All Films

An animated vignette about the role of Thomas Spence in the formation and demise of the Republic of Manitoba at Portage la Prairie in 1867-68.

Action - A master and his student are on the trail of a traitor. They are confronted by his Family and have to fight, and the master is injured.

Sun Tunnels documents the making of Holt's major site-specific sculptural work. Completed in 1976, the sculpture features a configuration of four concrete "tunnels" 8 feet long and 9 feet in diameter.

A man commits suicide by electrocution in front of his camera.

Inspired by Simone De Beauvoir's writings Stephanie Beroes' film Recital addresses the state of 'woman in love', a situation fraught less with ecstasy than with risk and pain. Recital is a highly structured film. Each section involves a woman, situated in some external local, reading a letter or other text. It is clear that the women are not the authors of what they read. The first text is a letter expressing the pain of unrequited love, the abyss of frustrated passion, however read in a monotone with no peaks of feeling. This pattern of love letter reading is repeated with several other readers: one breaks up laughing when she comes to a passage: 'Oh, yes, I love you, I love you.' Clearly the subject is not one of true comedy, particularly since the letters recited are ones Beroes once earnestly composed. Beroes' goal, however, is a kind of distanced deconstruction of the experience, in an attempt to view it with the lessons of knowledge and time.

"Afternoon idyll with Nancy Frumkin."

Part of BFI's "National Coal Board Collection".

Spectrum and prism divide the screen; whites and light, etc. "Out of this purity comes all colors. I've always been attracted to refracted light and prismatic phenomena" says Bernard. For Richard Devereaux. Super 8, silent, non-narrative.

A young and shy dragon lives in the forest. One day the young Miguelito stumbles upon the dragon. Together they travel to a nearby town in despair. The Bord of Happiness has been stolen by a mean witch! Together, Miguelito and the dragon try to free the Bird of Happiness.

16mm short from 1978. Preserved by the Academy Film Archive in 2011.

The constant vibration of a still image grwo twisted comment on what is moving image. The film makes an anti-nuclear statement, combining photographs of birds in flight and of A-bomb clouds, with constant vibrations.

“The three parts developed over a year period of intense study during the mid-1970s. It sort of began and ended my dependency on “high-tech” equipment to make films and led me through the equally intensive parameters of what motion picture film could reproduce on a visceral, detail oriented level. In contrast to the high end 2K digital technology used to restore ‘Manhatta’ and 'Ballet Mechanique', I learned filmmaking decades earlier on a 35mm Oxberry beam-splitter, multi-head, aerial-image bi-pac optical printer. A dinosaur by today’s standards and all hand operated prior to the advent of computer-assists, this machine was precise and exact to the frame. ’S&J: Pt. 3' took 26 hours to shoot straight thru without one mistake.” —Bruce Posner

To come back to abstraction, I have a feeling that colour varies in my work between two aspects: the colour-object that comes from the sensation of an object, in this case the film strip, and the opening. This colour-object permits the transporting of objects into space, to explore the space of the screen in the theatre; this is what allowed me to develop Liminal Minimal (1977) by enlarging the space of projection with two projectors and, taking into account that the vertical strips evolve on a black background comparable to the darkness of the theatre, I was able explore the whole space of the projection with the coloured strip

1978 Spanish experimental short

The visual "degeneration" of the image ... through successive rephotography is paralleled by the compression of verbal information to the point of its loss of legibility; yet, both the "degenerated" sound and image are perceptually engaging, even in the most advanced stages of "degeneration". It is obvious why the film has its title, because of the strategies of its coming into being, but, paradoxically, at the level of effect, its dynamics arise from its "Episodic Degeneration".

The artist’s mouth fills the whole image plane. Silently the words “red,” “blue,” “green” are slowly and repeatedly articulated. The color of the screen switches from red to blue to green at a quickened rate. Utilizing the same rate, the spoken words, “red,” “blue,” and “green,” are cut together into syllabic combinations of the three words making up the asynchronous sound track. The individual words, barely intelligible as spoken, are more easily “read” on the uniformly moving lips. (Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, p. 589)

A foreigner in a Finnish hospital.

Aspects of the life and work of Julia of Burgos, first socialist poetess from Puerto Rico.

The Kings Road punks go on a day trip - to 10 Downing Street! - in this edition of Captain Zip's Video Trip

Based on the poems of the Uzbek poetess of the 19th century Uyvasi about the unrequited love of the Falcon for a distant Star.

Traces of stories. The images themselves. Tear off. Stain. To paint. Makes light out of them.

Changes of spatial relationships, scales, locations, and materials are intimated with recognisable clues which nevertheless do not always eliminate the former understanding of the images. These and other levels of ambiguity are instilled, which shake the photographic image’s authority as a principle of reality by confronting it with its illusory nature. We are back with magic, made possible with black and white film, shadows and lights, the limitations of the screen and the depth of field. So as when film grains, dots in deep space, disintegrate the solidity and enclosureness of a wall, the intentions of the film and the transforming events accumulate at a very intimate level of the viewer, that is at the level of the mechanism of his understanding.

“This film was made by superimposing in the camera six takes of myself playing the flute in six different positions around a circle. With each shot I randomly began playing “Row, Row, Row Your Boat”. The resulting film shows a unique rendition of this classic round.” - Jenny Okun