Bill Brand

Home movies shot on Super 8mm by W+B Hein over 10 years.

Made at S.U.N.Y. at Binghamton as a class exercise, filmmaker Saul Levine performs with students who each try to mimic his previously recorded phrase and then try to imitate each other imitating the recording.

Sound Strip / Film Strip is Paul Sharits' first "Locational" work, made in collaboration with Bill Brand. The piece was commissioned for the 1972 opening exhibition of the Contemporary Arts Museum, Houston,Texas. “...Sound Strip / Film Strip consists of four film loops simultaneously projected sideways so that the four images abut one another horizontally. Sharits made each loop by filming colored surfaces, scratching the film, projecting it so that the sprocket holes showed on the screen; he then filmed that projection, scratched the result, and projects that as the final object. The resulting image is a continuous flicker of various color ranges with both actual and ‘virtual’ scratches and sprocket holes running horizontally (normally vertically) across the screen. Thus, Sharits is working with filmic abstraction which employs no image save for that inherent in the medium itself....”

This film has no literal subject, no frames, only slow continuously shifting colours, cycling around the perimeter of the spectrum. The changes are so slow as to be unseen, yet they alter our perception of colour. Part of a trilogy (Acts of Light), which develops a study of pure colour, based on the notion that film is essentially change and not motion.

People who are homeless reveal homelessness from their own experiences dispelling common misconceptions and prejudices. Told as a personal journey, the film gives a broad analysis of the causes and conditions of homelessness while it analyzes news, TV reports and historical images of poverty. This film presents new ways to look at homelessness, displacing the debate from questions of charity to ones of social justice.

New York State Primaries shows stenciled lettering that dissolve between the words, “red,” “blue,” and “green” but don’t create secondary colors. The film is a response to Saul Levine’s 1972 NOTE: CHICAGO REDS AND BLUES.

TOUCH TONE PHONE FILM scrambles the system by which film represents time and motion. In the film, a phone rings and a woman gets up to answer it. Although the event is recorded on film, we only see it as a sliding strip.

This is my digital/analog contribution to “Xochimilco Treasure Hunting” in Mexico City on the final day of "HAZLO TU MISMO," Do-it-Yourself Independent Analog Film Laboratory Encounter, Sept. 9, 2018.