Pack of 7 DVDs with films by 7 artists from the Filmmakers' Cooperative
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Larry Gottheim - Fog Line
Perfect works have a way of appearing unobtrusive or simple, the complexities seeming to be so correct that they flow—mesmerize one through their form—a form that bespeaks of harmony between many aesthetic concerns. Larry Gottheim's Doorway is such a film. His concern for working with edges, isolating details, the prominence of the frame as a shape and revealer of edges, love of photographic texture, are all dealt with lucidly in this film. One is drawn into these beautiful images through Gottheim's poetic feel for photographic qualities, his ability to transform a landscape through his rigorous use of the frame to isolate in order to call attention to a heretofore hidden beauty revealed through a highly selective eye.
-Barry Gerson, Film Culture
Elegant yet rustic in its simplicity of execution, Barn Rushes is tugged gently toward different sides of the set by hints of color and motion interactions, positive and negative spaces and the unyielding delivery on one of the great apotheoses of poetic cinema at fade-out time.
Fog Line is a wonderful piece of conceptual art, a stroke along that careful line between wit and wisdom—a melody in which literally every frame is different from every preceding frame (since the fog is always lifting) and the various elements of the composition—trees, animals, vegetation, sky, and, quite importantly, the emulsion, the grain of the film itself— continue to play off one another as do notes in a musical composition. The quality of the light—the tonality of the image itself—adds immeasurably to the mystery and excitement as the work unfolds, the fog lifting, the film running through the gate, the composition static yet the frame itself fluid, dynamic, magnificently kinetic
Blues 1970, 16mm, color, silent, 8:30 min
Corn 1970, 16mm, color, silent, 10:30 min
Fog Line 1970, 16mm, color, silent, 11 min
Doorway 1971, 16mm, b/w, silent, 7:30 min
Harmonica 1971, 16mm, color, mono, 10:30 min
Thought 1971, 16mm, color, silent, 7 min
Barn Rushes 1971, 16mm, color, silent, 34 min
DVD5 PAL Interzone • Mono • Color & B/W • 16:9 • 89 min • + Booklet 60 pages by Scott MacDonald, Larry Gottheim
Storm De Hirsch - Mythology for the Soul
A major work in terms of style, structure, graphic invention, image manipulation and symbolic ritual. Short abbreviated dream-like moments, fused together by the tension and the dynamic of motion-picture time.
A further exploration into the color of ritual, the color of thought; a journey through the underworld of sensory derangement. A very beautiful work! The abstractions drawn directly on film are like the paintings of Miro; moving at full speed to the rhythm of an African beat.
Dedicated to all the magic makers of the world who weave a talisman for man's rebirth in his house of breath.
-Storm De Hirsch
MM Serra - (Art)Core
A curious meditation on the pleasures and terrors of S/M, in which interviews with enthusiasts collide with choice porn clips, Fleisher cartoons, Hans Bellmer poupees... The results are compelling, this film lingers, never once slipping into hype or deadly cool.
-Manohla Dargis on L'Amour Fou, Village Voice
Please please show this film! It's unique, it's real, it's not like any other film. What one sees in it, can not be seen anywhere else. It will shock some, but the fact is that there are shocking things in this world and we should know it and see it, nothing human should be hidden from knowledge. You made a very REAL film about REAL people. One of the most difficult things to do in cinema. I congratulate you.
-Jonas Mekas on Chop Off
Ron Rice - The Flower Thief
'The Flower Thief', filmed and acted by New York and San Francisco "beats," is a collection of improvisations. Ron Rice, the film's creator, attempted to ignore or break all the rules of cinema craft in making this film. Its form is the picaresque novel, a genre dating from the Middle Ages in which a rogue has a series of loosely connected adventures which reveal his personality and his relations to the world around him. Don Quixote in the Renaissance, Huckleberry Finn in the nineteenth century, and the tramp of Charlie Chaplin in our own times are picaresque heroes. Ron Rice's contribution to this tradition is his flower thief, a mad, harmless homosexual. Wandering through the streets of San Francisco with his teddy bear, indifferent to authority, stealing flowers because he likes them, and experiencing the basic human emotions, he is also The Noble Savage.
