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The Film-Makers’ Cooperative
c/o The Clocktower Gallery
108 Leonard Street, 13 floor
New York, NY 10013
USA

phone: 212-267-5665
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TITLE INDEX
Bookings may be made by fax or by mail only.  ALL RENTERS: Please review the Coop’s rental policies before booking a film.
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Jan Haag

Post Partum () 16mm, b&w, sound, 9-1/2 min. rental price: 35.00


Cyndi Haas

Home (1988) 16mm, b&w, sound, 1 min. rental price: 20.00


“Disturbing and funny; funny and disturbing. Cyndi Haas’ film leaves the conclusions for the audience to find on their own.” –Joel Schlemowitz

Daniel L. Halas

Editing Reel (With Subtitles) () 16mm, b&w, silent, 13-3/4 min. rental price: 20.00


This is the training aid film I made up in order to help me convey a few basic principles of film editing to the military students I teach. It has been very effective aid to me in the classroom. The points made in it about editing are applicable to any type of film-making. It could be used to teach editing on any level, not only military. Here’s what the film has in it: The difference between rushes and edited film – an example of rushes, a rough cut and a fine cut using the same footage. Jump cuts – how to make them and how to avoid them. Examples of avoiding jump cuts through cross-cutting and match-cutting. How to select subject matter within a camera-run. Tempo and pacing. How to pace a film by action within a shot. How to maintain an even tempo and pick up the pace; the effects of an uneven tempo; how to vary tempo. A warning not to over-edit. –D.L.H.

Daniel L. Halas

Golfer () 16mm, b&w, silent, 1 min. rental price: 20.00


This loop creates the effect of slow motion through editing, rather than the camera. Rather than filming at more than 24fps., I spliced black leader (4 frames) in-between each frame of image to expand time and give a slow motion effect. It is a sort of curious piece of film, if you didn’t know already that is what would happen if you spaced out single frames with black leader. –D.L.H.

Daniel L. Halas

AIS-No. 1-68 () 16mm, b&w, silent, 22 min. rental price: 22.00


Thirteen film clips shot by military students. This was the first filming and editing ever done by such students. Each student had 16 hours instruction, including the time to shoot and edit. Each segment was shot and edited by two men, members of the Advannced Information Specialist Class No.1 of fiscal year 1968 at the Defense Information school (DINFOS), Fort Benjamin Harrison, Indiana. These clips made by this class somehow summed it up for me. –D.L.H.

Maxine Haleff

Forbidden Playground, The () 16mm, b&w, sound, 10-1/2 min. rental price: 20.00


A dance film, photographed in a modern playground, with a documentary sequences of NASA astronauts. Part I-‘Moonplays’. Part II-‘Sunspace’. –M.H.

Tony Hall

Flight Plan () 16mm, color, sound, 5-1/4 min. rental price: 20.00


The Canadian North is the setting for this simple story of an Indian boy, and his relationship with a magic kite-an extension of the youth’s aspirations for growth, and struggle for survival. –T.H.

Deedee Halleck

Children Make Movies (1961) 16mm, color and b&w, sound, 9 min. rental price: 20.00


Deedee Halleck

Jaraslawa (1975) 16mm, color, sound, 9 min. rental price: 20.00


Robert Haller

Notes on the Buffalo Conference: “Autobiography in American Independent Cinema” (1973) 16mm, b&w, silent, 7-1/2 min. rental price: 22.00


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.

Amy Halpern

Glance, A () 16mm, color, , 1 min. rental price: 20.00


Literally, a glance. A dedication; my emissary. –A.C.H.

Amy Halpern

Roll #1, For Nancy (1971) 16mm, color, silent, 3-3/4 min. rental price: 20.00


N.Y.C. Unedited blow-up from 8mm; in three parts.

