In this moving film, the personal testimonies of Guatemalan Indians, peasants, and guerrillas are dramatized to provide the narration for a powerful overview of the history of U.S. destabilization of democracy in Central America.
A KRON-TV film documentary featuring the last public concert given by one man band musician Jesse Fuller, in Oakland Museum's Cowell Hall on May 7th 1971. Fuller is seen playing several songs (including 'San Francisco Bay Blues') and bantering with the audience, recalling how he appeared in Raoul Walsh's 1924 movie 'The Thief of Bagdad'. Also includes close-up views of him playing his guitar and fotdella (a foot operated percussion bass) and talking about his playing style. Begins and ends with brief scenes of Fuller walking around his Oakland neighborhood.
The great sick nowadays, the traffic, is always under observation. Methods and studies to attempt to decrease harmful discharges. But if planes and trains are constantly under control, the same goes for cars and pedestrians, where an infringement can often cause collateral damage to other drivers and / or pedestrians as well. Examples of how in some cases reckless driving can cause serious damage. Safer driving, on the other hand, can avoid further aggravating the problems of the very sick person. Preserved and digitized by the National Cinema Impresa - CSC
Things (and their treatment) are shown repeatedly - a loaf of bread, a sausage, an egg cracked open on the rim of a cup: everyday actions with irreversible, one might say vitally destructive consequences. In the second part, the actions are directed at people, and the anxiety changes because the situations are created deliberately and uncritically. Part three, which could be read as a sober protocol of a relationship, loses the proximity to actionism and performance. Images of a man and a woman alternate with images of windows, mirrors, sofas, and the interior.
Sven Elfström (1927-2017) was a full-time manual labourer who started off as a welder at the shipyards in Uddevalla. Eventually he moved to the industrial city of Nynäshamn, south of Stockholm, to work at the manufacturing workshops of the state telecommunications company, Televerket. Elfström began shooting 8mm films at an amateur film club in Uddevalla. When moving to Nynäshamn he acquired a 16mm camera. Most of the eleven films that he made in this format are shot in Nynäshamn; the actors in these films were friends and family. The films were self-financed, shot and edited by himself, often on reversal film stock as this was the cheapest way to make a film. This means that usually neither negatives nor additional copies exist of these films, but merely one original print. UTVECKLING? starts with a fierce critique against capitalism, consumerism and man’s exploitation of the world.
A Silvestre Byrón experimental short film.
Made in 1971, "Comitati Politici" encircles some exclusive witness of the union spokepersons, the employees and the factory workmen at the time.
This short documentary explains the importance of formalist elements such as positive/negative space, texture, color balance, and rhythm in painting and sculpture. The film characterizes these various compositional strategies as being universal, but foremost stresses their manifestation in twentieth-century art.
A look at the design and production of various products.
An interim view of the North West New town from David Mahlowe
"Take a circle as big as you want, just come back to the place you started from before sunset. All the land you go around is yours."
A Film by Keiji Uematsu.
The Boy, the Bird and the Musical Instrument
The material…was shot primarily on the West Coast, some in New York, during 1969–71. Divided into eight sections, Mobius defines a motion from downtown San Francisco through a forest in Los Padres National Forest, a student (Michael Anton) practicing Tai Chi Chuan, to the southern Big Sur coast. It pertains to sensing the intensity of the energy that surrounds one.
A chance meeting with contemporary dancer Ishi Kamamoto during a visit to London led to the filmmaker shooting the performer’s improvised dance in natural light alongside a canal which Crawford later edited when he returned to San Francisco. “With Window Dance I explored how any image contains aspects of a “surface” to look at and a “window” to look through.”
Influenced by the early theories of Sergei Eisenstein (1898–1948), in Needle at Sea Bottom I sought to create and implied time and space not found in either of the component images…the power of still awareness is literally depicted…. The film’s title is taken from the name of a specific named movement in the Tai Chi Chuan.
On the first and third Saturday of each month, Master Choy Kam-man has a club meeting with all of his students who have completed at least one course in Tai Chi Chuan. Together, the students practice their form and Master Choy helps them to correct their movements….
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.
