6187 Matches Found
"In which memory confronts transition: "Haystacks, beerbottles, farmers, soldiers, church yards, and other passages from/through a preserve of folk culture near the Russian border, are inter-woven, via optical printer. Filmed in Maramuresh, Romania. (or:)"... Here today, gone tomorrow." –Fritz Buehner
At Black Range (1984) was shot near the Grampians in Western Victoria, and features monumental monochrome rocks with rainbow shadows and “fringing” in the moving eucalypts, which create coloured vibrations like the filmic analogue of Impressionism. The skin of the film and the rock itself are both living surfaces of mobile textures: lichen becomes electric, pointilist, as the camera fades in and out of focus. The shadows of skinny tree trunks dart like electric blue lightning, veins or eels. Shivering leaves morph into undersea anemones, caressing the rocks in a teasing, sexual way. Somehow, the loosening of Taussig’s “straightjacket of the spectrum” allows for a loosening of the straightjacket of taxonomy as well; classes, phyla, and even kingdoms drop away, revealing an undifferentiated field of vibrant matter in which entities shapeshift. (Tessa Laird)
Rabe Perplexum was one of the earliest West German artists to live in a non-binary gender identity. A key figure (for all their fringeness) of the Munich scene in the 1980s, Rabe’s paintings and performances were soon forgotten after their too early death at the age of 39. Interest in Rabe has since resurged, with Raganelli’s portrait becoming a key document of this visionary.
Examines the closing of three major steel plants in Youngstown, Ohio, between 1976 and 1980, showing the social and human costs of this tragedy through interviews with steelworkers, their families and friends, labor attorneys, local union leaders and community activists.
Mixing Cinema Vérité, animation, narrative fiction and stage theater, a look at drug use by the Montreal youth in the 80s, through various characters interacting in their own ways with drugs.
For no reason a punk breaks into a young man's house. There he kills his friends.
A three-legged cup embarks on a journey, filling itself with images and impressions of its surroundings.
LaserDisc released in 1984 that features cute kittens and puppies.
József Magyar's documentary film presents the situation of education, and teacher training in Hungary in the 1980s.
Animated film by Raúl García Sanz.
Presents the implementation of computer-analysis of video-images in contemporary medicine.
A squared multiplication. Made with Telidon, a Canadian videotex system that was in use in the 1980s. Although its primary function was to transmit textual and illustrative information, this system has been used by a number of Canadian artists as a creative tool to make graphic or video work. These films possess the rudimentary and primitive charm of the beginnings of the digital image era.
A boy of heightened romanticism from a poor family falls in love with a girl and tries to compete with a rich and sophisticated rival.
Danny is failing in school and is moved to a remedial class. His mother is supportive but his father thinks he needs punishment. Eventually Danny is diagnosed as being dyslectic, but his father needs convincing there is a problem.
Documentary on the experimental program by the Therapeutic Education Section of the Medical-Pedagogical Observation and Orientation Center, integrating health and education.
The students of one class of the city school decided to become herdsmen and went to the countryside. They showed the dreamy life of young people who understand each other in the middle of a difficult life.
War forms an impenetrable wall between basketball players.
The venue of this fresh-feeling signal film ending with a bang, made using paper cutout technique, is the infinity swimming pool where, after the swimming competition, unexpected figures hop onto the podium.
The signal film with abstract effect features the figure of a runner holding the Olympic torch made up of pixel dots on checkered paper.
How mosaics are made.
A short film by Thomas Feldmann
Pinku distributed by ENK Promotion.
The film shows two Melbourne youths and their summer activities. One makes films and the other holidays at Phillip Island. But, despite their differences, they both, in their own ways, aspire to infinity.
Joaquin Rodrigo - Concerto of Aranjuez
Humorous grassroots video.
"I bought a children's fishing set and inside there was a red fish. Using real-time analog with digital montage, I created this video just as I would practice my favourite hobby : fishing. A dense work, yet one which is full of nuances." Rick Raxlen
Using a program which "reads" sixteen shades of grey, the artist has produced a quiet, calming tape; a neutral panacea to help fight against the increasingly frenetic noise levels, both audio and visual.
Made during a love-affair (short) with bridges, road-crew workmen and their day-glow coloured vests, flags and markers, Flagman's Nightmare is part of a loose trilogy. Grey's Lullaby and Pure Mutation being the other two pieces.
An unorthodox, compelling film about a gay, black British writer locked in a prison cell with a philosophical mouse for company.
