Film Categories: art & artists

  • Roman Numeral Series lX

    The Roman Numerals are nine films, commonly described as “abstract,” which explore the possibilities of making equivalents of “moving visual thinking” – that pre-language, pre-picture realm of the mind which provides the physical grounds for image making (imagination). Thus the very substance of the birth of imagery. (SB)

  • Roman Numeral Series V

    The Roman Numerals are nine films, commonly described as “abstract,” which explore the possibilities of making equivalents of “moving visual thinking” – that pre-language, pre-picture realm of the mind which provides the physical grounds for image making (imagination). Thus the very substance of the birth of imagery. (SB)

  • Roman Numeral Series Vl

    The Roman Numerals are nine films, commonly described as “abstract,” which explore the possibilities of making equivalents of “moving visual thinking” – that pre-language, pre-picture realm of the mind which provides the physical grounds for image making (imagination). Thus the very substance of the birth of imagery. (SB)

  • Roman Numeral Series Vll

    The Roman Numerals are nine films, commonly described as “abstract,” which explore the possibilities of making equivalents of “moving visual thinking” – that pre-language, pre-picture realm of the mind which provides the physical grounds for image making (imagination). Thus the very substance of the birth of imagery. (SB)

  • Roman Numeral Series Vlll

    The Roman Numerals are nine films, commonly described as “abstract,” which explore the possibilities of making equivalents of “moving visual thinking” – that pre-language, pre-picture realm of the mind which provides the physical grounds for image making (imagination). Thus the very substance of the birth of imagery. (SB)

  • Barbara’s Blindness

    “There is no one named Barbara to be found; a pair of mysterious blind-person’s hands (looking suspiciously like Wieland’s) make only one cameo appearance to ‘read’ us the title; yet these seemingly incongruous elements provide the perfect introduction to the ironic humour of the film itself. The main source of the film seems to be an old grade-school morality-movie on the appreciation of eyesight, starring golden-haired Mary, who finds herself temporarily blind, and a leaden-voiced narrator, who finds himself our unwitting straight-man. The filmmakers re-edited this curiosity and intercut it with other stock footage of disasters, agricultural techniques, and monster…

  • Runaway

    A cartoon image of dogs rushing across the screen, then reversing their direction, is looped over and over, to the accompaniment of a sprightly tune played on an organ. The footage is seen on television, then as film, then back on TV, deteriorating and recovering clarity as the repetitions roll on. “Lawder achieves the perfection of all his techniques… in which he uses a few seconds of cartoon dogs chasing a fox. By stop-motion reverse printing and video scanning and other techniques, he creates a totally new and different visual reality that is no longer a silly funny cartoon.” –…

  • Running Fence

    “Running Fence” depicts the four-year struggle faced by the artist Christo to see his vision realized: a 24-mile fence of white fabric over the hills of California disappearing into the Pacific. After an extensive battle with the state bureaucracy, the fence is finally unfurled, bringing the community together in celebration of its beauty. The three-million-dollar fence was taken down as planned at the end of two weeks, and now exists solely on film.

  • Ryland’s True Story

    Through the art of realism and East Coast story telling, this short experimental documentary reconsiders the fine line between documented truth and the everyday interaction of relating personal experiences.

  • S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED

    A conceptual lap dissolve from “water currents” to “film strip current.” Dedicated to my son, Christopher. (PS) “In his earlier flicker films, Sharits explored the mechanisms of perception and projection, and now he takes his investigations to their logical extreme – to the nature of the film-strip itself. His analysis is constructed on close-up footage of water currents in a streambed. In each of the three, fourteen-minute loops, he progressively decreases the number of superimposed current directions from six to one. On this film he adds continuous straight scratch lines in multiples of three, so that by the end of…