-P. Adams Sitney, Film Culture
I still think that 'The Flower Thief' is one of the most important modern films, a beautiful absurd poem. And so is his new film, 'Senseless'.The bullfight in negative is a fantastic shot; and so is the sequence with the beatnicks on Acapulco beach; or the train robbery episode; or the shot of the Virgin of Guadalupe surrounded by light; or the oil wells at night. It is beautiful and wild.
'The Flower Thief', like all significant cinema,holds before society a mirror image of its weaknesses and its disease. The Flower Thief is an eloquent plea for natural and humble participation in life.
- Mary Batten, Film Comment
The Mexican Footage, 1950, 8'30"
The Flower Thief, 1960, 58'
Senseless, 1962, 24'
Chumlum, 1964, 23'
bonus : Outtakes - The Queen of Sheba Meets the Atom Man, 1982, 6'
Includes a 55-pages bilingual EN/FR booklet with texts by Wheeler Winston Dixon, Barry Clark, Marry Batten & Ron Rice.
Taylor Mead - Home Movies
Years ago, when we asked Jonas Mekas what films we should publish next on DVD, he said without hesitation, "Taylor Mead's home movies." That should be reason enough to be curious. Mead is known as an actor, clown and improviser, "the first underground movie star", but his own films are rarely screened. Blending documentation of the NY underground, snippets of Mead clowning, Mead's own percussive style of shooting and the humor in his gaze makes these films a valuable glimpse into and product of mid-1960s underground New York culture - in stunning Kodachrome.
- Pip Chodorov, Re:voir
In 1964, before Warhol was a pop-art mega-celebrity, he invited Mead on a road trip to California for the opening of a gallery show. They wound up making Tarzan and Jane Regained.. Sort of, a spoof of Hollywood adeventure movies that was Warhol's first partially scripted feature. It started Mead as a Hollywood Tarzan carvorting with a naked Jane in a bathtub at the Beverly Hills Hoel, exercising on Venice Beach and having a bicep-flexing contest with Denis Hopper as a rival Tarzan. Mead would appear in about 10 Warhol films over the next decade, including a curious 76 minute piece featuring his naked rear end. Calling himself "a drifter in the arts", Mead also acted on stage, winning an Obie Award in 1963 for his performance in the Frank O'Hara play The General Returns from One place to Another.
- Elaine Woo, LA Times
My Home Movies 1964, 16mm, 38 min
Home Movies Rome/Florence/Venice/Greece 1965, 16mm, 14 min
Home Movies NYC to San Diego 1968, 16mm, 19min, silent
DVD5 PAL Interzone • Stereo • color • 4:3 • 71 min • + booklet FR/EN
David Brooks - The Wind is Driving Him Toward the Open Sea
Our sixth release in a series of titles we are releasing in cooperation with The New York Film-makers' Cooperative.
"The Wind is Driving Him Toward the Open Sea" is as poetic as its title. I find it one of the most interesting narrative films that have come out this year. What's interesting about it is that David Brooks manages to fuse in it a number of different techniques which, till now, have been used only in non-narrative, poetic film-techniques such as single frame, free, impressionistic camera movement, almost total plotless-ness, etc. The other thing I like about "The Wind..." is a fascinating melancholy that surrounds it. Its narrative of moods, of reflection, of things lost, gone, like autumn leaves—no tragedy, really, only a mood of melancholy, of sadness—of friends, of ways of life, of cultures gone, of ages coming and going—these are just some of the notes that the film strikes. Romanticism? Perhaps.
-Jonas Mekas, Movie Journal
Any inventory of his films is as meaningless as an inventory of a painting by Bonnard. It is through the lyrical flow of his camera, through his intuitive knowledge of the right length of each shot and the natural grafting of one onto another, that his statements on film assume the quality of poetry.
