An analysis of film’s persistent relationship to sexuality, mediated by allusions to early cinema’s flicker, and other aggressive qualities of the cinematic apparatus.
Social & External
Experimental 8mm film by Karpo Godina.
Crashing waves, the cry of a gull, silence.
A Tibetan Lama. His disciple. The disciple's wife, young boy and terrier. An old tugboat crossing the Mississippi River. A man in his seventh month of solitude. His hermitage built by his own hands. The man's bloodhound; his cat. Clouds crossing the Continental Divide. A mountain stream. A girl. The sun.
Creates a reorientation of vision in a union of sights and sounds which suggest a different way of appreciating and understanding the fundamental integrity of experience.
An improvisation recorded over the course of one day, starting at dawn and finishing after dusk. The film was edited in camera and shot from one camera position in the middle of one of the 112 football pitches that cover Hackney Marsh, a location chosen because of the similarities between the surrounding buildings and objects (identical blocks of flats, goalposts etc.). By cutting between precisely matched framings of similar objects, illusions of movement were produced, disrupting representational readings of the landscape. Unforeseen events occurring in the vicinity were also recorded, determining to some extent the subsequent filming. Through selection of shots and changes in cutting pace and speed of camera movement, the film fluctuates between record and abstraction.
Andy Warhol directs a single 35-minute shot of a man's face to capture his facial expressions as he receives the sexual act depicted in the title.
Omniscient perspectives shoot vibratory gleams through human projectors statically displaced across the screen. Superimpositions at fever pitch falling apart and compressing into new molecular lattices. Peripheral fantasies imagine forth collusioned destinies. A yin/yang interchange makes light's transparency into density, while the darkness metamorphoses into thin lucidity. Hands in peristaltic motion grasp and release, conjuring interstitial embroideries. Landscapes yield their own maps in topographical patterns.
The second entry in Velu Viswanadhan's series of experimental documentaries. This film traces the Ganges river upstream.
An exploration of Rodez Cathedral and its stained glass windows: praying figures and scientific imagery. A study on color, repetition and flickering consisting of 292 photographs.
An unnamed passer-by is forced to trace a circular route inside an abandoned tram station, facing loss and time. The broken walls act as a channel, transmitting fragmentary, blurred and analogical memories.
A flicker film made with images taken in Malawi. FF was in response to an assignment given by artists Melissa Dubbin and Aaron Davidson who created the soundtrack to which they invited artists to make a “Future Film”.
A man steadily bashes through the snow. He disappears and the trees, covered in white, shift and show a beautiful array of hidden colors. A poetic, meditative short film about letting go of the past and embracing the unknown future.
Filmed during Jonas Mekas’s visit to Assisi in 1967, this short documents his time in the city known for its spiritual associations. The footage was later incorporated into his 2003 compilation film Travel Songs (1967–1981).
We live with stories. And it's hard for us to give up on these stories, which provide us our identity, a way of understanding ourselves. Reflections from three successive generations are dusted off and presented as remaining fragments. An attempt to archive thoughts on familial history, narrative traditions, human perception and "the story" from known and unknown sources. "There is history behind it and the history becomes the story and the story becomes the pattern and the pattern becomes rigidity."
Someone said to me, of this film, that it was really about light; but Jane (who takes it as a portrait – i. e., sees herself in it) said: You gave me the moon and seven stars... and I signed this film, simply, Stan.
A collection of Jim Henson's commercials, industrial reels, short films and some related talk show appearances. Includes Henson's Oscar nominated short, "Time Piece," in its entirety. Part of the Jim Henson Legacy's "Muppets, Music & Magic" program that debuted at the Brooklyn Academy of Music in 2004.
An experimental documentary portrait of director Malcolm Quinn Silver-Van Meter's grandfather
