Cinematic Era: 1983 Vintage

An engineer is sitting at his desk designing a computer-generated logo providing a printed circuit board made with the BNP effigy, a sign of modern times.

Produced for "Gebocon I", a convention organized by Fanroad magazine, an anime/manga/doujin magazine in the 80s and 90s.

The western part of Samoa has been independent of New Zealand since 1962, but a strong chain of emigration to New Zealand continues to tie the two countries together. This film follows a young Samoan family over a period of some weeks before they join the migrant exodus. The young couple experience the tensions of separation from their closely knit families. There is a serious conflict between the couple and the wife's parents, which threatens the marriage. The husband considers going without his wife. Eventually, however, the family comes to an uneasy truce which allows husband and wife to emigrate together.

Mammy Water is a pidgin English name for a local water goddess worshipped by the Ibibio, Ijaw, and Igbo speaking peoples of southeastern Nigeria. The water goddess traditionally gives wealth and children, compensates for hardships, and is sought in times of illness and need, especially by women. Her various cults are led, predominantly, by priestesses.

The tape follows the participants in a carnival show performing their act called The Wall of Death. The riders operate motorcycles and go-carts on a vertical wall. The tape follows them through one complete show. It starts with the least knowledgeable and least skilled showmen and works up to the best. The star of the show is a woman. She out-performs everyone and stands alone in what is generally thought of as a man's game. Changing roles in a changing society.

Primitive computer graphics featuring a 3D visualization of a mandala. Shown at SIGGRAPH 1983 Detroit.

The Palliri are the gleaners who recover, at the exit of the galleries in the mines, some pieces of minerals. Poor of the poor, Doña Helena works and lives in the highest mine in Bolivia, some 6,000 meters above sea level.ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

A rude awakening for a man who battles the world on his way to a permanent deep sleep. (3/4 in. video; color)

At the dawn of Independence, our society desperately seeks a way out of the economic and social confinement that the Spanish colony has imposed on it. The cultivation of coffee is presented as a viable option, but the landowners refuse to grow it, fearful of losing their colonial privileges.

Drawing animation. I visualized the music of the band "Zelda", which I often went to the live show. (Yuko Asano).

With Israel as an example, the reality of how military force is deemed necessary to maintain national sovereignty and the price involved is examined.

An amalgam of sex without guilt and sight without glasses. The importance of being able to see what you are doing. A film about confusing relationshops, telephones and wetness; and starring a preverbal somnambulist floating between word and object. –R. M.

A country club member gives new definition to the phrase "having a bad day".

After exhausting workday, policeman relaxes by making bread at home.

Images to accompany the lines of a poem by John Ashbery. "Rudy Burckhardt's film is a brilliant extension of my poem, perhaps the film I might have made myself if I were a filmmaker." – John Ashbery

Self Poured Traits is a tongue-in-cheek self-examination set to the poetry of Kenneth Rexroth.

Experimental short film by Dean Snider.

Mexican feature film

A Super-8 film by Leslie Singer

In These Are the Rules, Doug Hall enacted an authoritarian pose to deflate the power vested in political symbols.

A man playing the song from the title is interrupted by the arrival of a helicopter.

An action which took place in 1983 at the National Museum of Modern Art (Centre Georges Pompidou), during which Michel Journiac stages a dramatic ritual and publicly brands himself on the arm with a red-hot iron triangle, the mark of the outcast.

A computer project based on John Whitneys digital harmony theory. A UCLA project in 1982.

An English language, feature-length version of the Japanese marionette series 'Ekkusu bonbâ'. As the year 3000 approaches, a war-torn Solar System is invaded by the Imperial Alliance. The experimental X Bomber spacecraft with its young crew must defend the galaxy.

Once upon a time a baker and a chimney sweep decide to change their jobs and it causes a lot of trouble.

Punk rebellion and anarchy with Peterborough-based punk band The Destructors, six years after their formation. Born in the crucible of punk's genesis in 1977, the band are just beginning to make a name for themselves in the early 1980s.

An analysis of the use of photomontage to distort meaning and create subversive and oppositional art, exemplified by the work of Peter Kennard.

The Winds of Whoopie, was a 1983 one-hour comedy TV special on NBC, produced and written by Steve Martin. The title was a take-off of The Winds of War, which premiered as a TV miniseries on the same night on ABC. In a 30-second spot, Orson Welles says: "Why spend 18 hours watching someone else's war, when you know how it comes out? We win, and then have to buy all their cars. Watch Steve Martin's The Winds of Whoopie. See it all in one hour on Sunday." The show is a combination of old and new material compiled from past Martin specials and his appearances on Saturday Night Live and The Tonight Show.

After a phone call, a woman suddenly decides to leave her husband as a child. She finds herself in an inn populated by strange individuals. A new life is offered to her.

Two years into the Diary, Anne began graduate school at Massachusetts College of Art. Reel 26 was shot silently; the soundtrack is an audio recording she made during a graduate review. She discusses her work with Super 8 auteur and professor Saul Levine and a second faculty member. Ideas brought up in the discussion were later implemented in Reel 22 and 23 and in the presentation of the work in general. (Liz Coffey)

"It is above all a portrait of Miles McKane. Making a portrait, shooting a portrait are all modes of perpetuating/appropriating a person's image. Could a cinematographic portrait escape this rule?" -YB

The story of Ludwig Gehm - a German resistance fighter against Nazism.

