All Films

East Ended Tape

1976 • 7 min

In "East Ended Tape" Peter Campus and Susan Dowling are the subjects of a series of video portraits. The shadow of Dowling's hand passes over her face slowly, obscuring her features. Campus wraps Saran Wrap around his face. Two halves of Dowling's face come together through superimposition as she turns her head around. Campus' face disappears into a cloud of smoke.

Third Tape

1976 • 5 min

A jumble of mirrored tiles is slowly placed on a table-top, the random heap reflecting a fragmentary portrait of the face of the person performing the act, one that is continually in flux.

Chemical Wedding

1976 • 9 min

10 minutes, 16mm color. Experimental. A postmodern structural circle dance with Bolex and summer trees.

Tic Toc Time Clock

1976 • 11 min

A coach coaches kids on how a clock works.

Analytical Studies IV: Blank Color Frames

1976 • 15 min • United States of America

Like ANALYTICAL STUDIES I, these short works each develop a different rhythmic and/or melodic idea using only rapid successions of color frames. The "Specimens" are called such because they are the "subjects" of (rephotography) analysis: "Specimen II" was intended to be the subject for the film EPISODIC GENERATION - although the footage, in itself, was successful, I did not find it adequate for its intended purpose; therefore, "Specimen IV" was created and was used (rephotographed) for EPISODIC GENERATION. The other works were studies for sections of the film DECLARATIVE MODE. (After titles, focus should be shifted to sharpen the edges of the screen.)

Basic Job Skills: Handling Daily Problems

1976 • 11 min

Workers in a variety of jobs learn how to communicate in order to solve daily problems.

Measure Metric, Vol. 2: Doc Cranshaw And The Kid

1976 • 14 min

In a dusty, one-horse town of the old West, a kid learns about the metric system as he attends school, tries to win a puppy in a contest, and helps his grandpa sell patent medicine to the local rubes.

Another Shadow

1976 • 45 min

The story of a young man who falls in and out of love with another man. He comes out to his family who react badly to their son's news

Mirror of Thirst

1976 • 10 min • Soviet Union

The degradation of a human under the influence of alcohol.

Island Song

1976 • 16 min

Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, "Gotta get outta here...gotta get outta here..." His chanting voice merges with the vibrations of the motor, forming an incessant soundtrack that echoes the jarring motion of the camera. Palestine creates a kind of composite instrument in motion as well as an "articulated personal drama". His stated desire for escape is contained by the boundaries of the island. Palestine was a trained cantor, and he often used his moving body and sustained vocalizing to generate a physical and aural intensity in his musical/video performances of this period.

Lake of the Isles II

1976 • 5 min • United States of America

Super 8 film on 16mm film (high contrast), refilmed. This film is about : black and white tones, tension between cinematic space and illusionist space and the bi-dimensional surface ; film as succession of pictures within a certain reality or illusory time period.

Colour Separation

1976 • 3 min

This film is based on the colour separation process. High contrast film stock was run three times through a stationary camera; once for each of the light primaries. In the composite image, anything moving is represented in primary or secondary colour whilst anything still, having been filmed through all three filters, is represented in “correct” colour. When projected the film resembles a moving impressionist painting but the passing of time is not represented by the coloured marks of a painters brush but by the colored emulsion of the film stock.

La Glace et le Fer

1976 • 6 min • France

Light Journey

1976 • 7 min • United States of America

Filmed in Japan and Micronesia, Richard Gruetter's film “Light Journey” is a fine example of independent film making. It is a psychologically rich, deep blue memory world of flowers and small children. -Linda Gross, Los Angeles Times

Silver Traces

1976 • 6 min • United States of America

Bruce Wood studied painting, printmaking, and filmmaking at the Massachusetts College of Art (BFA) and enrolled at the School of the Art Institute of Chicago (MFA), to study filmmaking under Stan Brakhage. "Despite the many threads to be found in Wood's films, they aren't "poor copies" of other artists' work - he has a style and feel that seems quite unique and individual" –White Light Cinema

Sixième étage

1976 • 3 min • France

Hawkesville to Wallenstein

1976 • 6 min

An impressionistic documentary about the Old Order Amish farmers in Waterloo County during the winter months.

Working Class

1976 • 13 min • United States of America

This film depicts the cycle of the City of San Francisco, as one proceeds through a day of work.

Nothing

1976 • 8 min • Japan

8mm film by Ohtani Jun

Topography

1976 • 4 min

Abstract video art created using the Paik-Abe Video Synthesizer.

Al Urjouha

1976 • 26 min

Short movie (Al Urjouha) His story revolves around a soldier returning from the front to visit the family of his friend who died in the war. He decides to live with her and compensate for the loss of their son. He builds a solid relationship with the daughter of the martyr, who never stops playing on the "Swing" that her father made for her.

Vidéoème

1976 • 3 min

In this meditation on speech and language, Cha juxtaposes English and French words to form new relationships and meanings.

A Neon Crescent

1976 • 3 min • United States of America

A silent Super 8 film by Willie Varela.

Venice Pier

1976 • 18 min • United States of America

"Gary Beydler's last, and possibly least-seen, film is an exhilarating tour down the length of the Venice Pier, shot over the course of an entire year. It's a particularly cinematic walk in many ways. Gary investigates the way a single film stock responds so diversely to different seasons, light, weather, time of day. He also beautifully exploits the power of editing to compose or recompose events. Shot spatially out of order over the course of a year, Gary recomposed the footage in editing to make it proceed consistently forward in space, resulting in an intricate mixing up of chronology, so some cuts could represent a jump of months either forward or backward in time. The result is one of gauzy impressionism brought into vivid and breathtaking clarity." Mark Toscano via Canyon Cinema. Preserved by the Academy Film Archive in 2008.