Demonstration '68

“I've never seen light that looks or feels so dark; forward moving possibility united with so much cosmic terror.”—Marilyn Brakhage

“AEON (...) draws parallels between the earthly and the heavenly, linking the San Francisco cityscape and city dwellers to outer space (...) brings the (holy) spirit to life (...) one of Angerame’s major and most mature works to date” — Kornelia Boczkowska, author of Lost Highways, Embodied Travels: The Road Movie in American Experimental Film and Video

“WAR ZONE (...) Angerame’s unique take on the history, geopolitics and present-day of the DMZ, which emerges as a complex site that goes well beyond its borders. (...) one of Angerame’s most original and remarkable works to day (...) revealing the intricate complexities of the area and capturing the tension that is still in the air.” — Kornelia Boczkowska, author of Lost Highways, Embodied Travels: The Road Movie in American Experimental Film and Video

Short film by Dominic Angerame.

"In June 1999 dear friends Agnetta Falk and Jack Hirschman were married at Matt Gonzales' place in the Mission. I was there with my 16mm Bolex and filmed part of the ceremony and crowd. After almost 30 years I finally made this footage into a finished film. It features many of our dear friends both living and deceased. In honor of Jack and Aggie's wedding anniversary I finished the film over the weekend." – Dominic Angerame.

Inspired by the novel Flicker by Theodore Roszak, this film was intended to explore the images captured in the flickering light of multiple projector beams. By utilizing superimpositions within the camera, one could experience the pulsating light and explore hidden imagery through use of the "Sally Rand" that Roszak refers to.

Voyeuristic Tendencies is not so much a film about voyeurism as it is our tendency to be voyeuristic. That tendency, nurtured by the filmmakers carefully crafted succession of visual teases and exploited by the camera's ability to become our eyes, becomes in increasingly evident as the film progresses. The camera teases the viewer, in this case, co-voyeur, not with sexual or erotic innuendo, but rather with graphic and aesthetic challenges. The partially opened window of a woman's dressing room forces us to realize our urge to see more about these hidden worlds. This type of cinematically- induced self- realization makes Voyeuristic Tendencies a powerfully human film.

Starring Bruce Conner, a belly dancer, a geiger counter, and a toxic waste dump.

Soundtrack: Ed Sanders. Filmed in Buffalo, 1969, completed in Chicago, 1973. Acid in the park, broken images, danger symbols of the fleeting moments.

"At the beginning and end of each roll of 16mm I shot a small part of the film is exposed to light because of the insertion and removal of the spool of film. Oftentimes images are obscured by light flashes. I saved many of these short segments when filming and living in Chicago. All of these are spliced together creating a visual diary of my time spent there with my wife Susan. The time period was from 1971-1979. Most of the imagery is from our Chicago days with a couple of scenes from San Francisco. Since the images are flashes and this is a look backward, I titled this short Flashbacks." --DA.

"I traveled to Albany, NY, and called Robert Fulton and stated that I wanted to come and visit him in Newtown, CT. 'You can’t get here from there, look out the window and tell me what the clouds look like,' he said. I described them the best I could and he said, 'Meet me at Butler Aviation at the Albany airport, I will fly there in my plane and pick you up.' This film is a short homage to Bob and his family during the weekend I stayed at the Fulton Estate in Newtown." — DA

"In 1984 the Democrat Party Convention was held in San Francisco. The contenders included Gary Hart and Jesse Jackson against the front runner Walter Mondale. I was able to receive a guest pass as someone who supported Gary Hart. Guests were roped off in an area adjacent to the delegates. Movement was restricted for guests, and I had to capture imagery from my own vantage point." — DA

Dedicated to Stan Brakhage "Before being introduced to 16mm filmmaking I was filming with a cheap Regular 8mm camera my sister had given me. I lived around the corner from Forest Lawn Cemetery on Main Street. This place I would often visit to either drop LSD or just for some serenity." — DA

Brief, impressionistic portraits of many of Angerame’s friends and acquaintances who live in San Francisco. Set to Toney Merritt’s haunting sound design and superimposed with NASA images and footage of Angerame’s coming down the elevator at the Eiffel Tower, FILM DIARY #10 EYEFULL PORTRAITS is a descent into the depths of the subconsciousness, transforming into a complex, densely layered exploration of friendship, loneliness, city dwelling and the unknown. – Kornelia Boczkowska

“A beacon of creativity, a cauldron of experimentation and a haunted space of an (im)possible future — (...) continues Angerame's (...) collaboration with musician Kevin Barnard (...) provides a nuanced and uplifting score which projects unexpected hope into the tragedy of this film art requiem. Angerame's cine-documentation always speaks to beautiful and redemptive new forms in the face of seemingly impossible odds.” — David Sherman, filmmaker, professor

" (...) documents the beginnings of San Francisco’s radical microcinema (...) a landmark venue for showcasing the work of independent and experimental cinema (...) a group of local 'emergency filmmakers,' including Angerame, the revolutionary spirit and passion of those who organized and came to the shows. Bruce Conner, Toney Merritt, and others. " — Kornelia Boczkowska, author of Lost Highways, Embodied Travels: The Road Movie in American Experimental Film and Video