Film Format: Super 8

  • Ball in California, A

    I took along a beach ball on my trip to California; it is bounced, rolled, tossed, kicked and carried by a motley collection of complete strangers who express a great range of attitudes towards the camera, the ball and me. This film incorporates an unusual improvised soundtrack for solo bassoon.

  • Reading Canada Backwards

    A travel log of a technical object keeping time on a big train. Camera: never is the camera looked through during the making of this film; most shots are hand held, kept level with the horizon & always points east with the train’s direction. Sound: 2 train tracks looped, 2 tracks blues guitar by Erich Fox. Opening: Vancouver at Nanaimo St. Bridge with a motorcycle mirror. Movement: 12000 frames. 4000 miles from Vancouver to Halifax with 3 frames of film shot for every mile. (90 telephone poles every 30 miles – 5 second sequences). Closing: Halifax at Young Ave. bridge…

  • Rembrandt, Etc. and Jane

    Here are four films, the interrelationship of which constitutes a complex quarto-thought-process: Not that the four sets-of-thinking are “parallel” in any sense, or that themes of each film inter-weave meaningfully in the three others, but rather as four “mobiles,” each seen separately, might be remembered as turning all at one in the same space without interfering with each other. (SB)

  • Schizy

    “Schizy” is Barbara Hammer’s first film and is about her own coming-out process.

  • Sketches

    Brief songs of light and line.

  • Snorkel

    When a film camera is introduced into an unexpected setting it acts as a catalyst for spontaneous performance. “Snorkel,” which was shot in Super 8 and transferred to 16mm film, shows a group of friends gathered for a social evening. They put on various acts, including the garbled telling of some sci-fi movie’s plot, and snorkelling in a pail of water. McLaren’s camera is by no means an innocent bystander – it intrudes upon the scene, picks out particular activities, withdraws, and generally impels the action as mediator between event and document.

  • Snow Search

    “Snow Search” finds four performers searching for each other, each carrying one quarter of a photographic portrait of Michael Snow. A lyrical exploration through the city and an homage to Michael Snow.

  • So-Lo

    A trail of two feet. These feet go many places but arrive nowhere; there are no endings, only pauses and new beginnings. What is more important, the goal or the trip?

  • Swim After Dinner

    “Swim After Dinner” is an expression of a modern woman’s identity created through movement, sound, and metaphor. Swimming after dinner will give you cramps.

  • Trio

    “A woman and two men in conversation are seen individually, each one constituting one of three ‘movements,’ arranged according to the traditional musical cycle of fast-slow-fast. This film includes early passages of ‘moving visual thinking,’ as Brakhage begins to explore further the possibilities of this form. (The second movement is composed of images of Stan Brakhage which were photographed by filmmaker Bruce Baillie.)” – M.J