This feature documentary profiles poet Milton Acorn, who left his home in Prince Edward Island in the late 1940s to earn his living as an itinerant carpenter, and wound up in Toronto as one of Canada's most highly regarded poets and one of its most outrageous literary figures. Dubbed "The People's Poet" by fellow poets, he won the Governor General's Literary Award in 1975. Burned out by personal crises, Acorn moved back to Charlottetown in 1981. This film, directed by a P.E.I. filmmaker, brings out Acorn's wit, love of nature, unorthodox political views, and sometimes infuriating personal contradictions.
Odenbach looks at forced definitions of gender by contrasting the mechanics of physical fitness with the stifling confinement of a baroque setting.
Classic SOuth African film
Based on A. Platonov's tale.
A young girl dressed in white rolls runs and eats watermelons with abandon. The camera follows the girl's gestures incessantly. Occasional inserts such as a red umbrella, a necklace or three men pulling down their trousers, give the film a unique image of a female artist and the heroine's vibrant body. Yuko Ishimaru, who plays the leading role, is an indispensable figure in Hokkaido's independent film scene.
A forbidden love told by the ryhtm of Vallenato.
A short cine-calligraphy animation.
A woman finds her career change from French teacher to Policewoman empowering and invigorating in surprising ways.
A young psychologist tries to help Małgorzata who is experiencing marital problems. He notices a key ring by the woman's key, which looks like a figurine that died from the house of his murdered aunt years ago.
A survey of the various Orthodox monasteries in the Ukrainian SSR
A hardworking farmer wins a free holiday at a sea resort. For the first time in his life, Mikolaš can rest and relax in peace. A satire about agricultural policy and social differences.
"[This] is my first attempt to construct a video piece using one set of generative intervals for both sound and color. All of the color in the piece is orchestrated in brightness ‘octaves’ corresponding to the registration of the pitches in the soundtrack. Each hue from a circle of twelve corresponds to one of the pitches of a tempered scale. The articulation of the piece consists of a series of loudness and brightness ripples which move across the piece in speed relationships derived from the hue and pitch proportions. The image content, or the ‘instruments’ through which the colors resonate, are an alphabetical set of identifying symbols for 32 of the largest corporations in the world." - Bob Snyder
An artistic study of natural materials and a child’s face, which Pilař transforms into abstract objects by transferring them into a negative and changing the colour scheme. Despite the date given in the film (1982), it is probably one of his experiments on the Betamax format, realised around 1984 in his summer studio at his cottage in Jarkovice.
The black and white collage film was originally made by Pilař at a time when he was getting acquainted with the expressive language of the Nordic band Cobra. At the same time, it falls into the period of his parting with academic modernism in favour of the new language of pop-art. He revisited his film collages and decollages supplemented with animated fluids accompanied by music by The Residents in 1984 as a screener projected onto various surfaces.
Footage of the gradual installation and deinstallation of a private exhibition of calligraphic self-portraits hung on the gate of a cramped backyard is intercut with a short shot cut from a family film showing a close-up of a child's face in an open landscape. In contrast, the face of the adult artist is not visible; even his body gradually disappears under the layers of sketches.
A film is ceremonially screened on the 40th anniversary of the murder of the resistance group around KPD (Communist Party of Germany) functionary Georg Schuman. Present is Horst Schumann, son of the resistance fighter and 1st Secretary of the SED Leipzig District Authority. The filmed document and the documented screening become propaganda accomplices: The GDR present perpetuates the history of NS resistance.
A short film by Ahmed Zir.
In an enigmatically arranged tableau vivant, the painter Christine Schlegel permits the messiahs and other saviours to meet. Their ideals are, however, doomed to failure due to timidity, greed and betrayal.
Gabriel Bories is the director's father: an anarchist worker in 1936, he did time in prison, the Moroccan Rif, the children's prison... A mysterious itinerary, reinforced by a troubling resemblance to Jean Gabin. This portrait is built like a cinematographic quest with its montages, its cuts, its lightings and its shadowy zones. The viewer is also taken on a journey through history and landscapes. The journey of this father is traced with subtlety, without emotional overflow, and yet, we are moved.
“I made this film in the heyday of the ‘80s... a lot of people spending and making a lot of money in a kind of mad frenzy... advertisements, everywhere, interest rates up to 15%, 17%. Everything was for sale, one way or another... high pressure selling, lending. I figured ‘Good grief, this is all water off a duck's back.’ I used a lot of advertisements cut out of newspapers, and juxtaposed ‘important’ images (the Queen, Jesus, warships) and hectic activity with ducks, swimming around serenely in their ponds... things overwhelmingly important to some, totally unimportant to others. Ducks carry a lot of associations in the English language... ‘ducking for cover’, ‘sitting duck’ and so on.” (Paul Winkler)