יאָר 1977 - 261

A film by Adele Friedman

A film by Gary Adkins

Ramos' astute deconstruction of television news focuses on the media coverage of President Jimmy Carter's 1977 declaration of amnesty for Vietnam War draft resisters, and his personal involvement with the issue. Ramos, who had served an eighteen-month prison sentence for draft resistence, was interviewed by New York news reporter Gabe Pressman. Using repetition and juxtaposition, he contrasts the unedited interview footage — and patronizing comments of the news crew — with Pressman's final televised news report. In his ironic manipulation of the material, Ramos exposes the illusion and artifice of television news.

Karl Cohen's promo for Flight to the Future shows with music by George Mundy.

T.R. Uthco artist Doug Hall drew on members of Ant Farm and Optic Nerve to create Game of the Week, a striking document of his residency with the San Francisco Giants. Interspersing footage of himself and team members like Willie McCovey with an actual televised game, Hall was able to fabricate his own field of dreams. The seminal Media Burn combined the creative resources of Ant Farm, along with Optic Nerve, The Residents, T.R. Uthco, and others. During this momentous performance, Ant Farm drove a customized Cadillac through a wall of burning TV sets to create a remarkable image of media cataclysm.

"A sculptural and quasi-performance piece involving discarded Christmas trees. A meditation on passing and the things-left-behind." –RM

Philly documents a 1976 performance at the Philadelphia Museum of Art, in which Wilke interacts with Marcel Duchamp's Large Glass. Edited by John Sanborn, the piece juxtaposes behind-the-scenes dialogue and preparations with the performance itself, showing us a playful Wilke.

The nearly two-hour film Origin of The Night (Amazon Cosmos) (shot between 1973–1977 and finished in 1982), which references a myth of the indigenous Tupi people, is a meditation on the South American rain forest that was filmed in its entirety along the Rhine near Düsseldorf Airport. In it, the dichotomies of day and night, new and old worlds, and nature and culture unfold glacially and immersively. Only at the very end, in the film’s closing credits, does Baumgarten reveal where the compelling and poetic images were shot.

Propaganda documentary in which the Armed Forces try to justify the Argentinian military coup d'état of 1976.

A recording of a clock ticking for 7 minutes.

Two conflicting views of our late(great?) two-hundredth birthday by a novice filmmaker.

Googoosh: Live Concert-Niavaran Palace -Oct 31,1977

"...Sousa begins with the footage of performers in the midst of their activities. She then alters the choreography (via optical printing and extensive processing) into a slower, sometimes nearly still, dance of colors and shapes freed of lifelike requirements. Her concern with physicality divides its targets equally between the performing bodies and the film within which they are activated. The Circus flattens the flamboyant action into graphic details, dissolving those details further into mere traces, striations of color, and the pure movement of film grain." B. Ruby Rich, Chicago Reader, 1979

On est tout seul dans son cercueil is a fake satirical documentary in which Philippe Simon expresses his deep disgust for the film production system, mercantile and inept.