Amy Halpern

Three Preparations (1972) 16mm, color, silent, 4-1/2 min. rental price: 20.00


In three parts: Statice/frameline; Drops; The Cannonball Section. Unpopulated (except for the cheap ending on the Cannonball Section). (Previously shown as SLOW FLUSH.) –A.C.H.

Amy Halpern

Filament (The Hands) (1972/74) 16mm, b&w, silent, 15-1/2 min. rental price: 20.00


In the politically charged atmosphere of the early 70s, Mikis Theodorakis conducted a concert of his music in Philadelphia. His music was banned in Greece, his own country, at that time by the US-funded junta. Visiting the US on a limited visa, he was restricted to musical appearances only — no public speaking permitted.

His hands, eloquent even when their gestures are deprived (by silent filming) of the music they are making, speak.

Several in-camera phenomena resulted from the highly-charged nature of the shoot. Flashes of lightning appear, in directional continuity with Theodorakis’ movements. These are the product of static electricity, which caused flashes of light inside the camera to make additional exposures on the film while it was being exposed through the lens. The apparent double exposures are the result of the speed of the gestures interacting with the camera shutter speed, and seem to multiply the hands’ locations.

A shift from Plus X to Double X and finally to Tri X film stock causes the image to become progressively grainier, and the hands more glowing and halated.

Amy Halpern

Peach Landscape (1973) 16mm, color, silent, 4-1/2 min. rental price: 20.00


Illusions of surface, abstract to pictorial. Initially the grain of the film emulsion, complete with scratches, variations in framing — the meat of film — are the most apparent elements of all. The object shown is revealed to be a bowl of canned peaches. But even with identification, the visual illusions return — e.g., a concave surface becomes convex, the flat bottom of the bowl becomes an egg.

Amy Halpern

Cigarette Burn (1977/78) 16mm, b&w, sound, 9 min. rental price: 20.00


Sitting home, smoking cigarettes, during the occupation.

A study. A foreign film, it gains in the translation. Very nasty and sophomoric. And beautiful. –A.C.H.

Amy Halpern

Silent Preparation (1986) 16mm, color, silent, 2-1/2 min. rental price: 20.00


Still life, moving camera.

A north-facing window on West 101st Street in New York City.

Nicky Hamlyn

White Light (1996) 16mm, color and b&w, silent, 10 min. rental price: 25.00


Nicky Hamlyn

Four Films by Nicky Hamlyn (1999) 16mm, color and b&w, sound, 27 min. rental price: 25.00


Johannes Hammel

Black Sun (1992) 16mm, b&w, sound, 26 min. rental price: 52.00


BLACK SUN, based on a short novel by American authot Samuel R. Delany, tells of the meeting between a “spacer” and a “frelk”. A “spacer” is an androgyne being, determined to execute technical work on the nearby planets, able to adapt to any kind of gravitation, they become for the “frelks” – who depend on the gravitation of the earth – buyable objects of desire. BLACK SUN starts with the landing of a “spacer” on earth and his meeting with a “frelk woman” who expects a sexual affair with the “floating meat”. The impossible love affair (the “spacer” lost its sexual identity due to metamorphosis) takes place in a future world where bodies radiate, where shadows transform into mirrors and where darkness illuminates space. The human being is an insect under the dark light of the sun, in a time far away which is sometimes erroneously called childhood.

Barbara Hammer

Sisters! (1973) 16mm, color, sound, 7-3/4 min. rental price: 20.00


A celebration and collage of lesbians, including footage of the Women’s International Day march in SF and joyous dancing from the last night of the second Lesbian Conference where Family of Woman played; as well as images of women doing all types of traditional “men’s” work.

Barbara Hammer

Dyketactics (1974) 16mm, color, sound, 4 min. rental price: 20.00


A popular lesbian “commercial,” 110 images of sensual touching montages in A, B, C, D rolls of “kinaesthetic” editing.

