BLACK SQUARE examines the ways we endure contemporary life in the grid. It animates a philosophy of perception through an assault of optical illusions, highlighting limitations of one's body and mind. An assembly of human figures writhe and squares strobe in rhythm to audio sampled from the openi...

Combining the mambo and Tibetan sound-effects with cut-out animation and assorted clips of silent film stars, starring (in order of appearance) Eric von Stroheim, John Gilbert, Greta Garbo, Norma Shearer, Conrad Nagel, Lon Chaney, Alice Terry, Joan Crawford, Lilian Gish, Renée Adorée, May Murray,...

Ship feared lost in wild Atlantic sea. A portrait, of sorts, photographed from filmmaker Toney Merritt's former studio apartment on Telegraph Hill in San Francisco.

Animation of a new order within the series of short works of that period. Mostly on black space, the figures in blue perform a very compact and jewel-like opera in surreal form, once again to the piano music of Erik Satie. Ideally, the film should be projected on a 30"-wide white card sitting on ...

Bruce Baillie transforms a walk down a street in Richmond, California, into a voyage of discovery. "Entirely handmade, sans optical printers or computers," everyday events are shifted into something fantastic. The viewer is awakened to a universe of swirling sights and sounds, marvelous moments u...

becoming cataract, a hot steam mingles and churns cool fog
swelling gray film frames, the burning and fade

[inspired by the prose poems of Russell Edson and "This Solitude of Cataracts" by Wallace Stevens]

A young woman moves between light and dark, life and death; a latter day Persephone. The natural world responds accordingly. Neglected negatives, abandoned envelopes, botanical and anatomical illustrations along with found home-made recordings re-order themselves, collapsing and re-emerging in he...

Abstract animation inspired by the daily commutes by the filmmaker through Central Square in Cambridge, Massachusetts. The film explores the sensory experience of moving through public spaces and the curiosity and anxiety that comes from being in the middle of a city. Rowe uses loops and cycles t...

An apparition of images—real or imagined—gradually surface within the solitude of a hotel room.

The scene is set in front of a French chateau. The camera chases improbable incidents across the screen. Many are constructed out of one of Lawrence Jordan's favorite engravings-illustrators: Louis Poyet. Duels occur on a tight rope. Heavier-then-air machines fly by (and sometimes crash). Below, ...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...

Produced by a pioneer film designer to create moods through the eye as music creates moods through the ear. Do you see anything like this when seeing sound?

"[Mary Ellen] Bute transcends her influences; her visual imaginations triumphs. I like the romantic flair of COLOR RHAPSODIE, its visual de...

Never completed by famed Russian director Sergei Eisenstein, the footage for his proposed feature QUÉ VIVA MÉXICO! was financed and preserved by husband-and-wife team Mary and Upton Sinclair. A series of Filmosound travelogues were constructed later by film editors William Kruse and Egon Mauthner...