Bill's Hat

Knocturne

The rising moon is the main theme in this short movie of three people and an animal going about their nocturnal rituals. This movie is evidently part three of my trilogy that started with HOLD ME WHILE I'M NAKED and ECLIPSE OF THE SUN VIRGIN. It evidently is, since part three never really came out. This seems to look like it could be part three. — GK (anthologyfilmarchives.org)

‘Rameau’s Nephew’ by Diderot (Thanx to Dennis Young) by Wilma Schoen

Various unrelated vignettes, often juxtaposing sound and image.

Standard Time

Experimental short in which a camera pans quickly in a small apartment space; Disembodied voices speak of audience engagement.

New York Eye and Ear Control

A cutout of a woman's silhouette is displayed in many locations while a free jazz soundtrack is heard. The jazz musicians later pose for the camera in a studio.

Back and Forth

A camera moves back and forth at an increasing pace. Back and forth, back and forth...

Zorns Lemma

Zorns Lemma is a 1970 American structuralist film by Hollis Frampton. It is named after Zorn's lemma (also known as the Kuratowski–Zorn lemma), a proposition of set theory formulated by mathematician Max Zorn in 1935. Zorns Lemma is prefaced with a reading from an early grammar textbook. The remainder of the film, largely silent, shows the viewer an evolving 24-part "alphabet" (where i & j and u & v are interchanged) which is cycled through, replaced and expanded upon. The film's conclusion shows a man, woman and dog walking through snow as several voices read passages from On Light, or the Ingression of Forms by Robert Grosseteste.

A and B in Ontario

Joyce Wieland: “Hollis and I came back to Toronto on holiday in the summer of '67. We were staying at a friend's house. We worked our way through the city and eventually made it to the island. We followed each other around. We enjoyed ourselves. We said we were going to make a film about each other - and we did”. A & B in Ontario was completed eighteen years after the original material was shot. After Frampton's death, the film was assembled by Wieland into a cinematic dialogue in which the collaborators shoot each other with cameras.

The Far Shore

A young woman marries a wealthy man she isn't in love with, but finds romance instead with the couples' painter friend.

Reason Over Passion

The film consists primarily of degraded footage of landscapes shot from vehicles moving across the country; meanwhile, 537 computer-generated permutations of the film’s title appear like subtitles—the letters are scrambled over and over again, undermining the meaning of Pierre Trudeau's infamous motto.

For Life, Against the War

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.

Rat Life and Diet in North America

“This film is against the corporate military industrial structure of global village.”

Wavelength

In a Lower Manhattan industrial loft, a camera very slowly zooms into a photograph on a wall while various people occasionally enter and exit.

Cat Food

A cat eats its methodical way through a polymorphous fish.

Solidarity

About a strike in which women are involved, but told in a very different way.

Manual of Arms

In this "fourteen-part drill for the camera," Frampton created a portrait gallery of his art-world friends engaging in a variety of ordinary activities.

Barbara’s Blindness

Constructed from found and stock footage, Barbara’s Blindness is a meditation on vision and adversity, drawing humour and pathos from a moralising educational film.