Cinematic Era: 1984 Vintage

The film tells the story of writer Regīna Ezera. The writer swims in a lake, shops at the market, writes on a typewriter at home, and writes the book "Nostalgia." R. Ezera rides a train at the Riga Railway Station. Regīna Ezera at a congress in Moscow.

Teresa Tyszkiewicz's last film is at the same time her only work realized in this medium in France, where the artist emigrated in 1982. The film features a sequence with the pin process and large-format works realized in this technique, as if the artist was making a peculiar declaration: after making ARTA, Tyszkiewicz devotes herself almost entirely to the performative and painstaking pin process.

"I have been working with found materials since 1980. For me the process has been similar to nostalgia. In both experiences there is an overwhelming desire to perfectly recreate the original. Although this seductive temptation is deadening and also impossible, it is nevertheless a powerful motivating force. In the midst of this tug-of-war between continual embrace and perpetual rejection, I created PICTURE BOOKS FOR ADULTS."

We are put in a world where television has complete power. "Flaming Arrow", the hero of the film, is the only one among the masses of TV dependent people who still knows genuine feelings. We feel with him. He takes up the fight against the power of the media. He meets with the same problems as we do: to recognize what is reality and what is film.

In this impressionistic work, the artist captures the feeling of an interior space. Her intention is to make the artifical appear more beautiful than reality.

Bombay, January 9, 1915. After two decades of momentous stay in South Africa, Mohandas Karamchand Gandhi returned home. As Nehru later commented, “His coming was like a beam of light that pierced the darkness.” This documentary narrates various events around Gandhiji’s entry into the Indian political life. Gandhiji’s first task was to lead the Champaran farmers’ agitation against the British planters. Gandhi applied his ‘satyagraha’ strategy here.

passage of time as expressed through the mountain

A man out for his daily jog is terrorized by a stalker in a ski mask, only to find that he has made a comic mistake.

Di luar batas is a 1984 drama film written by Piet Burnama and directed by Jopi Burnama.

The commentary, in their language, of my bestiary filmed by three young women: Eloisa: Brazilian; Giovanna: Italian and Nelcy: Colombian.

Evocation of the paths taken by Glauber Rocha in Monte Santo and Cocorobó, Serra de Canudos, Bahia, when he was filming 'Deus e o Diabo na Terra do Sol'. Parallelism between the vigor and rigor of Antonio Conselheiro and the filmmaker's purposes, driven by eagerness to awaken the conscience of men and promote freedom.

’25 years ago I was asked by Chiatt Day Advertising in Los Angeles to cover the making of ‘1984’ for Apple Computers. This commercial was to be directed by Ridley Scott to introduce the Macintosh to the world. ... The message of the whole enterprise was: ‘If you miss this, then you’re going to be at a disadvantage’. This sentiment in itself set the tone for the definition of the self at the end of the 20th century, when the self was to be defined by its likes and its dislikes. Prisoners as a work derived from the footage shot during the making of the commercial deals with the problem of ideology, the potential manipulation of meaning and the hotness or coldness of the medium as expressed by McLuhan as well as several other issues. ... So therefore those people depicted in my work, the capitalists, the neo-Nazis, Thatcherites , communists, corporatists and us the anarchists video crew, were all held Prisoner by our own set of beliefs.’ – Terry Flaxton

"... the line between public and private imagery." – Fred Worden

My mother's garden in Spring, filmed the Easter after her death. My mother died suddenly in December 83. In the Spring the blossom came through as though nothing had happened. I filmed the Easter morning and evening. 2 reels of Super 8. Like a song. The sound was recorded in the same place one year before the image, that is before her death. It does not tell. It is her garden for the last time.

On May 28, 1953, Sir Edmund Hillary and Tenzing Norgay became the first men to conquer Mount Everest. They risked their lives for the honor of standing where no human had ever before: at the summit of the highest mountain peak in the world. Now, more than 30 years later, Hillary and his climbing companion return to Everest to celebrate their historic ascent. Complete with breathtaking footage from the 1953 expedition, RETURN TO EVEREST is a tribute to the brave men who tamed this famous mountain, as well as the Sherpa people of Nepal who helped these pioneers achieve their goal.

The relationship among 3 friends suffers when a woman comes between them.

A lyrical fusion of hypnotic images, original music and spoken narrative text, The Water Catalogue is a meditation on the power and poetry of water. In this impressionistic "video album," Seaman explores the mythic and everyday connotations of water, establishing its erotic kinship with the human body and representing it as a symbol for emotional, psychological and physical states. Shot in Super-8 film and video, Seaman's processed, slowed and otherwise altered visuals take on metaphorical life. Through his fluid, sensual manipulation of sound and visuals, Seaman distills water to its most elemental form.

A documentation of the seminal video art show by Ira Schneider edited in 1984.

Mexican feature film

Mexican feature film

A 14 meter long strip of copper burglar alarm tape suspended between 2 pitchforks filmed at dusk. Joshua and Jesse Lerman applied the propane torch to the adhesive.

