Kurt Kren recorded the last television debate in the Reagan/Mondale election campaign. In the viewfinder, the television filled the entire picture, but the viewfinder did not match the lens entirely so that the television screen in the picture was very little. That was not the plan, but Kren decided to "adopt" the film in the end.
When churlish mobster Albert Spica acquires an upscale French restaurant in London, he dines there nightly, effectively scaring off the clientele with his bad manners.
Beginning in 1965 with Black Is, Tambellini launched a series of politically charged experimental films that explore the expressive possibilities of black as a dominant color and idea.
Welcome to Come, which depicts a somewhat mysterious transformation of the image in the course of a single zoom, was my only film to achieve a small measure of "popularity," with a short write up in Variety and prints purchased by several film teachers who still show it today.
In 1963 and 1964, Andy Warhol captured dancer-choreographers Lucinda Childs, Yvonne Rainer, and Freddy Herko, and Village Voice dance critic Jill Johnston with his Bolex—performing in lofts, on rooftops, and at Judson.
Stuck in a sexless marriage, a frustrated well-to-do couple agrees to see a female sex therapist. Unfortunately, she only helps escalate the tensions between them.
"Reverse Television" was created in the mid-1980's by video artist Bill Viola. The 30-second portraits were about portraiture and the idea of a person staring at the viewer (as the viewer stares at the TV screen).
A young half-breed boy, the son of a hockey player and an Indian woman, is adopted by a Jewish shopkeeper, but finds himself torn between the different cultures with which he comes into contact.
When her sister turns up dead, Julia (Linda Jones) tries to convince the cops that a notorious gangster is to blame by going undercover as a prisoner to unearth the only witness to the crime.
Comments
Have you watched 43/84: 1984 yet? What did you think about it?