the first heard in Matheo Yamalakis’s film, is the key to a documentary that unfolds like a joyful revelation. Yamalakis was a sensitive filmmaker whose oeuvre is still largely unfamiliar to the inquiring viewer. His camera wanders around Ios in the summer of 1976, freely, almost associatively recording aspects of a Greek island perched on the cusp between a traditional, pre-modern world and a sweeping shift in mores. Therein lies the absurd, bitter comicality of this perceptive portrayal of the island’s microsociety, which covers everyone: grotesque local dignitaries, storytelling taverna jokesters, cunning small shopkeepers, naïve tourists, young women crushed by the small-mindedness of provincial life. All are woven together in the most effortless, tenderest way, crafting a kaleidoscopic portrait of the Greek archipelago, timeless in its conception and power.

A film about Bonnie Prince Charlie's escapades in the Outer Hebrides and his escape with Flora MacDonald

Australian Short Film directed by Sonia Hofmann

Short film from Australia directed by Debbie Kingsland

An animated sex-comedy romp done with an entire Barbie doll cast.

A young couple with a child long for an idyllic life in the countryside.

BETTER, STRONGER stands in contrast to the lilting pace of ROMANCE. It begins with an intense monologue by its main character, Lana (Karen Achenbach), which continues at a fairly relentless pace throughout. It is not a seductive story like ROMANCE, but an aggressive one that often jabs and pokes at the audience. Lana’s character is a high-energy, talkative actress who has returned to New York from California for a brief visit. She visits her family and cousins, who are a rowdy and obnoxious bunch, and storms from one scene to another. […] Bowes made BETTER, STRONGER as an artist-in-residence at the Television Laboratory at WNET/Thirteen. The tape is distinguished by its preoccupation with and relentless poetic use of language. […] While BETTER, STRONGER, like ROMANCE, would seem to have a direct plot line, Bowes has structured the action loosely with no central crisis or resolution. — Marita Sturken, “Television Fictions: An Interview with Ed Bowes,” AFTERIMAGE (May 1986)

In November 1977 Vídeo-Nou drew up the proposal Projecte inicial d'estudi de les formes de vida i cultura popular als barris de Barcelona, and the Fundació Serveis de Cultura Popular became interested in and supported the initiative. The video Intervention in the neighbourhood of Can Serra (L'Hospitalet de Llobregat) was carried out from January to March 1978. Four videos were made as part of the project: Qué viene el metro!, Història Urbanística, Escuela de adultos and El barrio de las fiestas. The video was prepared and produced with the participation of the residents. It presents the process of speculative urban construction of the Can Serra neighbourhood, with interventions by neighbours, architects and local representatives. This video opened the debate on the present and future of the neighbourhood. Video-Nou's intervention in Can Serra was the first attempt to use video as an instrument to dynamise social and community life in Spain.

Film expanded on three screens – So three films in parallel on a very large screen.

Jonathan Richman and his band The Modern Lovers perform a short set

This silent 9 minute film is like a 'pointillist painting' come to life - where grainy shapes reveal themselves to be part of a visual jigsaw puzzle - an assembly over time - and where the film-maker's daughter serves to be the subject of this painting in time. Razutis uses re-photography and camera movements that mimick the eye's 'saccadic eye movement' in revealing the visual sequence and interaction between daughter and father. The revelation is conducted over repeating sequences whose content is 'sampled' as if in the construction of a memory as puzzle.

This film tells about the life and work of Sharav, a famous Mongolian painter named "Marzan".

Turkish crime thriller

It tells how the Soviet experts helped to develop the Mongolian railway by recruiting young Russian railway workers and herders to work on the railway and training them to become drivers.

A reporter from the Scânteia newspaper arrives in the small mountain town of Bocșa to document the abuses committed many years ago, in 1962, by the headmaster of the town's high school, with the complicity of local authorities.

A scientist aids two brothers who are attacked by a rampaging zombie as they take a short cut through their local graveyard.

