Cinematic Era: 1981 Vintage

Mexican feature film

Mexican feature film

Mexican feature film

Episodes of Laura's day to day life; moments in the life of musician Silvestre Parker, a Mexican charro that talks to us about show business and death. A film about art, death, success and work.

In Painting Room Lights a performer paints four fluorescent lamps and makes a drawing of a landscape with a rectangular solid in the foreground. He also makes a drawing of a room in one point perspective. Two four foot fluorescent lamps stand in the foreground and two eight foot fluorescent lamps stand in the background. The drawing of the landscape and the drawing of the room appear to be made on a white surface (the film is in negative and the lights are turned off in the room). A deep space is revealed behind the drawings when the fluorescent lamps are turned on in the background. The performer then paints the fluorescent bulbs. As the lamps are painted the room disappears and the drawing seems to be again on the flat surface. The drawings are cut with scissors and they fall out of the film frame. The process is repeated with the lights in the foreground. The film is in color and the fluorescent lights are green. The negative film effectively casts the scene in red.

Experimental film on 16mm by Ioan Pleș as part of Kinema Ikon.

A video by Dale Hoyt

In the work, we are immediately introduced to the face of the artist looking directly into the camera, confronting the viewer, openly, unwavering and clear. Throughout this work America performs slight variations in head and facial movement to a repetitive and absurd soundtrack. The face is presented as a blank yet mechanically expressive canvas and the expression in her eyes is non-directional and unemotive. This isolation and exaggeration of the different parts of her face gives the viewer the impression that what we see is an object rather than a person or individual. The visual composition is supported by a repetitive percussion beat with Jazz overtones and synthesizer sounds.

The only sound version. It begins with a sync-sound version (#5) shot on the grounds of Little Trinity Church as a TV commercial, with John talking to the viewer about his upcoming show at The Funnel Experimental Film Theatre in Toronto. It ends with version #4 with John's friend, dancer Judith Miller, joining the dance in Bickford Park, and which was shot on silent film, then sound-striped and post-dubbed with out-take sounds from version #5.

A story about a version that Madonna of the Gate of Dawn is an artistic expression of the drama that Barbora Radvilaitė experienced.

A series of variations of abstract forms taken by "cuts" from objects in my daily universe, is an attempt to abolish the subject in favor of cinematographic language.

The Luggage comprises an array of intertwined scenes featuring activities with such props as a TV set, high-heeled shoes, mirror, torch. The film emanates physical tension, accentuated through dynamic editing and the aesthetics of compulsive repetition, characteristic of Sosnowski’s practice. It presents murky explorations, shaky scenes of convulsion, magic rituals with an undertone of eroticism.

A house of trick cards, the woman as house. "A marvelous smorgasbord of images." – Edgar Daniels "Architectural structures become the structures of relationships, establishing the windows of communication (between parents and children, between lovers) while preserving a sense of enclosure, isolation." – Dave Kehr

Mobiles works with regulated frame movements becoming increasingly more unpredictable : a controllable, closed space, in which more random and unrestrained movement are distributed. This device allows forms to be deployed by the movement, but is still untapped by narrative film: contracting and leaking spaces, crushed signs, decomposition of movements by other movements, dripping and corpuscular choreography. Mobiles is the result of a continuous tension between abstraction and reality. The same goes for the relationship between sound and image, which echo one another.

A homage to the 80s experimental cinema. A poetic play manifesto about this form of expression that at the moment had a huge development.

Stiff Little Fingers and U2 perform at a concert recorded in 1981 at Queen's University, Belfast, in front of the fans who had supported them from their early punk days.

Mendietas last film was made off the coast of Florida, the silhouette points to Cuba, while the tropical waters undulate around the sandy earthwork.

When the culture of a kingdom dictates that in finding the most suitable man for the beautiful princess of the kingdom, the man must emerge champion of a collective, non-discriminatory wrestling contest. Kadara is a charming and swooning tale of rivalry between a handsome and endearing farmer and a brutish man of considerable wealth for the hand of the most beautiful princess in the entire Kingdom!

A stony-faced Tom Morton, General Manager of Doncaster Rugby League team, has just received a copy of the Guinness Book of Records. His team now has an entry for most games without a win. What follows in Barry Cockcroft’s wonderful portrait of the club’s last four fixtures of the 1981 season is a mixture of the bleak, the poignant and the hilarious. The scattered devoted few at the aptly named Tattersfield watch as Doncaster and Hull legend Tony Banham finally comes up trumps.

Satirical docudrama based on the racist practice of virginity testing that was carried out by the Home Office on Asian girls arriving in the UK from India and Pakistan between 1971-1979.

Short political documentary.

For two weeks in 1980, two thousand disabled athletes gathered in Arnhem, Holland, for the sixth edition of the Olympic Games for the Physically Disabled, which had been held for twenty years and had last been organized in the Soviet Union. To begin with, one-legged Canadian Arnie Boldt cleared 1.96 meters in the high jump. Records were soon to fall like the cold rain of that uncertain summer, and for all those who dreamed of going faster, higher and stronger, there was no shortage of adversaries. Brad Parks, the wheeled American, pulverized the 100 and 1,500-meter records, Leone Williams, the Jamaican, threw the discus over 28 meters; among the "big guns", the battle was fierce between Brown, the American world record holder at 263 kilos, and Lindberg, the elf from the North.

Experimental movie that seeks the relation between art and madness.

