Sublapse Video Mag 1

Video Fanzine featuring: Half Japanese, Redd Kross with Sky Saxon as Purple Electricity, R Kern, Sonic Youth, White Flag, Psycho Daisies, Charlie Pickett, Nick Zedd, Morbid Opera More R&R, Film, Prose. Pencil numbering indicates there was a run of 600 tapes.

GONZALO.

Grid

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

310 Tung Chau Street

310 Tung Chau Street is a tenement building in Sham Shui Po. Three Vietnamese from the same province share a subdivided flat. Unemployment, drug addiction, and arguments brew and breed incessantly in this heated environment. During filming, the two young directors were encumbered by a series of obstacles, which turned the process into a chance to reflect on documentary truth.

The Beaches of Agnès

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

La tierra violada

“Rape is a precise political program: the skeleton of capitalism, it is the crude and direct representation of the exercise of power.” Virgine Despentes

That's Life

Nima Yooshij (Iranian poet) for his son’s 1st birthday. He says: “my son, by now, you have seen a spring, a summer, an autumn and a winter. From this point on, everything is simply a repetition except kindness.”

La Ville

Cameraman Claude Gabriëls, well known for his work with Henri Storck and Paul Meyer, has made this beautiful evocation of a snowy day in Brussels.

FUCK TV

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.

Golden Chains

A new exploration of familiar places located in the region of Rhône and Isère throught an reinvention of digital nuances, a study of perceptions and fluidity around the nature of motion in landscapes and human interactions.

A Little Love

Through interspersed conversation and prose, this experimental documentary follows a poet and a neuroscientist as they explore the definition of love, what it means, and why it matters.

Breakdown: 1975

In 1975, as America faced social and political upheaval, filmmakers turned chaos into art.

Running Fields II

Fifteen images of a camera running in a park and in obscurity searching the space of light through distorsion and the sensory of rapid motion.

Ya viene el cortejo…

Women from the different Spanish regions dress in their traditional costumes to attend the triumphal parade celebrating the victory of Francisco Franco and the rebel side over the Second Republic in 1939; the deeds of past heroes are remembered; and a patriotic poem by Nicaraguan poet Rubén Darío is recited.

()

P. Adams Sitney, Professor of Visual Art at Princeton University, wrote a short essay for Artforum International "Medium Shots: the films of Morgan Fisher" in which he describes the film "()." "Fisher's most recent film, (), succeeds astonishingly where Frampton's parallel effort, Hapax Legomena: Remote Control (1972) failed; it uses aleatory methods to release the narrative unconscious of a set of randomly selected films. () is made up entirely of "inserts" from feature films organized according to Oulipian principles. Inserts were usually shot by assistants when star actors, large crews, or expensive sets were not needed. These include details of weapons, wounds, letters, signs, tombstones, machinery, games of chance, timepieces, money, and even intimate caresses.

Running Fields IV

Twenty-four images of a camera running in the woods, a moonlight and a cemetery through improvised gestures, mechanical abstraction and saturated colors

good boy

The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.

Mysterious Object at Noon

A camera crew travels through Thailand asking villagers to invent the next chapter of an ever-growing story.

Afloat

'Afloat' is an experimental film that paints a portrait of Japanese performance artist: Ayumi Lanoire. The film opens as a telephone call between Ayumi and Person X, which meanders the audience through the various layers that make up her personas leading one to wonder whether she is in fact a myth or reality.

Hotel Monterey

New York City's Monterey is a residence hotel, whose inhabitants are older and primarily live alone. The camera, usually stationery, observes the lobby. No score, the lobby is clean with granite floors, men wear hats, people enter and exit an elevator, the camera looks out from within the elevator as doors open and close. People sit alone and motionless in their apartments. There are long shots of empty halls. Paint peels. The flooring on upper levels is linoleum. Hall lights are florescent. Doors open a crack then close.