År 1981 - 280

Imagogie (from words: image and demagogy) was made with 16mm and super8 inside 16mm.

Mexican feature film

A short film by Ahmed Zir

A dusk-till-dawn document of the dying gasps of my beloved Kodak Supermatic 200.

In Painting Room Lights a performer paints four fluorescent lamps and makes a drawing of a landscape with a rectangular solid in the foreground. He also makes a drawing of a room in one point perspective. Two four foot fluorescent lamps stand in the foreground and two eight foot fluorescent lamps stand in the background. The drawing of the landscape and the drawing of the room appear to be made on a white surface (the film is in negative and the lights are turned off in the room). A deep space is revealed behind the drawings when the fluorescent lamps are turned on in the background. The performer then paints the fluorescent bulbs. As the lamps are painted the room disappears and the drawing seems to be again on the flat surface. The drawings are cut with scissors and they fall out of the film frame. The process is repeated with the lights in the foreground. The film is in color and the fluorescent lights are green. The negative film effectively casts the scene in red.

I tell my side of the mother-daughter story which has changed dramatically since my father's death. The emotion is raw, embarrassing and honest. The movie ends but, "I think it will go on."

A video by Dale Hoyt

A video by Dale Hoyt

The work 'Labyrinth' opens with grainy and aged sepia tone images of the artist textured with film scratches. These images are set to the sound of an old film projector evoking a nostalgic and retro feel, as if the artist is evoking memories of herself. In the opening scenes we are introduced to a still shots of the artist performing different facial expressions. America plays with the notion of capturing differing moments in time. This is done in a stop-frame mode, where single frames of her expressions are placed one after the other creating a rickety and shaky feel to the movement of the imagery. As the work progresses, America multiplies the single frame in a grid across the screen.

1981, 01:00:16

Sculptures are the eyes of the walls and have wartime battle scars. A reflection on changing times with a collage of archival street scenes.

Second of four "musical arabesks".

Jaime Davidovichn searches in vain for the meaning of "avant-garde".

The film’s frame is a collage of horizontally trisected frames in which three views can be seen. Each of these three sections of the image shows a separately recorded one-second-long camera pan shot in the artist’s studio. The camera pans were filmed with a 16 mm film camera equipped with three different types of lenses (wide-angle, normal and telephoto). The resulting footage was divided horizontally into three strips and rearranged into new collaged compositions, each lasting 32 seconds, which were mechanically printed together into a single 35mm film.

Featuring cameos from several international artists including actress Elizabeth Shepherd and CBS Records’ group The Industrials along with many other American performers! An amusing and surreal comment on the ‘film-within-a-film’ sub genre as expounded in the 1960’s by Fellini, Truffaut et al. —LUX

Film by Ana Mendieta, 1981

Film by Ana Mendieta, 1981