Genres: experimental

  • 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.

  • 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.

  • Scenes de la Vie Francaise: Paris

    “Scenes de la vie francaise: Paris” is one of a series of films: Arles, Paris, La Ciotat, Avignon. All four films have a similar organizational procedure in that their material is woven together on an ordinary printer according to a certain pattern. The problems that arise are tackled, however, in a slightly different way in the case of each film. In “Scenes de la vie Francaise: Paris” several places – Jardin du Luxembourg, Place de la Republique, Rue St. Antoine, Canal St. Martin, Place de la Bastille – are presented by the means of a composition of frames recorded at…

  • Scenes from Under Childhood #1

    A visualization of the inner world of fetal beginnings, the infant, the baby, the child – a shattering of the “myths of childhood” through revelation of the extremes of violent terror and overwhelming joy of that world darkened to most adults by their sentimental remembering of it… a “tone poem” for the eye – very inspired by the music of Olivier Messiaen. (SB)

  • Scenes from Under Childhood #2

    A visualization of the inner world of fetal beginnings, the infant, the baby, the child – a shattering of the “myths of childhood” through revelation of the extremes of violent terror and overwhelming joy of that world darkened to most adults by their sentimental remembering of it… a “tone poem” for the eye – very inspired by the music of Olivier Messiaen. (SB) (A continuation of “Scenes from Under Childhood #1.”)