Portrays a combination of mounts, dismounts, floor skills and a variety of stunts ranging from beginning, medium to superior difficulty. Demonstrates spotting techniques. Includes combined movements for useful beam routines.
Danish farmer’s son Rasmus Berg has been given a costly education in Copenhagen, and when he returns, he speaks Latin to his parents, and Latinises his name as Erasmus Montanus. He wants to “dispute”, and goes on to “prove” a number of absurdities, such as that his mother is a rock. He is contrasted to his brother Jacob who is only interested in knowledge which of practical application.
Part of the Highlights Of The Ann Arbor Film Festival at the Whitney Museum's New American Filmmaker series, Ad Hominem is a political satire made with repetition, again and again rerunning a few TV images of President Nixon's face.
The title owes a lot to Dali because the film takes off from the fascination shared by the great Catalan and his friends Lorca and Bunuel with the wounds of the martyred saint Sebastian. But the text in the intertitles comes, of course, almost exclusively from Georges Bataille’s Eroticism. This film is a darker, more focused, companion piece to the slightly earlier Barbarêveuse. It really ought to be a treat for any self-respecting sado-masochist. RS
INT operating theatre, man is wide awake while he has an operation, acupuncture as anaesthetic. Fruit spooned into patient's mouth. Man gets up and walks out of room after operation. Patient interviewed after operation says he didn't have much pain.
Follows the experiences of two brothers and their little sister as they explore the inside of a large empty house which is rumored to be haunted.
Mexican feature film
The Videofreex had several experiences with the Black Panther Party, including interviewing Illinois Chapter Deputy Chairman Fred Hampton and New Haven Minister of Information Cappy Pinderhughes. In this tape, recorded on March 5th 1971, the Videofreex one-person camera crew Bart Friedman is walking the hallways of CBS, trying to find out where a video statement by Black Panther Eldridge Cleaver is located. The shots are mostly close up on people’s torsos and there is some image loss, but the sound is intact. The tape has an eerie espionage feel. There is a conflict between station personnel and Bart: they keep telling him, “You can’t tape in here.”
"Abstraction deals with the interpretation of abstract form as found in the combination of the nude body, landscape, and objects. Imagery is achieved through visual distortion dealing with reflective surfaces, as well as the superimposition of subject matter. The rhythmic structure focuses on a pulsating expansion and contraction that simulates a life force. An attempt has been made to reveal the basic concepts of a painter's approach to the distillation of reality." —Rosalind Schneider
Phosphene features colorful negatives of erotic imagery. Scenes in the film display flashes of sexual intercourse and vibrant inkblots (similar to those seen in Inkaboos). During the creation of this film, Byron was fascinated with the degenerated images in old film footage. He went on to obtain pornographic films shot in 8mm. He photographed individual frames using a still camera with high magnification and further exaggerated the grain and the contrast. Prints of these frames were re-photographed on kodalith negatives and then fastened like animation cels. Colored gels were placed beneath the kodaliths on a light box and the sequences re-animated. The film was screened at the 9th Ann Arbor Film Festival in 1971; however, it was nearly rejected due to its erotic imagery. The music in this film is from the Grateful Dead song, “Viola Lee Blues”, and can also be heard in Fotogrammar. -Chicago Film Archives
Macdonald lays out his theory of anarchy—in its purest sense of a rejection of hierarchy—in this seriocomic short he argues that protesters, police, and soldiers alike are not the perpetrators of violence but are victims at the hands of leaders.
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.
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.
In this vintage promotional video from the early 1970s, witness how John Morton in the Brock Racing Enterprises Datsun 510 takes on (and defeats) all the European challengers in the drama-filled SCCA Under 2.5-liter Trans-Am championship. This is a charming look into a seminal chapter of Nissan's (Datsun's) motorsports history.
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.
Experimental film responding to the controversial Industrial Relations Bill of 1971.
