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Originally a student of the abstract expressionist painters, Stan Brakhage has steadily completed over 200 films in a forty year period. Considered a master in avant-garde circles, his theory of representing \"Closed-eye vision\" in film has led him to th
\"The Movement of People Working\" by minimalist composer, film maker and photographer Phill Niblock portrays human labor in its most elementary form. It is the combination of his slowly evolving harmonic music that creates an otherworldly masterpiece.
Telling Invents Told is the first collection of writings by artist and filmmaker Lis Rhodes. It includes the influential essay Whose History? alongside texts from works such as Light Reading, Pictures on Pink Paper and A Cold Draft, together with new and previously unpublished materials. Since the 1970s, Rhodes has been making radical and experimental work that challenges hegemonic narratives and the power structures of language.
This (Region One / NTSC) DVD features ten videos (1983-2006) which filter a lexicon of recurring themes through a spectrum of movie motifs and narrative strategies.
Aka Rameau\'s Nephew by Diderot (Thanx to Dennis Young) By Wilma Schoen. A monumental work spanning painting, sculpture, video, film, photography, holography, drawing, publishing and music that invites us to experience, question and contemplate its representation.
2009 Library of Congress National Film Registry inductee and 1989 Sundance winner by Pat O'Neill. Includes the extra track Easyout.
Published to coincide with the Pompidou Centre\'s major Dada exhibition. Features Rhythmus 21 by Hans Richter, Symphonie Diagonale by Viking Eggeling, La Retour a la Raison by Man Ray, Entr\'acte by René Clair and Francis Picabia, Le Ballet Mecanique by F
These six reels of my film diaries come from the years 1949-1963. They begin with my arrival in New York in November 1949. The first and second reels deal with my life as a Young Poet and a Displaced Person in Brooklyn. It shows the Lithuanian immigrant community, their attempts to adapt themselves to a new land and their tragic efforts to regain independence for their native country. It shows my own frustrations and anxieties and the decision to leave Brooklyn and move to Manhattan.
Peter Emmanuel Goldman's rarely screened debut, an underappreciated landmark of the New American Cinema, chronicles the lives of twenty-somethings adrift in New York City, finding tremendous pathos in the smallest moments: a furtive glance across a museum gallery, girls putting on makeup, a stroll beneath the pulsing lights of Times Square marquees. Composed with a lo-fi purity and bereft of diegetic sound, its shadowy images of youthful flaneurs are paired with evocatively hand-painted title cards and a dynamic soundtrack drawn from the artist's LPs that, when combined, conjure up a ballad of sexual dependency like none other.
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