60 Seconds of Solitude in Year Zero

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.

First created and presented as a Tzadik New Jewish Culture offering in 1993. First performed live as a Nervous System performance with Catherine Jauniaux performing onstage, this version has been reconstructed from scratch (film-frame by film-frame) on the computer. This current embodiment does not hesitate to electronically embrace the fish-peddlers and buyers of 1903.

This short film documents the daily life of the goings-on on Orchard Street, a commercial street in the Lower East Side New York City.

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

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.

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.

Directed by Ken Jacobs, 1985. In Jacobs' own words: "I wish more stuff was available in its raw state, as primary source material for anyone to consider, and to leave for others in just that way, the evidence uncontaminated by compulsive proprietary misapplied artistry, "editing", the purposeful "pointing things out" that cuts a road straight and narrow through the cine-jungle; we barrel through thinking we’re going somewhere and miss it all. Better to just be pointed to the territory, to put in time exploring, roughing it, on our own. For the straight scoop we need the whole scoop, or no less than the clues entire and without rearrangement. O, for a Museum of Found Footage, or cable channel, library, a shit-museum of telling discards accessible to all talented viewers/auditors. A wilderness haven salvaged from Entertainment."

The moving camera shapes the screen image with great purposefulness, using the frame of a window as fulcrum upon which to wheel about the exterior scene. The zoom lens rips, pulling depth planes apart and slapping them together, contracting and expanding in concurrence with camera movements to impart a terrific apparent-motion to the complex of the object-forms pictured on the horizontal-vertical screen, its axis steadied by the audience's sense of gravity. The camera's movements in being transferred to objects tend also to be greatly magnified (instead of the camera the adjacent building turns). About four years of studying the window-complex preceded the afternoon of actual shooting (a true instance of cinematic action-painting). The film exists as it came out of the camera barring one mechanically necessary mid-reel splice

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

A man fondles objects, looks at himself in the mirror, poses in different clothes, smiles and makes faces at the camera while his voice on the soundtrack speaks of his despair, makes impressionistic statements and little songs, quotes Greta Garbo and Maria Montez, tells the story of a lonely little boy and tells the story of a woman named Madame Nescience who dreams of herself as the Mother Superior of a convent of sexual perversion.

During the 1970s I shot, helped to make, or commissioned about ten document films, mainly about film-makers. This film is one of them. It was made with Dan Ochiva, who acted as cameraman on about half of the footage. I shot the rest, and then edited the film. It is a record of a conference held at the State University of New York at Buffalo on March 22-25, 1973. Among the participants filmed were Gerald O'Grady (who organized the conference), Will Hindle, Stan Brakhage, Jonas Mekas, Robert Creeley, Bruce Baillie, Scott Bartlett, Hollis Frampton, Ken Jacobs, Ed Pincus, Stan Vanderbeek, Ed Emshwiller, Sally Dixon, James Cox. This footage will eventually become part of my film PEOPLE, PLACES, THE 1970S. –R. H.

A “Cinéma, de notre temps” series episode directed by french filmmaker Jackie Raynal, originally aired 29 May 2016.

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

A young woman stands by a car while scenes from metropolitan life flash by.

...they slept outside in the Vermont night...

An Eternalism film.