The subject of the film: translating without words, through a filmic writing, the inner wandering of a moving thought, in its discontinuity, its jumps, its eclipses, with its accelerations, ruptures, stops, drifts, falls, erasures ... "Housing project by a single man", corresponding to the film being made. The man perceived as double: in constant relation with his "other", this man is the subject of the film.
Mexican feature film
A short film by Ahmed Zir
This video documents two early live telecommunication performances by media artist Tom Klinkowstein: On 27 April 1982, at cultural center 't Hoogt in Utrecht, Klinkowstein employed slow-scan TV technology to juxtapose pictures of a shopping mall in his Pennsylvanian hometown Levittown, a 1950s planned suburban city, with then present-day Netherlands. On 13 May 1982, Klinkowstein in Rochester, NY, and Ruud van Empel in Rotterdam produced a series of print facsimiles simultaneously in both countries using telecopiers and an international telephone connection.
In this centennial tribute to the Brooklyn Bridge, the artist combines computer and analog processed visuals with an interconnected meld of the sounds of the bridge with clarinet and synthesized music. Elements of light and heavy materials contrast in both the visual and sonic tracks, greatly enhancing the grace of this piece.
Political hyperbole and media rhetoric are the focus of This is the Truth, in which Hall confronts the calculated platitudes and contrived gestures that signify "truth" in a media-saturated society. In a characterization that is part dictator and part preacher, Hall, flanked by emblematic red banners, recites a litany of clichés: "Mind your superiors... Obey the laws... Leave politics to the politicians..." The monotonous repetition of these aphorisms imbues them with a sinister, Orwellian ambiguity. Through theatricality and spectacle, this work continues Hall's investigation of the manipulation of images and language as signs of power.
‘Bob & Jill’ forms a collage of several, seemingly separate, narrative strands: naturalistic interviews with art students reflecting on the reception of their work; a faux interview with the artist acting the part of a successful businessman; scenes of a man making breakfast; and a text about a bourgeois couple whose complex problems are conveniently solved.
Aubrey Beardsley, the influential 1890s illustrator who died at the age of 25, returns to life in the late 20th century.
After The Indian Spielberg, Joëlle and Catherine meet up at the top of « L’Aiguille du Midi ». They take a series of photos. Six months later, in Lille, one of these pictures is thrown at the ground and shot randomly as Joëlle is walking by. These pictures, shot again frame by frame, generate the film : with a repetitive music background, we can see glimpses of storytelling, a story that is setting up, with constant feedback of « L’Aiguille du Midi ».
Dégringolade (TUMBLE) - was produced in the pixilation technique. This process allows alive characters and real objects to achieve absolutely unrealizable movements in reality. Everything becomes possible with the stop motion technique. This film shows an imaginary and frenetic world where it slides, runs, falls, flies, jumps, fidgets, leaps, rolls, bolts, and boozes; it is a wild weird world.
A poetic picture story of everyday life in Berlin, supplemented, contrasted and broken up by text quotes from Christa Wolf and Bertolt Brecht.
A documentary film about a "village of huts" that was erected in a section of forest near Frankfurt am Main in 1980 to demonstrate against the planned construction of Runway West. It was built by a large number of Frankfurt citizens together with various citizens' movements.
Experimental, 16mm
Spring tides at Ynys Llanddwyn at the full and new moon are compared to the filmmaker’s own ‘body tides’ from dark to light and back again. Like other films by Judith Noble (formerly Higginbottom), The Red Sea is concerned with the menstrual cycle, and its relationship to lunar cycle. Higginbottom and other feminist artists such as Catherine Elwes, Carolee Schneemann and Judy Clark were trying to reclaim menstruation from its negative image and assert it as a source of creative energy. The Red Sea is made of 16mm film and 35mm still images, re-worked and over-printed.