David Brooks established himself during the 1960s as one of the most prominent lyricists of the experimental cinema. His work was eclipsed by his early death in 1969 at the age of twenty-four and throughout the next decade by the cooler, more controlled sensibility of structural film. As a consequence, his films are scarcely remembered today, which is particularly unfortunate since at least two of them – "Nightspring Daystar" and "The Wind is Driving Him Toward the Open Sea" – deserve a place as among the most important films of this period.
-J.J. Murphy, Film Culture
1963 Jerry 3'
1964 Nightspring Daystar 17'
1966 Winter 16'
1967 Letter to D.H. in Paris 4'
1968 Eel Creek 7'
1968 The Wind is Driving Him Toward the Open Sea 50'
1969 Carolyn and Me 1-2-3 90'
DVD9 PAL Interzone • Stereo • Color • 4:3 • Sous-titres FR • 187 min
EN/FR Booklet by / Livret de Stephen Broomer & J. J. Murphy
Marie Menken - Visual Variations
Our seventh release in a series of titles we are releasing in cooperation with The New York Film-makers' Cooperative.
Marie Menken is a lyrical poet. The structure of Menken's filmic sentences, her movements, and her rhythms are those of poetry. She transposes reality into poetry. It's through poetry that Menken reveals to us the subtle aspects of reality, the mysteries of the world and the mysteries of her own soul. Menken sings. Her lens is focused on the physical world, but she sees it through a poetic temperament and with an intensified sensitivity. She catches the bits and fragments of the world around her and organizes them into aesthetic unities which communicate to us. Her filmic language and her imagery are crisp, clear, wondrous. There are moments in Arabesque and in Notebook that are among the most inspired sentences in filmic poetry.
Her hand-held camera directly capturing external light shaped into representational images on film is, at the same time, recording her whole body’s reaction to what she is seeing through that camera. She always tended, when taking pictures, to dance and, when editing those film strips, then, to capture the eye’s dance (rather than, say, some idealized stance- dance of the ‘mind’s eye’). She would hang up the strips and film and study the patterns, right, left, up, down, and splice them together as designs in Time—plenty of ideas arising in these arrangements of rhythmic Form, but no superimposed ideology.
1945 Visual Variations on Noguchi 4'
1957 Glimpse of the Garden 5'
1957 Hurry! Hurry! 3'
1959 Dwightiana 3'
1961 Arabesque for Kenneth Anger 4'
1961 Bagatelle for Willard Maas 5'
1961 Eye Music in Red Major 5'
1961 Drips in Strips 3'
1964 Moonplay 5'
1964 Go Go Go 11'
1964 Wrestling 8'
1965 Mood Mondrian 5.5'
1965 Andy Warhol 18'
1966 Lights 6'
1966 Sidewalks 6'
1967 Watts with Eggs 2'
1968 Excursion 5'
|Author(s)||Larry Gottheim, Storm De Hirsch, MM Serra, Taylor Mead, David Brooks, Marie Menken, Ron Rice|
|Format||7x DVD PAL, Interzone, Region 0 ALL|
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DVD with 15 films by MM Serra. First release of our New York Film-makers' Cooperative CollectionOFFICIAL RELEASE July 29, 2020
DVD with 15 films by Storm De Hirsch. Second release of our New York Film-makers' Cooperative CollectionOFFICIAL RELEASE SEPTEMBER 3, 2020
DVD with 7 films by Larry GottheimOFFICIAL RELEASE NOVEMBER 21, 2020
DVD with 3 films by Taylor Mead
DVD with four films by Ron RiceOFFICIAL RELEASE DECEMBER 20, 2021
DVD with seven films by filmmaker David BrooksOFFICIAL RELEASE SEPTEMBER 12, 2022
DVD with 18 short films by filmmaker Marie MenkenOFFICIAL RELEASE SEPTEMBER 30, 2022