15/67: TV
Kurt Kren, 1967, 7mins, Austria, 16mm, b/w, silent

Five aspects of a peopled scene are repeated 21 times by duplication. Black frames interrupt running. It is more interesting to be thoroughly exasperated than merely distracted by some boringly mediocrity. - Kurt Kren

Film #3
Joost Rekveld, 1994, 4mins, Netherlands, 16mm, colour, silent

#3 is a film with pure light, in which the images were created by recording the movements of a tiny lightsource with extremely long exposures, so that it draws traces on the emulsion. The light is part of a simple mechanical system that exhibits chaotic behaviour. - Joost Rekveld

Her Glacial Speed
Eve Heller, 2001, 5mins, US, 16mm, b/w, silent

The world as seen in a teardrop of milk. I set out to make a film about how unwitting constellations of meaning rise to a surface of understanding at a pace outside of worldly time. This premise became a self fulfilling prophecy. An unexpected interior began to unfold, made palpable by a trauma that remains abstract. First ‘words’ since my mother and father died. - Eve Heller

La Vache Qui Rumine
George Rey, 1970, 3mins, France, 16mm, colour, silent

A still frame shot, a chunk of reality, nothing has been altered, she was chewing after. No plot, just one moment. Three minutes, merely determined by the length of the reel, are shown entirely with nothing cut or selected or shed: all exists.

Film Scraps
Ernst Schmidt Jr., 1966, 10mins, Austria, 16mm, b/w, sound

Montage of left-over film material from film scraps, amateur films, film leaders, recordings of material happenings, etc. Edited according to an exact plan (60 blocks of 10 takes each), then largely drawn over. My most destructive film, the "model for a futuristic newsreel." - Ernst Schmidt Jr.

Animal Studies
Guy Sherwin, 1998-2004, 25mins, UK, 16mm, b/w, silent

An ongoing set of films of inconsequential animal movements which are hand-printed in a variety of ways, using changes of light, geometry, time.These processes reveal what might be hidden in the frames and photographic depths of the material, as well as constructing a way of looking in relation to their subject. My filmic interest in animals is that they are unselfconscious, authentic, and can't act. - Guy Sherwin

Fear of Blushing
Jennifer Reeves, 2001, 5mins, US, 16mm, colour, sound

This hand-painted film bursts forth with irrepressible colors, corroded emulsion and a menacing sound-scape of looped voices, distorted instrumentals, samples and rhythm. Fleeting visions and voices emerge in unusual juxtapositions, suggesting a cinematic free-association marked by anxiety, pleasure and shame. Best appreciated in the immediate; the 7200 painted frames fly by at 24 images per second.

Straight and Narrow
Beverly and Tony Conrad, 1970, 10mins, US, 16mm, b/w, sound by Terry Riley and John Cale

Straight and Narrow is a study of subjective colour and visual rhythm, although it is printed on black and white film, the hypnotic pacing of the images will cause most viewers to experience a programmed gamut of hallucinatory colour effects. Through the intermediary of rhythm, the maximal impact is drawn from the simplest of universal human images: straight horizontal and vertical lines.

The Dante Quartet
Stan Brakhage, 1987, 8mins, US, 16mm, colour, silent

This hand-painted work, six years in the making (37 in the study of The Divine Comedy) demonstrates the earthly conditions of 'Hell', 'Purgatory' (or 'Transition'), and 'Heaven' (or 'existence is song', which is the closest I'd presume heaven to be from my experience). The film is in four parts which are inspired by the closed-eye or hypnogogic vision created by these emotional states. Originally painted on IMAX and Cinemascope 70mm and 35mm, these paint-laden rolls have been carefully rephotographed and translated to 35mm and 16mm compilations by Dan Yanofsky of Western Cine.' - Stan Brakhage

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