Joer 1971 - 259

This film appears to focus on the female body in an artistic and colorful manner through the use of superimposition and flashes of repeated scenes. The film begins with two females in the nude, chatting, smoking, and eating saltines. Other scenes include two females in the nude and in a variety of positions: slouching, standing, sitting, etc. They are displayed in many colors and patterns, purple in one scene and polka dots the next. At one point, the women appear to be colorful cutouts moving jaggedly around the screen. In this film and in Hexagrams, Byron re-uses some of the same film scenes to create original content. Festival of Cyclists was created using a film technique invented with a Bell and Howell Film 16mm camera. In this technique, a short loop of film is repeatedly printed onto the camera roll. Byron wrote and published an article in Filmmaker's Newsletter about the technique. In 1972, Festival of Cyclists was shown at the 10th Ann Arbor Film Festival.

A short documentary showing people working on railway tracks.

Using extreme close-ups and amplified sound to force the viewer into the space of his body, he experiments with his mouth as a container for saliva, holding it in as long as possible, trying to catch it in his hands.

“Sociological cinematic observation about the life of young people.” About hippies and other informal communities.

Sequel to "The Birth of Electronic Music: Part I" (1971) The 2nd installment covers the slightly more modern era.

This installment covers "electronic" music from 400 BC to 1950, including analog techniques such as the "soundhouses" of the 17th century to the glass harmonica, before finally moving along to early electronic instruments such as the Dynamophone and the Ondes Martenot.

Demonstration by FHAR, the Homosexual Revolutionary Action Front, the 1st of May 1971. People discuss at the University of Vincennes and show a common determination to break prejudice and open minds. They refuse to hide anymore, and talk about this revolution of desire.

Jan Dibbets begins with an image of the sky, then moves the camera down and films a field in undulating movements. The horizon swings diagonally and the field fills the image. With his camera movements and unusual cropping of the image, Dibbets here moulds the flat landscape into mountains.

The story of the romance between the son of a ranch owner and an indigenous woman devoted to Ceferino Namuncurá.

After the name of a recent lottery winner is announced in the newspaper, hundreds of letters are sent to him, asking to borrow or receive some of the money.

A woman wakes up, gets dressed, makes breakfast and walks down the street. This daily ritual becomes extraordinary seen in a trance-like structure of continuous lap dissolves and continuous spectral color shifts.

An auditively disturbing account of the desert landscape of the island of Lanzarote in formal, rhythmic and associative correspondence with the music of Luis de Pablo.

Educational short about verbs.

After a general view of the city Ghent, its horizon and roofs, we are confronted with views of streets and houses in one particular district that is threatened with demolition. A poster announces protest actions against the demolition of the Patershol district.

A set of short pure color studies, usually exploring one dominant hue. Most of these works were studies for longer projects. The last four "migraine" studies are rhythmically based around the five-cycle-per-second oscillation pulse of the typical fortification illusions preceding a migraine attack; this onset period, with its visually dynamic effects, is reported to be a quite vibrant and enjoyable state.

Summer of '70 on the Adriatic: fun at the beach, a beauty contest, water skiing, holiday hedonism. A postcard of endless indifference when growing up in Yugoslavia.

Shot on 8mm on the 12-day boat journey between Yokohama and San Francisco, Iimura's The Pacific Ocean consumes the anticipation and uncertainties of a voyage on waves with an obsessive attention on the ripples. (Julian Ross)

A woman who was hitchhiking ends up in the hospital after being raped. She relives the incident in nightmarish slow-motion, questioning her choices.

A teenager's dreams collide with social expectations and gender-based stereotypes when she finds that, despite her parents' assurance that she can be ‘anything she wants to be’, reality presents another story. One of the first and most widely used consciousness-raising films of the growing Women’s Movement, this film helped give voice to a generation of women whose expectations, opportunities and career choices were extremely limited.