Possibly the most lucid, vivid, and awesome demonstration of the building up of still images to create moving ones, Pasadena Freeway Stills simply, gracefully and powerfully shows us the process by which we are fooled by the movies. By doing so, Gary Beydler mines a very rich vein of associations and metaphor, without the slightest ostentation. Constructed as a thrilling arc of realization and, in a quite moving way, disappointment, the film is a beautiful articulation of our emotional entanglement with moving images, while simultaneously creating a form in which the illusion of cinema is brought into incredible relief as the film we're watching gradually catches up to the film Gary is holding up to the camera with his hands, one frame at a time. (Mark Toscano) Preserved by the Academy Film Archive in 2008.
A film's art director is in charge of the set, from conception to construction to furnishing. This short film walks the viewer through art directors' responsibilities and the demands on their talents.
Wallace and Gromit have run out of cheese, and this provides an excellent excuse for the duo to take their holiday to the moon, where, as everyone knows, there is ample cheese.
Legacy takes the audience on a rapid-fire journey through the evolution of the world, starting with a cosmic bang, evolving through billions of years of plants, animals and the creation of natural resources, ending with man and his bounty – “sitting on his world contemplating his coconut”.
An animated short consisting of 4 segments: bowl, garden, theatre, marble game. Preserved by the Academy Film Archive in partnership with Harvard Film Archive in 2015.
A documentary abstraction recorded at night in Los Angeles backed by the music of Stockhausen. It is a preliminary effort to organise camera and audio images through a cybernetic editing model and a digital computer.
Allied to a four-year Daily Mirror campaign by John Pilger that helped achieve compensation for many of the forgotten and mostly working class victims of the notorious drug prescribed to women during pregnancy.
Directed by Sam Pillsbury, this 1974 film observes Ralph Hotere — one of New Zealand’s greatest artists — at a moment when excitement is gathering about his work.
