All Films

Recorded at Indigo Blues, New York City, Feburary 2, 1991.

Shot during the opening stages of the First Gulf War, Kerr's "Cruel Rhythm" revisits the American desert for a cinematic tone poem in the vein of 'The Last Days of Contrition' A canopy of sound bites of media coverage on the build-up toward the war is juxtaposed with the alienness of windmills in the desert, and a startling sequence of drifting faces of a crowd coming towards the camera in slow motion. A thought-provoking piece on media's construction of societal paranoia "Cruel Rhythm" is an attempt to make a public, shared feeling intimate, or conversely, to make a subjective feeling of floating anxiety and dread into a shared representation." Unsettlingly, its ambiance is as poignant today as ever.

A compilation tape of performances including John Cage Performs James Joyce, Arakawa, and Iimura's first AIUEONN and As I See You You See Me shot mostly 1980s. All deals with the relationships of words and performance in image-making.

Shot in Hi8 video using a high-speed shutter and a spinning turret camera mount, "Machine in the Garden" is inspired by, and an homage to, apparatus-oriented work such as D. Vertov's "Man With a Movie Camera" and Michael Snow's "La Region Centrale."

Experience nature's most relaxing environment as you dive into an underwater wonderland of gliding dolphins...majestic whales...playful sea lions...and adorable sea otters! Let your tensions ease away as golden sunsets melt into a panorama of spectacular color against crashing ocean waves...and sandpipers dance a delicate ballet on the shore to the calming rhythm of the tide.

In this episode of The Brenda and Glennda Show, Brenda and Glennda lead a group of drag queens on a trip to Donald Trump’s Taj Mahal Hotel & Casino in Atlantic City. Intended to be a drag queen gambling getaway, the trip turns into a moment of protest.

A film essay documenting the devastation of the Lausitz region. The Sorb writer Jurij Koch describes the destruction wreaked as a component in an act of ethnocide:"The end of a language; even if the step is appantantly an economic necessity in terms of furhtering the region, it signifies impoverishment, the excavation of an ethnic habitat - a restriction of human richness."

Extract of the sound of the film: Sir, Following your first letter and according to your indications, the viewing of the press conference of General de Gaulle on May 16, 1967 was carried out by us. I regret to inform you that the questions - of which you had sent me the text - not appearing in the document archived at the INA, no copy of this press conference can be transferred to you.

A 'Filmperformance' by Klaus Lutz, described as 'the rendering of the hieroglyph for the word «ARABIA»'

"My legs and feet appear different in the light of the setting sun. The effect of shadows; using a macro-lens, I explore my skin‘s surface until my heartbeat becomes visible." —Milena Gierke

Dr. Frank E. Stranges speaks about meeting Valiant Thor, who landed on Earth on March 16th, 1957, and lived at the Pentagon for 3 years under the Eisenhower Administration.

A man flees, his face in his hands. He's hiding it, because it refuses to erase. (kg)

"One week captured in time-lapse. Approximately every 8 seconds, I shot a frame. One sees a table with a vase full of gladiolas. The flowers slowly wither. Three goldfish are observed in their aquarium. A candle is replaced as it burns down, and the differing speed with which each candle burns becomes visible. A small television runs non-stop, set on the German Channel 1. There‘s a chair on the left where I sometimes sit to eat or read. A clock hangs on the wall, as does a calendar. When the sun shines, the window casts a shadow that meanders along the wall. At night, one sees the reflection of the candle in the static on the television screen. The rhythm of time is interrupted each time I put a new roll of film into the camera, sometimes causing the clock to appear to move backwards. Twice reality is captured in “real time”: when a fish is fatally ill, and once to capture the entire setting." —Milena Gierke

A rollicking drumbeat roils over different playful spellings of the film's title.

A personal film essay on the disappearance of the uncle of the director and the writer of the film, during the Continuation War between Finland and Soviet Union. This tragedy developed into a decades long struggle to forget and to remember, with strange twists of fate and even more stranger imagination in the minds of the members of the affected family

MUTE is an irresolute web of shifting power positions. It is a malevolent bed-time story whose focal character, while deviating herself from the grip of the narration, firmly maintains her ambivalence towards her state of menace. Included is subtitled information, which is the running contrapuntal perspective of the "other," the mute. This commentary blossoms out in the long silent sections, from a discussion of her own involuntary objectification to her problematic "fascination" with a foreign culture. "MUTE, Greta's masterpiece, uses layers of allegory and true-life crime story to reveal the miscommunication at the heart of patriarchal eroticism." - Ann Powers, SF Weekly

In this tribute to Tex Avery cartoons, a woman falls madly in love with a wolf singing in a lounge, but the affair does not end happily for her.

"Monster Fire Baby" by the Blood Pumpers Racing Club was a Hyper-Mega Supercharged monster sex performance - complete with the world's first (as far as I know) live burning-monster baby birth! Performed at WildChild Productions in downtown San Diego sometime in 1991. The all-star cast consisted of 16 performers divided into 4 teams, the team members all wore custom uniforms labelled with a number and a color. This is a short edit of the performance that was made to accompany an installation piece for lalapalooza's traveling art tent. Unfortunately it doesn't convey the intensity of the show, a longer edit and all the original footage were lost, leaving this as the only document.

Documentary on the pro-life protest of an abortion clinic in Wichita, Kansas. "Graphic" scenes are captured in the "abortion capital of America", expressing the maddening distortion practiced by the secular media. These are offset by uplifting scenes of prayer and priase.

An experimental documentary, made up of shots of historic events appertaining to the relationship between Japan and the United States.

A woman imitating a man, imitating himself. Using the cut-up techniques of William S. Burroughs and Brion Gysin, I edited this film using experimental out-takes and guided purely by intuition. The film sat around for a year without a soundtrack. Then, due to a homophobic incident, I plotted my revenge, locked myself in a sound booth and let loose. A revenge film that will have you falling out of your seat.

A portrait of the Cologne avant-garde composer and musician Holger Czukay, who called himself a “private symphonist”. In 1968, Czukay, a music college graduate and Stockhausen student, founded the band Can together with his fellow student Irmin Schmidt. In the following years, Can became one of the most innovative music groups of the time. In their music, which was mainly based on improvisation, parts influenced by free jazz mixed with rock passages, repetitive met catchy melodies and dissolved compositional influences from new music with the classical rock schemes. At the same time, Can's music was always groove-based and danceable despite all the complexity.