Everything new is old again (with Lawrence Jordan and Erik Satie in another visual-and-audible collaboration across the decades).

The urban odyssey of a bright red rocking chair (in Providence, Rhode Island).

A camera mounted on a movable cart, pointing down at the floor, passes over a seemingly endless succession of gaudy carpets and surfaces in a single shot through a major hotel. The movements across the two-dimensional space, and in-and-out of elevators through three-dimensional space, suggest a c...

Photographed at Biograph's New York studio and in Fort Lee, New Jersey, from 25-June to 2-July and released 11-August, 1910, this is D.W. Griffith's two-hundred-forty-fourth film and of eighty-six he directed that year. It is daring in its attempt to cover many years in only one reel and shows sk...

A theatrical fiction, collapsing time-and-place: turn-of-the-last-century performers apply stage makeup as if for war, to engage in battle for the soul of the world. The injuries are more emotional than physical but cut deeply just the same. A visual/aural collage film, THE HUMMINGBIRD WARS sugge...

In this strange little film, Marie Menken photographs billowy flames superimposed over microscopic medical footage of writhing spermatozoa. Her humorous juxtaposition depicts a fiery death-dance of wily males seeking each other in wanton abandon. Ultimately, the film is a poignant reminder of the...

A celebration of the filmmaker's daughter's birth. The blazing garden as metaphor for the cycle of life.

I own a carousel. I keep it indoors, in the dark. There are no eyes to see it, no children to ride it. I own the size, presence and weight of it. I own the stress, the power and the idea of it. I did not make it, I do not enjoy it, I own it.

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...

A video is a stream of information and this moving image relies upon the relationship of static frames which are algorithmically determined....

In the language of video compression, the (I) frames are the reference points between which movement is interpolated.

Manual deletion or misplacement ...

A correspondence film: rolls of high-contrast black-and-white film were sent back-and-forth in the mail over the course of a year until the film began to reveal itself as a science non-fiction fairy tale, a speculative quest–circling and searching, falling and landing, entering and exiting–to rec...

IMMER ZU is an elliptical, experimental animated film that evokes a mysterious undercover world of secret messages, cryptic language and indecipherable codes. Shot in luminous black-and-white, IMMER ZU uses miniature two- and three-dimensional figures and sets, as well as shadow puppetry, to sugg...

Musings of leeway, an illusive figure emerges from the emulsion.
One strip of Super-8 film is reconstructed, taped onto 16mm and then re-filmed on the optical printer.
The effluence according to its new emulsion, becoming a reflection of its own action.

"As the depicted scene slides down again...

The fantasy of hell from Dante Alighieri and his yearning after the Epic Poetry form of Virgil, the Latin poet. Once again, featuring the magnificent illustrations of Gustav Doré, the actual inspiration for the film. Presented on each of the seventy-six illustrated first-edition plates, a fast-mo...

Sara Kathryn Arledge's loosely-connected technical and aesthetic experiments utilize dance in an effort to portray "time in art." The intent was to create a dance that could only be shown on film, a choreography uniquely different from any devised for the stage and one that emerged solely from th...

The historical Estudios Churubusco lab, where Golden Era Mexican films were processed in the 1950s, is still running, pretty much unchanged. This film is a desperate and loving attempt to preserve the memory of the people, knowledge and objects coexisting in this space, that risks closing at any ...

Famous assemblage artist George Herms displays drawings on butcher paper while Lorna Star, the daughter of the filmmaker, plays with colors of light.

A little boy swings, breaks sticks, looks up into the sky, himself a cherub, while on the soundtrack Chad and Jeremy sing, "...and if a hundred boys should die, we can send a hundred more." An anti-war film made in the Vietnam era. Apt then and apt always.

A meditative black-and-white short on the devastating effects of drug-use (in the personification of heroin). First screened in the Bay Area in a program of death-related films at the Oakland Museum of California.

KUZDOK [THE STRUGGLE] is the brief tale of a young artist shaping stone into a statue which begins to resist its creation, sculpting the sculptor in the process. KUZDOK was awarded the Palme d'Or for Short Film at the Cannes Film Festival in 1977.

LAND is a fluid series of formal land-animation experiments based upon the imprint of landscapes in various locations and intuitive interpretations of those movements.

On a cold day in November, a family of deer hunters returns from the field to the barn. A cinematic poem about deer hunting, masculinity and a fresh kill. Shot on Super-8mm black-and-white film on location in Wisconsin.

A collaboration between French-born screenwriter / filmmaker Robert Florey (née Robert Gustave Fuchs), a former assistant of Louis Feuillade, and Serbian-born cinematographer / filmmaker Slavko Vorkapich (née Slavoljub Vorkapić), THE LIFE AND DEATH OF 9413 concerns the plight of a young actor in ...

A fugue for wushu in the West.