Mr. Linea faces proverbial obstacles while walking and turns to his cartoonist to draw him a solution. This time he’s dealing with a guard dog and needs to dash away.

The dilemmas and challenges facing Samoan Americans are frankly explored in this film about Omai Fa’atasi, a Southern Californian community group. It is one of the first films documenting Pacific Islander communities on the North American continent.

The Frankenstein Monster demands that Dr. Frankenstein create a mate for him.

Child at play with a rocking horse and other toys

A short film by Dominique Rocher.

The techniques and materials used (and attention to detail needed) to clean railway carriages manually.

In Senegal, artisanal fishing, which feeds 90% of the coastal population, is threatened, as on many other African coasts, by industrial fishing. Artisanal fishermen from Kayar, Hann and Soumbédioune testify to their difficulties, their aspirations, their demands.

Sitapur-based Mangala lives with her widowed mother and seven brothers, and is of marriageable age. Wealthy Banke Thakur would like to wed her, but she rejects him. She looks after an injured male, Anand, from Latpur, and after he recovers both fall in love with each other, and get married. She re-locates to live with his family, consisting of his brother, Mukund, and childless Bhabhi, Rani, who is very displeased as she wanted Anand to marry her gorgeous sister, Rambha; while Banke takes it upon himself to ensure that this marriage breaks up. Mangala continues to live in this household, and soon becomes pregnant. Mukund and Anand decide to travel for business purposes but promise to return before the baby is due. A few months later, they return and are told that Mangala has committed suicide after giving birth to a snake!!!

Anna and Ulrike are very different siblings. Anna is almost grown up, has a large circle of friends and gets on well with everything in life. Ulrike, a few years younger, is quite the opposite. She lives in a world of pipe dreams, can't fit in anywhere well and Anna is the victim of her countless fantasy fairy tales.

Land Day is commemorated by Palestinian annually on March 30. On that day in 1976, Palestinian citizens of Israel rebelled against the attempts of the ruling authorities to expropriate and colonize large swathes of their lands around six villages in the Galilee. Palestinians announced a general strike and organized marches in different Arab towns, where violent confrontations with the police erupted resulting in six martyrs amongst the demonstrators. Since then, the 30th of March was marked as a national day in which Palestinians show unity and intention to defend their land and the attachment to their national identity. Yom El Ard recounted the events of that day and documented the first anniversary activities. It features interviews with victims of violence, mayors of the affected villages and shows rarely seen footage of that era.

Directed by David Bishop.

In Lucrepata (Cusco), the community rises up to recover their land by confronting the cooperatives and the state, wanting community autonomy over their territory

Testing and experimenting in the laboratories of a Scottish chemical company.

A refined remake of the original Monster Land.

This documentary traces the alteration, through economic and political influences, of the Parker Hill area of Roxbury in Boston. An ethnically mixed family neighborhood, at present largely Irish Catholic, is now the location of a racially tense public housing project (named Mission Hill for a local church) which is occupied mainly by blacks.

In a house, a man and a woman.

An elegiac memory piece on the persecution of gays in Nazi Germany.

The film shows a single-row beet harvester in action during the sugar beet harvest. The topping of the beets is shown at normal speed. The test conditions used are explained.

A humorous portrayal of the intense competition, petty bickering, and ego clashes that erupt during the weekly tennis matches between four friends.

24fps, 16mm dairy film by Pierre Parat

16mm dairy film by Pierre Parat

A landscape is a landscape is a landscape. But in her view of the ambiguity of reality, Wanda Mihuleac composes an infinite landscape of reflections and lights.

A film made in 1978 by award winning Burmese director Maung Wunna.

A group of five-year-olds visits a cobbler's workshop.

The importance of early childhood education in preschool age.

This work marks a milestone in my research with video. For the first time, in fact, I'm using a particular system of my own invention: the video loop. The technique, previously used in the music field, is applied by me to video and allows me to create infinite superimpositions of images and sounds that accumulate in real time. This technical-poetic procedure will later determine a large part of my video production and will find the most correct application in music video performances.