Gore's second solo film, DREAM OF THE SPHINX is highly representative of his fluid, expressive line work and characteristic traversals through space. Preserved by the Academy Film Archive in partnership with CalArts and iotaCenter in 2009.
"Entertaining study of the visual fluidity of the landscape between two majors cities (New York City and Boston). The visual concept of Megalopolis is shown graphically, the ecological implications of: the car that built the road, the road that built the megalopolis, come to life." - L.N.S.
“This film was made without the use of a motion picture camera. Strips of geometric patterns, moire patterns and various precisely repeated designs were applied to the film stock and solarised. These images were then printed in positive and negative colour through special printing techniques…the pattern overlay combined with strong complimentary colours creates a three dimensional effect.” – Science News.
I planned the Divine Comprehension to be my magnum opus however, although it is complete, I never considered it finished. As in PROOF (and, in part, several other of my films) I dispensed with the narrative, creating sequence and short scenes that capture unexpressed emotions or feelings; an unanswered telephone call, the 1,000 Year Old Chinese Egg, fighting hamsters, a fish head floats by in a pristine stream, all tried together with reoccurring motifs. One such sequence includes the victims of the 1904 Slocum Disaster, the reclaiming of their bodies and the funeral service at their church - which is still stands today - all of which were captured in vintage Edison ‘Newsreel“ footage,.
Consisting basically of home movie footage of family, relatives, and myself during the mid-1940's I have included loops of certain sequences and actions that have attracted me. Invariably people find HOMECALL a very warm film; however, upon closer scrutiny quite another facet is visible. –D. D.
This film depicts a man in search of a relationship. However, after experiencing a number of situations, he realizes that the true relationship is with himself.
Filmed in16mm black and white in 1970 in Ann Arbor, Michigan, Pamela and Ian is a bisexual love story that explores an idea suggested by Alain Robbe-Grillet that characters in a film are born in the beginning and die in the end and have no existence outside of the film.
An animated painting, duh.
The artist explores make-up as a traditional mode of self-expression, using it to find a representation of herself with which to face the world.
Starting with a symbolic presentation of man's curiosity and his constant search of the mysteries of the unplumbed space, the film presents various scientists connected with the organised space research activities in Indian National Committee for Space Research (INCOSPAR) personally introducing their fields of research activities.
Sharon Green's short film Self Portrait of a Nude Model Turned Cinematographer (1971) represents a collision of incipient cinefeminism and autobiographical filmmaking. Containing a blend of still photographs and subjective moving-image shots of her body, the work has largely been overlooked because of a reductive framing of it as mere homage to male avant-garde artists such as Stan Brakhage, for whom Green was a nude model.
Focuses on the actions of FBI agent provocateur Thomas Tongyai—aka Tommy the Traveler—who infiltrated branches of the SDS movement at Hobart College and other colleges in upstate New York in 1969–70.
THE VESTAL THEATRE is a documentary shot in the lobby of a movie theater from behind the candy counter. The camera was turned off only when it ran out of film. It was shot sync-sound fixed camera. The movie goers could see the camera clearly (no Allen-Funt cute). Like Monet's cathedral, this same image would never have been the same again. The image is composed of complex, multilayered planes of focus. And I love the way people ask for popcorn and tap their dollar bills. Film time and real time are the same.
"Used as creative writing stimulus, elementary and high school. Has been likened to a journey into inner/outer space." -RS
A Super8 of desecrating and captivating animation, made by one of the greatest representatives of the Italian "art film".
After seeing Velvet Underground perform in Andy Warhol’s Exploding Plastic Inevitables in New York, Tanaami became interested stroboscopic effects. This flicker film was conceived as the first of many but this was the only one that was realized. (Source: Collaborative Cataloging Japan)
A short film about ants and their everyday activities. The audio of the film is currently lost.
The film follows two workers in industrial factories from Jena and Leningrad (modern day’s St. Petersburg) and asks them about their expectations for the future. There is a focus on the personal experience, but also politics and society are openly addressed.
A film animation experiment in metaphoric imagery. This is a surrealistic garden where the earth seethes with strange, unusual shapes and activity, accelerated in movement, compressed in time. Insect-like creatures dart under and over the sand with elusive swiftness; Picasso-like faces stare momentarily upward, mutate, and disappear; wilted blossoms become suddenly animated. What happens on the screen is punctuated and accompanied by synthetic sound effects.
