An experimental short film from Mi-sen Wu.
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A filmmaker gets lost in a world of his own creation, literally. He is plotted against by his outer demons, searches for his lost sex scene and contends with several other versions of himself. A joyful rule-breaking carnival ride through a filmmaker's dreamland.
Hawaiian Punch follows two young Mormons, Nick and Tor, during their time in Hawaii. The audience is privy to their lives sharing a house and their recreational activities around the island. Afternoons are spent cliff diving, cruising on their moped along palm tree-lined streets and talking about relationships and religion.
The Pink Auto, screened using two projectors, is one of the very first examples of expanded cinema. Jeff Keen walks as a zombie and carry his dead bride through brown English fields.
An experimental short film from Toshio Matsumoto featuring Mona Lisa.
Szirtes's masterful experimental work is a dazzling composition of several years of filming within an industrial macro/microcosm, an abstract model of revolution and the beauty of daybreak.
A successful actress with three children takes an artist lover to fill a void in her life. This avant garde feature illustrates the alienation of an individual who is lonely despite the wealth and fame her career has brought to her. Jose Maria Nunes wrote the screenplay which relies heavily on verbiage and philosophical symbolism.
13 minute video art piece by Phil Morton.
A showcase of Paper Rad's individual and group creations in the form of Trash Talking, a show for kids with bizarre characters trying to find their place in the world.
Black Hole Radio is an installation that consists of taped confessions of callers of the New York City Phone Confession Line and video images. The Phone Confession Line is based on anonymous callers ringing to confess on things they had done or thought like adultery, theft, murder or regrets. Thereafter anybody could call and listen to the confessions. Although making a confession was free, listening to a confession costs money. After Cohen got his hands on the confessions, he used them as an audio heartbeat to accompany video-images of every day life in New York City he had taken over the years. This installation is a portrait of the city with its dark secrets, hushed voices and nocturnal images. In this way Cohen tries to bring across an experience to the viewer that relies on absence, waiting and the effort to hear something in the dark.
Outrage kiss-in at Bow Street police station in London, with a demonstration against homophobic government bills clause 25/28.
Camera, Monitor, Frame is the first installment of Takahiko Iimura's "Video Semiotics Triptych" (the other two works are Observer/Observed, made in 1975, and Observer/Observed/Observer, made in 1976). The work analyzes the fundamental components of video: the camera, the monitor, and the frame, focusing on the role of each within a system of video as analogous to the functions of vision and speech.
In Idemitsu's seminal women's liberationist video, the image of a tampon swirling in a toilet bowl slowly appears, as the artist speaks about the troubling roles, responsibilities and expectations of women in a clinical tone. Minimal in composition, What a Woman Made is a candid critique of the treatment of women in Japanese society.
A dark and magical visit to the fabled Parisian address Rue Fontaine 42. This was the residence of André Breton, the mastermind of surrealism, who surrounded himself with an impressive collection of modern, Western art and ethnographic objects from Oceania and North America. The collection was sold and divided up in 2003 at a controversial auction. 'The Trick Brain' is a delirious montage and a trip back in time to Breton's private art collection, where Atkins has been scouring the archives and come up with a possessing interior film of the place that once was, complete with surrealistic paintings, scores of Indian figures and hundreds of other displayed rarities. The film's soundtrack is provided by an observant narrator, who reveals to us that the objects shown are not necessarily what they claim to be - but instead are catalysts for some kind of wonderful linguistic virus which reveals the real identity of things.
As powerful and complex as is AKRAN, 37-73 is more taut, richer in associative meaning .... 37-73 is about dreams, about memory and its associations with nightmare and magic.
Canadian Pacific I is made up of a series of slowly dissolved shots done from the same framing over several months. The camera frames a window with a railway yard in the foreground, a bay in the space behind it, and misty mountains in the extreme distance. Trains occasionally pass by in the foreground. Huge ships move across the bay. Blue mists hover over the mountain heads.
Canadian Pacific II is designed as a companion piece to Canadian Pacific I. Shot from a window two storeys higher and in the building adjacent to the artists’s studio of the previous year, one enters into a dream state… an involvement with a vocabulary of seeing and feeling by subtle transitions of the passage of time
Produced by WGBH-TV in Boston, the Medium Is the Medium is one of the earliest and most prescient examples of the collaboration between public television and the emerging field of video art in the U.S. WGBH commissioned artists — Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini — to create original works for broadcast television. Their works explored the parameters of the new medium, from image processing and interactivity to video dance and sculpture.
An odyssey through Beethoven’s lasting presence and influence in our modern world – viewed through the eyes of the composer himself.
Self shots are the optical Biographie of an unorthodox film producer. Director, cameraman and actor in a person, he directs the camera against itself. It plays with her, throws her into air, races over the meadows, films its movements, his face and his hands and demonstrates thereby its adventurous relationship to a 16 mm camera. Not an action thus, but filming becomes the action. The Godard' Bonmot of filming as ' truth 24 times in the second ' made Mommartz in his films conscious like hardly another. (Wilfried Reichart Kölner Stadtanz 4.1.68)
Writes Kobayashi, "In 1972 I started a series of participatory performances where the first person performs an ambiguous action in front of a recording camera; the next person watches the recorded footage and imitates the action in front of a recording camera; the third person repeats the same procedure using the second person's video recording, and so on. Within the repetition of recording and action, the original gesture is transformed by the participants' misunderstanding, interpretation, and memory."
