کال 1981 - 281

A frightening vignette about violence and hatred in American society.

A frightening vignette about violence and hatred in American society.

Blekbala explores the lives and aspirations of Aboriginal people living in the Northern Territory - on small outstations, remote desert locations and in regional town - from Arnhem Land to Central Australia. It looks at a selection of Aboriginal-run businesses and enterprises: cattle stations; children’s education; community projects; sports and music.

Film by Telscher.

The film is a superimposition of 6 to 8 takes. In each take, a horizontal piece of white paper was moved around in front of the camera by hand.

Short film about Berlin Kreuzberg.

1981 Czech experimental short by Petr Skala

Seventy seconds of furiously energetic filmmaking in which all of the possible pauses in visual and aural activity have been removed. What is left when all of the fat has been trimmed? Monkeys with diamond studded collars, killer fish, and a parade of incongruous images, statements, questions, and answers guided to an exciting climax by a storefront dummy who takes over the interviewing chores midway through the film.

“Series summation; a regathering and extension in red, black, blue & white. This is a charged compression of both in-camera editing and bench-cutting… a splice dance under the ocean, in the fire, on the ice. A built-in edit of film editing portrayed.” (J.B.)

How the boy Vasya and the owl Dusya went to look for the missing sun.

Kathe Sandler’s 1981 portrait of dancer Thelma Hill, a founding member of the Alvin Ailey American Dance Theater.

Animation short.

How friends saved a green meadow from drought.

"From a series of 7 "Intrigues", (as referenced by Delmore Schwartz), this fourth one pries the curious poetry of light and darkness within filmmaking. Super 8, silent, non-narrative,"

"Totally under-exposed 35mm slides of African maps were drawn over by a 10 & 12 year old. The slides, with their emulsion-scratched images, were then rephotographed... as a wonderful collaboration."

A short mockumentary by art collective Die Tödliche Doris.

While withdrawing all of his money from the bank to pay for a life saving operation for his Mother, Roy Canteen is attacked and robbed. Taking the law into his own hands Canteen thinks of many different violent ways to take his revenge. After spotting the assailant he proceeds to play out his fantasy.

This time the confrontation Teresa Tyszkiewicz with the matter proceeds in a close analysis, although the artist's strategy is still based on the spontaneous expression of subjective experiences and impressions. Tyszkiewicz creates situations in which surrender may conduct on their premises all kinds of "tests" in order to locate their conceptual center and create the archetypal image. Starts at the numerous references and meanings, which includes formal, visual and semantic game. The artist uses the most mundane matter, and its original power of symbolic interaction, to create aesthetically refined images with his characteristic abstract beauty. Among those addressed in the film political themes (presentation of the issue of the weekly "Solidarity"), and the fight that at the end she goes with a heavy, linen sackcloth. The film ends with colored feminist scene serfdom after a failed attempt to revolutionize the fossilized perception of gender and female sexuality.

The registered activity, the artist uses a wide range of physical and visual expression to refer to the issues of birth, physicality and sexuality, both in the semantic and iconic. It also refers to "shocking" the language of performance art operating with nudity, violence, or, as here, using dead animals. Despite the physical and sexual striking impression share, the artist remains all the time in the garment. At the end of disguises, but from the eyes of the audience hides her tight cocoon. Constructing a symbolic expression of a structured situation is accompanied by a strong emphasis on the visual dimension of the action. Sophisticated structure semantically-formal Tyszkiewicz present in the films are played in the material world and translated into performance art.