...a "mordantly nostalgic" sojourn across America. A landscape of mute streets, empty rooms and serene fields; the remains of a civilization which has momentarily disappeared.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”

The registered activity, the artist uses a wide range of physical and visual expression to refer to the issues of birth, physicality and sexuality, both in the semantic and iconic. It also refers to "shocking" the language of performance art operating with nudity, violence, or, as here, using dead animals. Despite the physical and sexual striking impression share, the artist remains all the time in the garment. At the end of disguises, but from the eyes of the audience hides her tight cocoon. Constructing a symbolic expression of a structured situation is accompanied by a strong emphasis on the visual dimension of the action. Sophisticated structure semantically-formal Tyszkiewicz present in the films are played in the material world and translated into performance art.

The film is a reflection on the cultural and psychological space attributed to women in the collective consciousness, and above all in contemporary iconosphere. The artist creates characters and situations arranged in a complex in meaning and visual variation on the theme of erotic symbols and incarnations and sexual stereotypes, revealing thus their influence on essentialist vision of women in modern life and visual culture.

The story of Glen Davis, a shale oil town built to supply oil for the Navy in World War II. After the war the township that grew with the works struggles for survival. It is the site of the longest stay-in strike in Australian Labor history. The town finally died in 1952. Each year its former inhabitants return to picnic in the ruins.

Strung together with a series of separate scenes, this film has only one focus and that is the brief period of adjustment when a young student arrives at school, fixes up his room, writes letters to his girlfriend, meets her many times in his room, and then brings a horse into his room. There seems to be no special point to these 90 minutes of sequences, and even the horse seems to wonder what he is doing there.

Warner Home Video

Art film part of the REWIND + PLAY, An Anthology of Early British Video Art box-set.

Mama Oh Mama is a Malay movie released in Malaysia in 1981. Film Mama Oh Mama issued in the form of color film . Film Mama Oh Mama was released in 1981 in theaters across the country . Showing Dharma Aaron A. Rahman Aminuddin , Azean Irdawaty , Sharifah and many others .

At a flower club, a gathering of young men and women, they accidentally smoke marijuana out of curiosity. As a result, men cannot escape from the hallucinations and are imprisoned in a prison net or a mental hospital. Vanguard Kwang-suk, Jeong-hee, and Mi-sook are skeptical of their colleagues' misfortunes and smoke marijuana to appease the suffering and wander in search of where to buy them. Min-sook, who has a drug network across the country, kidnaps Mi-sook, who will report him to the police if he doesn't provide free heroin to cover up his crimes.

Tap-ji lives with his father, mother, older brother, and younger brother, who are instrumentalists. Yang Jong-ha, a friend of Tap-ji, is a popular baseball star. Yang Jong-ha becomes friends with Tap in a lonely environment. However, when Kok-ji hears that Yang Jong-ha has a girlfriend, he is heartbroken and dedicates all his heart to helping a struggling student to forget Jong-ha.

A skilled martial artist takes a job as a security escort. But after an important shipment is stolen under suspicious circumstances, he discovers a racket that is cheating the locals out of their money and seeks to set things right.

Ko Bok-Chil is good and kind, but stubborn. When he repeats to fail in the business, he considers to kill himself. But, he makes up his mind to make a comeback and challenge the world. He experiences human life by selling books in monthly installment. He usually does a lot of good things, but their results are not good. When he has to take care of a young orphan named Young-Hee, he starts to work hard again. He loves a beautiful girl, who is a daughter of millionaire. He contributes to her father's company using an outstanding PR skill, so that he is accepted to get married to her. But, he realizes that he is not eligible as a director of big company, and leaves Seoul alone.

Dong-min rejects the idea of following in his father's footsteps and take over the successful family corportation. Instead he runs away to Whale Island to be a writer. There he meets Sang-il who resembles him very closely. Because he has been out of the country for the last 15 years, Dong-min believes it is possible for Sang-il to take his place without even his family suspecting. Everything seems to go well at first, until Sang-il starts to fall in love with Dong-min's sister

Bedrooms filmed in a Freudian way.

Jennifer, Where Are You? is structured by a speech-act, a constant proleptic call, a man’s voice which has been edited and recut into a repetitive and pervasive presence. The insistence of this male voice, which repeats the phrase “Jennifer! Where are you?” every 30 seconds, parodies the authority conceded to voice-overs in the cinema. The voice is patriarchal, relentless, and runs the entire length of the film. Cut-aways to a small girl, glancing at the camera as she plays with lipstick and matches, reapportion the relation between patriarchal phonocentrism and masculine gaze. But is this small child subject to either? No. Not really. There she is, hiding in plain sight–ours, not ‘his’–a ‘purloined subject’ successfully evading subjugation through response or acquiescence. ‘Jennifer,’ whoever she might be (a cipher, a pseudonymous textual marker of gendered cinematic presence) is never apprehended, and the film, for all of its suspense, simply ends.

Bollywood 1981

Film starring Master Amit, Master Chaitanya and Asha Chandra

Motion picture directed by P. Chandrakumar

The Woodstock Jazz Festival, Woodstock NY, 1981 was a celebration of the tenth anniversary of the Creative Music Studio. With performances by Jack DeJohnette, Chick Corea, Pat Metheny, Anthony Braxton, Lee Konitz, Miroslav Vitous,

Documentary about rising popularity in Klan activity.