Gay and lesbian teenagers interview straight people on the streets of London about their views on homosexuality.

Film made by passing - passing through - passing through - passing from an erotic desire to a filmic desire. The eye slipping from one object of desire to another. Some pass, others enjoy. Ejaculation film during the transition from winter to spring. Suites d'enfilades, suites d'enculades. Suites of variations on the theme of the passage. Passage from underground to overground. Switch from black and white to color. Passage from day to night - passengers in the shade. Passage of desire. Switching from one image to another. Passage - message. Passage from the near to the far, from the far to the near: setting in the abyss. New fleeting visions in a public passage that does not lead to the metro.

The bizarre rituals and disturbing characters found in Liverpool's Casablanca Nightclub.

This short drama is a humorous exploration of a woman regaining power as she challenges male supremacy in culture, the porn industry and film with clues for sweet dyke revenge.

Wuppertal is a drizzly, industrial city on the Rhine and one immediately wonders why Pina Bausch and her avant-garde dance troupe have settled there. A socially engaged documentarian, Wildenhahn is also perplexed by this issue and spends considerable time trying to place Bausch in a context outside of the aesthetic. Still, the dance company's daily life and the excruciating rehearsal and performance schedule is solidly captured. The film begins cleverly: a dance critic offers sagacious comments on ballet dancers finishing their careers at mid-thirty just when, according to Bausch, the "aspects of misery, suffering and fear of death should become an integral part of a dancer's spiritual and psychological make-up." Wildenhahn's camera glides over the dancers' bodies as Bausch leads them through their paces, a consummate teacher. Leaving behind rehearsals of "Bandoneón" and "Walzer," Wildenhahn then ventures out into the streets of Wuppertal searching for the dance of the common people.

A portrait of Maria Lang's mother, which is also a family portrait of the filmmaker. The film shows an excerpt from the Lang family's everyday life. It follows the parents as they go about their daily chores and small rituals.

From its very title, Cláudio Kahns and Antônio Paulo Ferraz's Santo e Jesus, Metalúrgicos is crystal clear about where it stands and about its messianic flair. Through a wordplay with the religious connotation of the names of the two men, murdered during the worker strikes of the late 1970s in São Paulo, it associates sainthood and Christ himself with the working class. That association is reaffirmed throughout the film, from the very beginning, including by a priest. The martyrdom of metalworkers Nelson Pereira de Jesus and Santo Dias da Silva is the starting point to denounce the working conditions faced by factory workers, and the repression which ensues whenever they try to resist them. However, the film also presents us with the 'official' version of the facts, going so far as to feature interviews with the man who killed Nelson. Obviously, it sides with the workers, as it conveys the strength of the oppressed and the impudence of the oppressors.

A patriotic rendering of all the verses of God Save the Queen with some Victorian lantern slides.

A polite graduation ceremony in the San Francisco Art Institute courtyard warps into a tongue-in-cheek horror film and then a parody of television action shows. Employing irony with genuine affection, Rock Ross brings a welcome irreverence to experimental film and capital-A "Art." With characteristic drollness and a fondness for wordplay, Ross described TILL MY HEAD CAVES IN as "my first anti-intellectual film." - Michael Fox

A pivotal work for video art of the 1980s. Fragments of time during a journey where the changing landscapes become full players in a story shown in shadowy backplay, which relates the imagined encounter of two passengers.

The film is a journal (drawn by hand over a period of four years), opera, and journey through 100 animated sequences which are joined and transformed by 100 film wipes in continuous successsion. The film is a synthesis of both abstract and figurative imagery, analysis and commentary, writing and multiple languages, multi-layered sounds and music, lyrical and contrapuntal relationships, and elaborate animated compositions. The film plays with the thresholds of change between intuition and analytical thinking, as well as between what is read or heard as "figurative" or "abstract." The various animation sequences range from pure geometric abstraction to symbols, metaphors and icons (boxing ring, car, chair, airplanes, steps).

Documentary examining the Puerto Rican musical traditions of bomba and plena from a historical and humanistic perspective.

The camera wanders through streets standing witness to a war that has destroyed a city and an entire nation. Bagdadi goes to war against the Lebanese civil war, exploring different locations and situations in a country faced with its own demise. The poetic text raises questions of life and death through contrasting images of violent death and the will to live.

Experimental short film.

When the Araki gang harass Bok-Sun, Chil-Bok kills Araki by heading. Bak Jang-Sohn hides Bok-Sun and Chil-Bok in danger. Japanese policemen arrest and send Chil-Bok to prison and Park Jang-Sun run away. Released from the prison owing to the liberation of the country, Chil-Bok punishes the scoundrels with heading. And because of it, he meets Bok-Sun again but she runs away from him. Song Dal-Su dominates the underworld of Seoul and goes to Pyeong-Yang Myeon-Ok and beats off Park Jang-Sohn for he's been afraid of him who knows about his past. Chil-Bok meets Bok-Sun through a pickpocket's arrangement and hears from her about Song Dal-Su. Chil-Bok makes Song Dal-Su give in who is the foe of his father and lover.

After being falsely accused of adultery, Mi-sun's mother leaves home and her father remarries. The new stepmother abuses Mi-sun and her younger siblings and, when their father dies, she leaves home with her new lover. Mi-sun struggles to feed her brothers and sisters but eventually begins a quest to find their mother.