“The images are varied and very quickly presented in the early part of the film, introducing the characters, if you will. The second half of the film slows down measurably and all of a sudden I found myself holding my breath as I watched the images of love-making sensually and artistically captured.” — Elizabeth Lay, Plexus

Barbara Hammer

Menses (1974) 16mm, color, sound, 4 min. rental price: 20.00


A wry comedy on the disagreeable aspects of menstruation where women act out their own dramas on a California hillside, in a supermarket, in a red-filtered ritual of mutual bonding. MENSES combines both the imagery and the politics of menstruation in a fine blend of comedy and drama.

Barbara Hammer

Women’s Rites (1974) 16mm, color, sound, 6-1/4 min. rental price: 20.00


An autumnal celebration of colorful fall leaves, brooks and bathing, chanting circles and tree goddess rites. Shot on witch’s land in Northern California, it is a woman celebrating woman and nature film with the poetry of Elsa Gidlow accompanying.

Barbara Hammer

Double Strength (1978) 16mm, color and b&w, sound, 14-1/2 min. rental price: 40.00


A poetic study of the stages of a lesbian relationship by two women performance artists from honeymoon, through struggle, to break-up, to enduring friendship. Starring Terry Sendgraff on trapeze.

“The poetry of Barbara’s images carries us through the duration of a relationship: its intensely erotic beginnings, its sense of serenity, its playfulness and comedy and its closure — the alienation, pain, anger and loss of contact. The death of the body, a theme tenderly interwoven into the ageless strength and agility of Terry Sendgraff’s body, becomes the death of a relationship, a closing out, a leaving of the body behind. The body becomes a source of life. Its movement, grace, pain and happiness are contrasted with the inertness of things and the stillness of photos that merely document the brief passage of light.” — Jacquelyn Zita, Jump Cut

Awards: Oberhausen Film Festival; SF Int’l Film Festival.

Barbara Hammer

Eggs (1978) 16mm, color, sound, 8 min. rental price: 25.00


Matriarchal symbols of wholeness appear everywhere in nature, evoked by a goddess figure. “EGGS, a very creative film, combined the striking imagery of everyday chicken eggs placed in the settings of everything from apple trees, to pumpkins, to a sandy beach accompanied by koto music.” — Rollins Sandspur

Barbara Hammer

Arequipa (1981) 16mm, color and b&w, sound, 8 min. rental price: 25.00


“Shot in the Peruvian convent of Santa Catalina, AREQUIPA analogizes the building blocks of film (frames, color and black and white stocks, negative reversal, superimpositions) to the frames of architecture (doorways, windows, walls, corridors). The confinement of the frame, the convent, changed for Hammer as she realized there could be beauty and a self-willed delineation of activity within the ‘imprisoning’ frame.” — Kathleen Hulser, Centre Pompidou Brochure, 1985

Barbara Hammer

Pools (1981) 16mm, color and b&w, sound, 6 min. rental price: 20.00


Made with Barbara Klutinis.

“POOLS is a pictorially and technically impressive sampling of spectacular swimming pools at W.R. Hearst’s San Simeon and manages to validate itself from within, or at least within its own frame of identification.” — Richard T. Jameson

My aesthetics in co-making POOLS with Barbara Klutinis was to bring an experiential and physiological sense of the body to the members of the audience watching the film in terms of the locations, the swimming pools designed by the first woman architect to graduate from the School of Beaux Arts in Paris, Julia Morgan. I want the viewers to have the experience of swimming in architectural space for two reasons. First and foremost, I want to activate my audience, I want them to come alive, not be passive through watching cinema, and then to extend that “aliveness” into their lives through conscious expansive living and responsible politics. The second reason I swam and filmed in those pools was to break a taboo. No visitors are allowed to swim in these gorgeous examples of Morgan’s work. At least by getting permission to swim there myself with an underwater camera I could extend through vision this extraordinary physical experience.

Barbara Hammer

Sync Touch (1981) 16mm, color, sound, 10 min. rental price: 25.00


A lesbian/feminist aesthetic proposing the connection between touch and sight to be the basis for a “new cinema.” The film explores the tactile child nature within the adult woman filmmaker, the connection between sexuality and filmmaking, and the scientific analysis of the sense of touch.

