Book of Splendors, Part Two, Book of Levers: Action at a Distance

Shot in Provincetown in the summer of '61 with the goal of funding a larger project, the film was never completed due to a violent argument between actor Jack Smith and director Ken Jacobs shortly after the shooting began. A title card explains that Smith 'would've starred as the Fairy Vampire.'

Working with Virgil’s four-part poem “Georgics” and Antonio Vivaldi’s concertos “The Four Seasons” as models, Gottheim arranged his painterly compositions into four distinct sections, each edited according to its own exacting pattern. The seasonal flux thus informs both the form and content of the image, with the basic elements of trees, sky, hills and the occasional crisscrossing clothesline filmed in every imaginable light.

An examination of the history of the U.S. through archival footage and contrasting views of society, incorporating audiovisual material ranging from political campaign films to animated cartoons to children’s phonograph records, featuring Al Jolson, Mickey Mouse, the young Jack Smith, and a half-dozen American presidents.

Using his trademark flicker method, Ken Jacobs pays homage to the oldest type of color film, Kodachrome (whose production was discontinued in 2009) and to Jonas Mekas, who managed to breathe life into Kodachrome.

An adult decides to escape the pressures of life and return to his old bedroom at his parents' house.

First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in style and sensibility but united by their opposition to the Vietnam War. Part of the protest festival Week of the Angry Arts, the epic compilation film incorporated minute-long segments which were sent from many corners of the country, spliced together and projected. The original presentation of the works was more of an open forum with no curation or selection, and in 2000 Anthology Film Archives preserved a print featuring around 40 films from over 60 submissions.

Since 1995, the Viennale has invited renowned directors to create short, one-minute films as personal contributions to the festival. Ranging from home movies to political essays, musical sketches to abstract studies, these “little films” form a unique anthology of cinematic moments. 20 Little Films collects a selection of these works, premiering together for the Viennale’s 50th anniversary at the Locarno Film Festival.

A story told by director Ken Jacobs but without conventional storyline. Using a modified magic lantern, an early type of image projector developed in the 17th century, he morphs, flickering images that look like photo-negatives.

Little Stabs at Happiness is a collection of silent shorts Jacobs shot from the period of 1959-1963. Jaunty tunes (and a somber reflection) accompany the footage.

A short by Ken Jacobs. Taormina, Sicily; Mt. Etna erupting nearby.

Suggestion: Please see 'Another Occupation' before 'Seeking the Monkey King'. Contains flicker like many of my works; avoid if you have epilepsy or other unusual brain conditions.

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

Jack Smith poses in elaborate costumes, plays with everyday objects, and performs for the camera while his disjointed voiceover unfolds through songs, personal reflections, and provocative stories. Assembled by Ken Jacobs from unfinished footage shot by Bob Fleischner, this experimental film blends performance, fantasy, and dark humor into an unconventional portrait of its subject.

Scenes from the life and work at Anthology Film Archives. Much of the footage in this video was shot by Auguste Varkalis.

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

"The whole film are non-art portraits of people in which they do what they want with this hat – and therefore, act or stand in front of my camera. It’s only love: therefore it can’t harm you". Joyce Wieland.