Film Format: 16mm

  • Sand

    “Sandpaintings” combines cutout, computer animation and live-action in an exploration of the meanings of symbols in our culture. In the film we see two figures (modelled after characters from Navajo sandpaintings) as they take a journey through an artist’s space, searching for their own meaningful symbols.

  • Sang Song

    From atop a Jakartan ferris wheel, a song in light.

  • Santa

    Santa gets his picture taken with a typically bizarre assortment of children of all ages – amateur sociology dredged from the Pacific Centre Mall. Gallagher’s deadpan treatment isolates the ritual moment of image making. As each of the mandatory still souvenir photographs is shot, Gallagher rolls off a few feet of movie film. The soundtrack is a persistent laugh track; Santa’s repeated “Ho Ho Ho.”

  • Sappho

    Using the sixth century B.C. lyricist’s poetry, a group of women unwrap the papyrus gauze of the lesbian goddess and bring her to life. Made by Barbara and six students, together at the Women’s Building in Los Angeles.

  • Bark Rind

    “Bark Rind” is a single-concept film that creates a unique audio-visual cinematic experience. Presented over the course of the work are gyrating, close-up images of flowers, bark, grass and leaves, accompanied by the shrill of insects on the soundtrack. The entire film was shot in single frame, each frame involving multiple exposures of the same object in complex combinations of close-up, medium shot and long shot, all realized in-camera.

  • Scape-mates

    Dancers Emery Hermans and Sarah Shelton move in a mythic world created by using video synthesizers and computers to animate artwork.

  • Scars

    “Scars” deals with the subject of ecology in an abstract and highly innovative manner. Rather than make a direct statement about the effects of urbanization on the natural landscape, Winkler forms his ideas through a poetic montage of visual and auditory imagery.

  • Scavengers, The

    A post-war fable. A young man is sent by his mother to search for his sister, long since lost. He moves slowly from a rural to an urban environment. He experiences violence and absurdity and, due to his inability to see, to imagine, instigates the film’s central, ironic sequence. The film depicts the main character’s sense of loss and wonder at the world and his subsequent feeling of desperation. Simultaneously, one can perceive in the character of the young woman an ability to see alternatives, to see the possibility of change in her life. This imagination and its necessity for…

  • Scenes de la Vie Francaise: Avignon

    Four scenes of Avignon: a park, a bus terminus, Rue des Teinturiers, and a town square are filmed at different times from an identical viewpoint. The material taken at diverse periods appears interwoven in the final print.

  • Scenes de la Vie Francaise: La Ciotat

    Whereas throughout the film “Scenes de la vie francaise: Paris” the image is formed by means of relatively long sections recorded on different dates, in “Scenes de la vie Francaise: La Ciotat” the image showing the port, the dry docks, the workers leaving the ship yards, a tanker launched, fishermen and the beach, rests on the interweaving of short moments. Hence in the case of this film the configuration is composed of two distinct but closely situated durations.