Undoubtedly you are being drawn into the dream world of a split personality, in a multitude of bizarre associative images. In this videotape the pictures change in an apparently chaotic sequence. It is the choice of working this way that does not make it easy for the viewer to follow. Soon one will discover there is no narrative, although it is suggested.

Tseng Kwong Chi (1950-1990) was part of an intimate circle of artists, Keith Haring, Kenny Scharf, and Cindy Sherman among them, who took center stage in the New York art world during the 1980's. As a Hong-Kong born, Paris-trained artist, Tseng viewed himself as a citizen of the world and eschewed labeling himself or his art as "Chinese." However, his ironic self-portraits posed in a Mao suit in front of American landmarks found their way to Communist China and were profoundly influential for China's avant-garde, including conceptual artists Song Dong and Zhang Huan, who were exposed to Tseng's images through western magazines smuggled into the country in the 1980's. Tseng's photographs not only satirized relations between the United States and its emerging rival, China, but also broadcasted his freedom of movement - a privilege denied most Chinese artists at the time.

The division of objects into small point of mobile clarity gives them a paradoxical existence, which dissolves constantly at the same time as it maintains itself. These objects then radiate their own light.

Documentary by WiTCH (the Women's Independent Cinema House collective) discussing the concept of collective ownership and interviewing many different labor collectives based around Merseyside, UK.

In the early 1980s, Edward Luyken had his own studio on the Lijnbaansgracht in Amsterdam. He also lived in the studio. In Celvast, diary images from that period are combined with shots of performances.

In a hypothetical future not too far away people are completely dazed and spend their days passively watching TV. The state is controlled by a dictator, the Supreme Dreamer, who governs through the brutal force of the police, whose agents have a very elegant yellow and black latex outfit. The only entertainment of the people is to watch the dictator's dreams on TV, which are aired through a hat. One day the protagonist, an anarchist rebel with fake mustache, steals the dictator's hat. At that point begins his escape during which he will meet some very special characters.

The ultimate rejection film. A compilation of many of the rejection notices and letters that I have received during my fifteen years of making films. "Films that offer an intelligent glimpse of the personal struggle and/or foibles of their creators seem destined for a warm reception in any festival. In the world of independents, a short like HIT THE TURNPIKE! is the finest way to end a lengthy screening. For those unfortunate enough to have suffered the agony of rejection or decision, HIT THE TURNPIKE! is the kind of film that encourages you to leave the disappointment behind.

In this short film, Halifax gardener Carol Bowlby harvests a mouth-watering crop from her small backyard plot. In considering soil quality, lack of space and a short growing season challenges rather than obstacles, she offers a wealth of practical growing tips for urban gardeners. By heeding Bowlby's advice, bountiful organic gardens work equally well on apartment balconies, in small or large city lots or in a rural setting.

The Earth is increasingly more atheist. Jesus must descend to Earth and take care of the small group of followers that he has left.

Academy award winning filmmaker Paul Wagner and folklorist Steve Zeitlin produced this 1983 oral history of the old-time travelling medicine show performers, with a recreated medicine show staged in a small North Carolina town.

Created for Walt Disney Educational by Sunwest Production and distributed to Schools

Animated film with several bizarre scenes.

Inspired by Len Lye. Contacts of torn film segments, representing the head of a man with cap.

1984 Czech experimental short by Petr Skala

“A muffled dream state; slow, soft focus nudes and repeating red ocean waves.” (J.B.)

A response to a newspaper account of a self-inflicted Caesarian section.

Animated short by Marv Newland

A series of meditations on Egyptian hieroglyphs – designations (as I finally saw them) of nurturing godheads.

Assembled by Kiumars Monazzah.

A fan, some brass-band music, a paper aeroplane and an open gas burner. An episode from Graham Young's series "Accidents in the Home".

Video by Richard Layzell.

Commissioned by Projects UK in Newcastle upon Tyne, England and featured on the Pieces compilation VHS. "Around Enfield, England."

Arrows uses a combination of live action and rostrum work to communicate the experience of anorexia and to analyse the cultural causes of the condition. 'I am so aware of my body', we are told on the soundtrack, whilst images of caged wild birds are intercut with images of the rib cage of the film's subject, the film-maker herself. The pressures placed upon women to be thin are articulated by an account of a new technique for surgical removal of fat. Once again, a woman who does not conform to male expectations in terms of her body-shape is classified as sick, in need of surgery. The constantly recurring motif of cages, bars and railway lines reiterates the feeling of entrapment throughout the film. Yet, taking the camera into her own hands, and revealing this process to the spectator by using a mirror, the film-maker shows herself in control of this representation of a woman's body.

1984 Indian Film

1984 Indian Film

Legendary San Francisco underground rockers the Mutants take to the stage in this film taped from two blistering concerts, one at the On Broadway club in 1984 and a reunion show at the DNA Lounge in 1989. The band, who kick the vibe into high gear here, was a staple of the Bay Area's early punk scene. Highlights include performances of "Insect Lounge," "Opposite World" and "Twisted Thing," plus an in-depth interview with the band.