Year 1982 - 282

Introduction; paranoia about root vegetables; esoteric sign language; searching for hidden significances; crush on Tom Baker ("Doctor Who" from BBC Television); my cats Amy and Buddy; vegetarian cooking; the compost heap; my mother and her house; driving into Boston; unemployment; television hypervigilance; hiding inside; exorcism with tea and mirror and lamps; too much wine; my friend the painter Susan Brown; the movie The Turning Point; experiences in a mental hospital; psychiatric session recording; autumn street and garden scenes; the mental day-hospital; domestic still-lives; bingeing; self Gestalt-therapy; school; groceries; winter; my garden; a series of self-portraits. (ACR)

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.

This informative docudrama, featuring Dr. Norman Geisler, provides an antidote to the bombardment of erroneous and confusing philosophies which are presented convincingly as truth and undermining Biblical Christianity. Some of these philosophies include atheism, The New Age, humanism, the occult, evolution, and false signs and wonders. False Gods of Our Time provides biblical evidence to demonstrate there are sound intellectual reasons for a Christian worldview. Three years in the making and filmed on four continents.

"In the 1990 text on his film Autoportrait au dispositif (1981), Lebrat wrote that all his films are in fact self-portraits, including those that are abstract colour films, and the Rothko's painting are the most beautiful examples of self-portraiture in twentieth century art. lebrat notes that the impetus behind self-portraiture comes out of his desire to create another image of his body, which does not necessarily have to be its representation but can suggest another satte of being, for example the infinite and transcendent state aims at overcoming the problem of corps morcelé and mortal flesh." Izabella Pruska-Oldenhof

A school bus driver explains to an interested elementary student the different ways to evacuate a school bus.

Taking off where Brooke Shields left us in her Calvins, this film takes a hard, humorous look at the pressures and frustrations girls feel as they rush out to explore their sexuality with all the taboos and fears that entails.

Yun-Shik saves a whore Na-Bi with hope and love and waits for her baby birth though it is not his. Na-Bi's old lover Park Wu-Cheol, in collusion with Yun-Shik's lover Ha-Young harasses them. Na-Bi leaves Yun-Shik and returns to the life of prostitute in order to bring up her baby, and Yun-Shik gets sickness while he is knocking about here and there in search of her. One day, Na-Bi tries to wait on a guest with her baby, and because of it, is kicked out in cold winter. She goes to Yun-Shik to let the baby continue living, but Yun-Shik has already died and his funeral is on processing. It only makes Na-Bi sadder.

Mysteries is a photomontage film, shot at Penmon, Anglesey and Whiteknights Farm, Hampshire. Beginning with a quotation from a dream, it becomes the filmmaker's interpretation of the harvest and the old mystic theme of the Mysteries: “The women are celebrating the Mysteries on the beach at Penmon... No-one is watching... The sound of the general waves crashing against the bank of pebbles; the sound of the barley waving... Someone holds out her hand, holds it open against the sea. Perhaps it is my hand, the hand holds three ears of barley...”.

A silent film made completely in about 15 minutes on a partly cloudy day in San Francisco in 1982. With the 16mm Bolex camera mounted on a tripod, I wound the motor a single crank and ran as far as I could before the camera stopped (about 1 second). I returned and wound it 2 cranks and did the same, then repeated the process adding one crank each time. With these self-imposed limitations, would I make it to the top of the hill before the film ran out?

Two school friends discover a character called Smarkus in their computer who takes them on several adventures.

Senator Fromm called to deal unjustly like it became known how much he was involved in the Bobbi Beykera, the Secretary of the Democratic majority in the Senate. He is accused of stealing money from the fund of the party of bribing senators, of blackmail, of evasion through tax and other fraud. Disassemble the case of Senator Fromm leads the FBI.

Transitions is a film of inner life and speaks of time, reality, power. It depicts the disquieting sensations of being in-between-between falling asleep and being awake, between here and there, between being and non-being. These metaphysical themes are evoked by the central image of a woman in white over which layers of images and sound (voices) are superimposed.

Inspired by Steve Reich’s music, a cube rotates with the same dimensions as the film frame.

The film takes place in one of Dagestani villages. It tells the story of Murad and Maisarat, two teenagers, who fall in love with each other. Their love can't exist though, in a conservative environment of Dagestani customs, because Maisarat was betrothed to another boy, and the couple can't go against the will of parents.

A sad looking man wanders the earth after it has been destroyed by a nuclear war.

Middle-aged NFB producer Daisy Bellefeuille is about to get a facelift. Rubbo follows the process through her discussions with her friends, consultations with physicians, observation of other facelift patients, and finally the operation and its aftermath. There's also an amateur-intellectual sidebar on the history of physical appearance and its cultural importance- Altogether, a gripping, hour-long documentary about a woman and her facelift.

The waterworks in the beaches area of Toronto is the source of an image, perhaps eidetic, from my early childhood. It always had an enigmatic quality, and even after returning years later to shoot this film. I was still not satisfied that it was merely a filtration plant - its architecture functioned more metaphorically. Wallace Steven's ironic and equally enigmatic poem 'A Clear Day and No Memories' was brought into the film later to address these issues, and to provide an interruptive graphic function for the same reasons the style of editing is interruptive, that is, to both underscore the alluring nature of the image, and to force an intellectual distancing. Just as the supposedly clear air is used as the protagonist in Steven's poem, the Precisionist clarity of the imagery is foreground in Waterworx, while the soundtrack develops the air's subtext.

An interesting, seemingly plotless fast-paced animation, consisting of a line of objects transforming and melting one into another to a punchy jazz soundtrack.