Welcome to Come, which depicts a somewhat mysterious transformation of the image in the course of a single zoom, was my only film to achieve a small measure of "popularity," with a short write up in Variety and prints purchased by several film teachers who still show it today.
A group of people go about New York City while Garbage is discussed on the soundtrack
Three lives intersect on an Italian cruise to the Caribbean set to the music of Lord Burgess & His Serenaders.
a film to see in moviola - but it is seen quite well even in projection as long as the projector is a little broken and limp.
16mm Film by Al Wong.
16mm Film by Al Wong.
"The Ghost of Wittgenstein", "I'd Rather be Half Right Than Vice President" alongside "Lost in Cudilhy" form that experimental trifecta of experimental or just plain mental art movies known as "The Charlotteruse with the Medal of the Wobbling Bubble in its Palm Trilogy". Restored in 2017 comprise an essential 16MM restoration project by producer / director Ira Schneider, who is the undisputed master of the experimental doc genre as well as being the unsung founder of video art. They are to be re-released at the Prada Fondazione in Milan and Paris Independent Film Festival 2017. Restoration producer is Claudine Biswas-MacKenzie MA.
Special attraction featuring Mickey and his friends in a half-hour fest!
The living sculpture Triglav was installed on 30 December 1968 in the centre of Ljubljana. The park was the location of numerous OHO actions and happenings in 1968. David Nez, Milenko Matanović and Drago Dellabernardina performed this action as a New Year gift to the citizens of Ljubljana. Triglav is the highest mountain in Slovenia and Slovene national symbol (it is also presented in the coat of arms of Slovenia). The work is pun on the mountain’s name that literally means ‘three-head’.
Analysis of the North Korean Evidence
As part of the "continuation" of the "cut" made by Sollers-Pollet's "Mediterranean", Scopie therefore stems from a materialist practice of cinema, made here and now (among others within the whole eclectic named "Collectif Jeune Cinéma") more necessary than ever. Disappointing any phantasmal projection, the screen-support of what is woven, but also exceeded by it, its positive trace is proposed as a place where the perpetual, regulated circulation, between sound and image, inexorably disappoints the constitution of a full meaning, in which the subject-spectator could be comforted. (CJC)
Instead of a frame, the works of Paul Neagu presented in this film are hidden in cabinets of various shapes and sizes; instead of the gallery visitor’s gaze, they demand the viewer’s intervention: to open, to look, to enter, which is why the artist takes them out and portrays them as traps for the pedestrians of Bucharest. The musical accompaniment consists of modernist brass compositions by Edgar Varese.
May 18th, 1968 The Jimi Hendrix Experience headlined the Miami Pop Festival with an absolutely amazing performance and now you can see some of the recently uncovered footage. The film of the live performance at Miami Pop scattered with still frames of the band performing throughout their career. Watch above and marvel at the effortless stage presence and energy exuded by Hendrix.
Shahr-e ghesse is perhaps the most popular of all Persian plays, was written in traditional rhythmic style that resulted in a kind of musical drama. Although it seems at first glance to have been written for children, its main audience, it is in fact a parable about contemporary socio political issues.
This allegorical depiction of escape from the stagnation of everyday life was produced with the help of fellow members of the Tokyo University of the Arts Experimental Filmmaking Club. It was shot on location in places frequented by students--university campuses, Ueno Park, Ginza, Hayama--and everyday life intermingles with the processes of filmmaking.
Two regular police officers patrol Los Angeles.
A silent interview in Hesse's studio made several years before Hesse died in her early 30's.
I shot my first film on 16 millimeter inside the eight-foot mirrored cube “optical sculpture” I had built in 1966, and on exterior locations, as a blissful celebration of the visual tools and techniques I found at my disposal. Bruce Baillie’s Castro Street (1966) confirmed my intuition that making visually defined films was the direction I wanted to pursue.
A tale about a child-god based on Cuban folklore, spoken in lucumí dialect.
