6055 Matches Found
Interviewed at home and at work, female coal miners discuss the social and economic conditions that led them to seek employment in this male-dominated industry and the problems they have encountered on the job. Shows female miners organizing themselves, participating in union affairs, and leading the fight for mine health and safety.
The night life of Omonia. A combination of fiction and real life.
A five-episode cinema version of Chronicle(1982)
This short film is an animated interpretation of the Suite No. 4 by the music ensemble Bayon, which was founded in East Germany in 1971. Bayon’s music is a unique combination of Khmer pentatonic music with elements of classical, jazz and rock.
A street in Oakland. Early morning hours. A motion. Music. A few sound bits. Someone paints the wall of a studio. Colors. Broken televisions. A street in Oakland. Early morning hours. A motion. Different music. Columbus. End.
Lithuanian documentary about bicycles.
Short film by Keiichi Minegishi
It consists of two repeated images: a scene of cutting the back of a hand with a utility knife and blood oozing out, and another one of a man being slaughtered at the beach.
Workers’ rights were at the heart of the ’68 protests, but where was the conversation about working mothers? This film explores the lack of job prospects for Sheffield women with families to support. The women speak for themselves.
Made by Roger Whittaker Films - 1982. NFSA title no. 262876 This documentary delves into the social, cultural, and economic lives of the residents of the remote opal mining town of Coober Pedy, South Australia. Produced shortly after the Coober Pedy Act of 1981, the film captures social and economic changes underway, hastened by the introduction of satellite television in 1980. The historically maverick town must adapt to the formality of local government if it is to continue supporting its residents.
Sherman underscores the oppositional component of the board game with split screen techniques and evocative black and white graphics.
When her lesbian affair with Regine hits the rocks, Anna needs to escape her job as a photographer, her home, her friends and everything that reminds her of the past and so she aims a borrowed Volkswagen van for the south of France and steps on the gas pedal. As she travels, her daydreams take on the force of reality as she fantazises about the past with Regine, yet the change in color tonalities of her imaginings and other camera tricks contrast her make-believe world with the scenic countryside and picturesque villages she passes on her way. As the road unspools before her like a role of film, images from her mind's storehouse of reels flash by - and the parallels between traveling away and mentally going back become clearer, for as the title suggests, she has to "depart to arrive."
A melodrama set in West Jutland in 1912 among the tough railway workers, known as "børster" (brushes). A team of børster is staying with a drunken miller, and here the team's leader, Smukke Thorvald, falls in love with the miller's young wife, who dreams of a better life.
CARMEN CARRASCAL presents a vivid and moving picture of life high in the mountains of Colombia.
"GRÜNSPAN is a film about female sexuality, but it does not develop a program, but tries to capture different, sometimes contradictory attitudes and feelings in their simultaneous existence. On the one hand through the objects in the picture - male statues, a woman approaching, on the other hand, through surface tension in the images, opposing textures, hardness ratios, convex and concave shapes, the color that keeps the film flowing, the objects related to each other, concentrates and loses, and the music is very important which comes from an old American musical and has a narrative dimension. " (Christine Noll Brinckmann)
The film articulates raw pieces of painful reality, taken from individual and collective spheres. Three clippings from newspapers which descibe the absolute horror of barbarity practised in certains corners of the world, personal letters read in off voices and city images bestow on this film a seriousness and evident emotional weight. A live memory against a world which institionalizes forgetting.
Daily life on the island of Skinoussa, in the Cyclades archipelago.
Beautiful washerwoman Tinette manages to get the upper hand time and again with cunning, leading the covetous men around by the nose in order to finally catch the dyer Taschereau and become the respectable Madame Taschereau.
Taking off where Brooke Shields left us in her Calvins, this film takes a hard, humorous look at the pressures and frustrations girls feel as they rush out to explore their sexuality with all the taboos and fears that entails.
Three-screen film. On the first screen, close-ups of an agitated match in front of a young woman's fearful face. On the soundtrack: matches, warnings of a rattlesnake, the phrase: "Listen, I will not speak." The ribbon runs at variable speeds, sometimes blurring, sometimes slowing down, to stop, on which the image / celluloid begins to fry and to burn, then leaves, runs, stops again, leaves again ... On the second screen we see the first rephotographed; here the "burns" are both fixed or new (a burn in the second degree). On the third screen, we see the second screen rephotographed. The subject of the film is the fragility of the film, as medium, as well as the vulnerability of man. Both the film and the figure resist threats / intimidation / mutilations.
Mysteries is a photomontage film, shot at Penmon, Anglesey and Whiteknights Farm, Hampshire. Beginning with a quotation from a dream, it becomes the filmmaker's interpretation of the harvest and the old mystic theme of the Mysteries: “The women are celebrating the Mysteries on the beach at Penmon... No-one is watching... The sound of the general waves crashing against the bank of pebbles; the sound of the barley waving... Someone holds out her hand, holds it open against the sea. Perhaps it is my hand, the hand holds three ears of barley...”.
First film by Zeinabu irene Davis
A silent film made completely in about 15 minutes on a partly cloudy day in San Francisco in 1982. With the 16mm Bolex camera mounted on a tripod, I wound the motor a single crank and ran as far as I could before the camera stopped (about 1 second). I returned and wound it 2 cranks and did the same, then repeated the process adding one crank each time. With these self-imposed limitations, would I make it to the top of the hill before the film ran out?
