Ron Geesin

Gawain was a squire in King Arthur's court when the Green Knight burst in and offered to play a game with a brave knight. Gawain journeys across the land, learning about life, saving damsels, and solving the Green Knight's riddle.

Recently divorced career woman Alex Greville begins a romantic relationship with glamorous mod artist Bob Elkin, fully aware that he's also intimately involved with middle-aged doctor Daniel Hirsh. For both Alex and Daniel, the younger man represents a break with their repressive pasts, and though both know that Bob is seeing both of them, neither is willing to let go of the youth and vitality he brings to their otherwise stable lives.

Alan and Mary are pretty miserable together and split up. As a very presentable Glaswegian photographer, Alan soon has chances to find consolation elsewhere, but more and more thinks of Mary. She, however, seems a lot less keen to try again.

Filmic portrait of Niki de Saint Phalle's HON, a temporary indoor sculpture installation for the Moderna Museet of Stockholm.

Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.

Directed by Ian Breakwell and Ron Geesin.

A static camera records, in one single continuous shot, a woman's face before, during and after orgasm. The act of looking and the limits of the film frame are highlighted in this intimate sexual episode with Tina Fraser. Artist Stephen Dwoskin presents a powerful, personal moment while maintaining a distance and resisting the viewer being subsumed into the action on screen.

Several old college friends converge at a mansion, ostensibly for a pleasant reunion. Larry Dann, the most easygoing of the bunch, comes to the conclusion that all is not well in the old dark house. For one thing, he's run across several people whom he's never met. For another, they all seem to be of a different time and place.

Sequence of animations and random footage (Olympic torch lighting, rituals etc) which were "based on ideas of Hans Hollein; created for the Smithsonian's Cooper Hewitt Museum's opening exhibition: Man transForms", 1976. Nine designers worked with Hans Hollein in the "MAN TRANSFORMs" exhibition at the Cooper-Hewitt Museum of Decorative Arts and Design: Nader Ardalan, Peter Bode, Buckminster Fuller, Murray Grigor, Arata Isozaki, Richard Meier, Karl Schlamminger, Ettore Sottsass, and Oswald Ungers.

Overview of Vorticism, a radical art movement of the early 20th Century.

A psychedelic documentary of the body electric, with music by Pink Floyd. The film was directed and produced by Roy Battersby. The film's narrators, Frank Finlay and Vanessa Redgrave, provide commentary that combines the knowledge of human biologists and anatomical experts. The film's soundtrack, Music from the Body, was composed by Ron Geesin and Roger Waters.

Images of a woman lying on a bed appearing to have a sexual fantasy for lack of anything else to do.

The beginning of the prevalent theme – or question – what keeps us apart, even when together? This question in the later film not just the question, but as a statement…

An animated film about the British engineer Isambard Kingdom Brunel, who spearheaded numerous engineering marvels of the early 19th century - including the Thames Tunnel, the Great Western Railway, and the Great Eastern steamship (for 40 years the world's largest steamship). Various styles of animation are used to depict events in his colorful life.

A portrait of Edinburgh, accompanied by the Picturesque notes of Robert Louis Stevenson, 1878.

A panorama of the Clyde, from Biggar to Brodick, with Billy Connolly as your guide. Directed by Murray Grigor for the Films of Scotland Committee.

Featuring Joan Adler (who also appears in Chinese Checkers), Soliloquy is one of the four early Stephen Dwoskin films that were awarded the Solvey prize at the EXPRMNTL festival in Knokke, Belgium in 1967. “In Soliloquy a girl broods uncertainly over a failed love affair, while the camera roves over her fingers, her cigarette, her knuckles, her lips and the hand mirror in which she peers. In its dark reflection one isolated eye seems a dead thing, twitching; the split between her body and her spoken thoughts becomes a strange bilocation of consciousness; towards the end, an aeroplane drones overhead” (Raymond Durgnat)

His Oriental predator is at first clothed in black, her 'victim' in white; slowly the costumes change, the victim acquiring a veil of mourning, until finally - as if to underline the ambiguity and interchangeability of their respective roles - the colours are reversed altogether. Still more interesting is the way in which, as the game becomes more ambiguous, Dwoskin adds fresh layers of make-up to his characters' faces, until they become almost caricature masks of their original selves.

A short film inspired by lateral thinking that sees an astronaut explore "the monsters of mass society and mass media."