Wheeler Dixon

Meditations on light and a window fan for Jerry Hiler and Nick Dorsky. "Warm regards from the West Coast -- I only wish I had seen your films much sooner than I did because we are so much closer as filmmakers than I ever could have expected." - Jerome Hiler

“Serial Metaphysics — a thirteen-minute experimental 16mm film which has been described as 'an examination of the American commercial lifestyle, recut entirely from existing television advertisements' — was edited by Dixon himself, on a single night, New Year’s Eve 1972, culled down from 72 hours of American TV commercials. The film is a fever dream as seen through our existing television advertisements, foreshadowing for hopeful future generations a promised future life of happiness and security in the land of plenty.

A documentary that attempts to prove the existence of UFOs.

Squatters is a feature film chronicling two days in the life of two young men and two young women, who roam the French countryside breaking into houses and living there for a few days before moving on. In the film, the group find an isolated country mansion in the south of France, break in, and spend two days involved in increasingly intense confrontations...

Yes, it's yet another UFO documentary of stock footage, blurry photographs, and rambling narration that may or may not relate to what is on screen.

“Quick Constant and Solid Instant documents a Flux Mass at Voorhees Chapel at Rutgers University in 1969; intercut with the paintings of John Wallington, and Rod Townley on his Harley Davidson motorcycle. Soundtrack: Gerard Malanga, reading his poems at The Rose Room, Rutgers University, 1969.” – Wheeler Winston Dixon “The rich filmic collapse of personal memory into cultural history is summed up at the end of Quick Constant and Solid Instant (1969), a Fluxus performance set to a Gerard Malanga poetry reading. ‘It will take you a long time,’ intones Malanga, ‘to understand why I wrote poems for you.’” - Ed Halter, The Village Voice

An exploration into the enigmas, riddles and secrets that enamor and often terrify man as he strives to understand the universe around him.

THE DC FIVE MEMORIAL FILM is structured in five sections: a young man writhing in ecstasy in a deserted house in Massachusetts; rephotographed home movies of my childhood in 1953 Connecticut; footage shot at my farm in upstate New York in the summer of 1969, as some friends of mine share cigarettes in the woods; a party at the Sanctuary Discotheque in the summer of 1969, photographed using the same reel of color film reloaded into the camera at least seven or eight times; and finally the apotheosis of the work, in which a group of young women, arms linked, walk through the Port Authority Bus Terminal in the dead of night.