A video magazine put out by the Come Organization label. Noise, smut, medical procedures and an unwholesome fascination with infamous murderers. SUTCLIFFE JUGEND interview and music PETER KURTEN preview WHITEHOUSE LP TRACKS 1 birthdeath experience side A PHILIP BEST talks to MARY DOWD WHITEHOUSE studio action 1 KINGS CROSS PROSTITUTION 1982
Filmmakers Cida Aidar and Inês Castilho met as part of the feminist collective that edited the newspaper Nós Mulheres between 1976 and 1979. Filmed during 1981 in the Boca do Lixo region of São Paulo, infamous for its porn cinemas and brothels, the documentary fiction 'Mulheres da Boca' reveals the lives of sex workers on their own terms, as they are captured between seduction, play, and violence, against the backdrop of the corruption and abuse exercised by those who ran the Boca de Lixo.
“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.”
Filmed on vacation in Hawaii, EYE ETC. explores the light, colors and sensuous movement of the Hawaiian culture.
Rock Ross described this atypical collaboration as "a celebration of abandon in the parallel nation" and he wasn't being completely tongue-in-cheek. VESPUCCILAND is an exuberant and witty dance for the camera, shot in vivid, defiant color, records half a dozen spitfires (including Ross and fellow San Francisco experimental filmmaker Michael Rudnick) frolicking on a summer morn. Garbed in white costumes and ersatz hoods, the dancers embody the spirits of rebellion, solidarity, anarchy and free expression. Guaranteed to provoke a smile or three, and to evoke nostalgia for the trampled idealism of the 1970s. - Michael Fox
"A declarative and somewhat facetious circular text weaves through many sampled versions of what "film" might be, i.e., home movie, Hollywood, training, documentary, newsreel, sports, abstraction, etc. Shot in b&w and silent, yet two more categories. Along the way, this film provides an identity of its own. Super 8, silent, experimental."
A short film about two children who stayed home alone.
A group of children pass the vacation in the shore of Adriatic. Among them is also Detini a self isolated and shy boy. His friends play with him so he thinks to leave them. But his close friend Gjini helps him to recover and integrate with the others.
Underage lifts the lid on the insular world of a group of wayward Coventry teenagers in the early 1980s. In the run up to the summer holidays, struggling to make sense of their lives, the teens take solace in glue sniffing, drinking excessively, getting arrested or head-banging to Motorhead
1982 German Super 8 short work
1983 German super 8 short work
An experimental film with no narrative but the presentation of images and sequences of the Australian landscape interspersed with some interiors. The human figure is present to some degree, being seen in black flitting through certain scenes and in some of the interiors.
Various street performers in action.
Official entry to the first Metro Manila Film Festival in 1982 directed by Diego Cagahastian and starred Mohamad Faizal, Rhoy Flores, Rex Lapid, Charlie Davao, Philip Gamboa, Laarni Enriquez, Paquito Diaz, Romy Diaz, Dick Israel, Tony Carrion, Joaquin Fajardo, Willy Dado, Amay Bisaya, and Max Alvarado.
16mm film from 1982.
ACROSS THE BORDER is a collage of found footage and documentary images, radio Spanish/English tracks and commentary by Philippe Bourgois, a Stanford Anthropologist trapped in an offensive by the United States-backed Salvadoran Military forces. The film’s position against U.S. intervention in the third world is stated in graphic visuals that employ techniques of optical printing and animation.
Jang Yong-Ho loses his parents owing to his grandfather's Cheongja martial art by the Japanese. To retaliate upon the enemy, he practices martial art. Kim Seok-Do advises Jang to escape, but Jang's grandfather is kidnaped and tortured by a Japanese (Nishi Hiro) while keeping his place. Jang sneaks into Nishi Hiro's mountain villa and rescues his grandfather. Nishi Hiro calls again the Japanese snipers, that is, Kenji and Harata. Kenji let Harata fight against Jang, while Kenji himself kills both Kim Seok-Do and Jang's grandfather, and kidnaps Da-Bok. Jang fails to pass Nishi Hiro's yard. On the way to home, Jang meets his younger brother and is informed that his grandfather has been killed. To retaliate upon the enemy, he let his younger brother learn Cheongja martial art. The brothers attack Nishi Hiro's mountain villa and rescues Da-Bok.
Documentary about a collaboration between avant garde filmmaker David Rimmer and choreographer Paulo Ross.
Focusing on the wedding arrangements of David and Elaine, each of whom is divorced, SECOND TIME AROUND presents the complexities of contemporary marriage in the United States.
Filmmaker Ralph Arlyck reflects on the idea of success in American culture while examining his own career, ambitions, and everyday life.
Muncie Central and Anderson High prepare to meet for the annual basketball game, a game charged with the spirit of long-established rivalry. An examination of the role of competitive sports (in this case, basketball) in the community, for the coaches and, most of all, for the players themselves.
The silhouettes of a couple in the window were filmed with few directions for the protagonists. They suggested the synthesis of cinematic space and the universality of their figures. The camera draws attention to moments, gestures, and actions, all inserted into the parentheses of a fade-in/fade-out. Cinema rediscovered as an effective memory machine.
The heaven and hell of suburban domesticity is put in the spotlight in this tape involving a video game, a cup of tea and a Sunday afternoon. He is in the still undecorated back room. She is in the garden, soaking up the sun. A cup of tea is called for. Ian Bourn and the late Helen Chadwick play the two lead roles.
A global, strategic evaluation of the social forces comprising the society of the spectacle. It is conceived from the view that, if individuals are to gain control over their lives, the world of hierarchical power must be destroyed.
Red Norvo (so named because of his red hair) single-handedly transformed the xylophone from a vaudeville novelty to a virtuoso jazz instrument and was a perennial sideman to Frank Sinatra for nearly two decades. A true jazz master, Red's joined in this concert by jazz guitarist Tal Farlow, a close friend and gigging companion of many years. (Farlow and Charles Mingus were part of the legendary Norvo West Coast trio in the early 1950s.)
The prince is suffering from severe depression, and only laughter can save him.
Film starring Jayasudha, Krishnamraju and Sharada