“At the opening we are listening to an ‘expert’ speaking — someone who knows about touch and erogenous zones, about the erotic — yet the emphasis is on her ‘knowing’ and what she knows ‘about’ rather than on her ‘experiencing.’ Hammer undercuts the monologue with intense and extraordinary close-ups of areas of the woman’s face and neck, her teeth and lips, her ears. The viewer becomes so absorbed in the details of this closeness, the closeness of a lover seeing the face of her friend, that the words become lost in feeling and experiencing the closeness itself. The other way this works is to make the viewer want to touch, to become involved for, as the speaker says, touch precedes sight in the new-born child, and sight becomes a connection between the actual touch and understanding what it means.” — Cath Dunsford, Alternative Cinema

Barbara Hammer

Pond & Waterfall (1982) 16mm, color, silent, 15 min. rental price: 30.00


“The camera eye is like an amphibian that sees on two levels in its journey from underwater in a safe pond down to a violent, turbulent ocean. Early in the silent film shot north of San Francisco we see an homage to Monet’s Nymphiades in the faded raspberry color of the step-printed underwater lilies. The painterly effects of the printing make the water seem viscous. Pushing through clouds of fish eggs, fronds and algae, the camera establishes a sense of intimacy and connection in a natural ecosystem. But this amiable underwaterscape acquires ominous overtones as the camera/amphibian surfaces. Splashes strike the lens, and the rock of the ocean surf is destabilizing and disorienting. One of the most provocative foreshadowing ambiguities occurs when the half-submerged camera tracks the tip and slosh of the horizon, echoing the mood change from underwater confidence to vulnerability to natural forces, a passage from balance to defiance.” — Kathleen Hulser, Centre Georges Pompidou Brochure

Barbara Hammer

Bent Time (1983) 16mm, color, sound, 22-1/4 min. rental price: 50.00


A one-point perspective visual path across the US beginning inside a linear accelerator — or atom-smashing device — and traveling to such high-energy locations as the home of an ancient sun calendar in Chaco Canyon, New Mexico; the site of Ohio Valley Mound cultures; the Golden Gate and Brooklyn Bridges; and beyond. Scientists have noted that light rays curve at the outer edges of the universe, leading them to theorize that time also bends. Inspired by this idea, Hammer used an extreme wide angle lens and “one frame of film per foot of physical space” to simulate the concept of bent time. The film is accompanied by Pauline Oliveros’ original score for voice and accordion, “Rattlesnake Mountain.”

Barbara Hammer

New York Loft (1983) 16mm, color and b&w, sound, 8-3/4 min. rental price: 20.00


“Both NEW YORK LOFT and DOLL HOUSE convey a strong sense of resourcefulness, this ‘making something’ out of interiors, specifically domestic spaces. And domestic they are, in an avant-garde sort of way. The filmmaker gives plentiful evidence of arranging things, moving them, adjusting, placing and re-placing. First are poles and sticks found; second is fabric, sheets, pillows; in a third section we see round things. Circular magnets, machine parts, film cans and the like eventually become visually paralleled with the camera lens itself. The lens is seen as Barbara films into a round mirror. How different are the visions of this woman-with-a-movie-camera from Vertov of sixty years ago! Each extols the camera-eye, but Hammer replaces Vertov’s sociopolitical kino-truths with adventures in domestic space.” — Claudia Gorbman, Jump Cut

Barbara Hammer

Stone Circles (1983) 16mm, color and b&w, sound, 11 min. rental price: 25.00


“In STONE CIRCLES, Hammer really leaves ‘nation’ as well as ‘era’ and creates a film poem on the prehistoric stone cultures of Britain. She films dolmens and Druid rock formations, including Stonehenge. An introductory section shows excerpts from books and diagrams which in their way document these stones and explain the stones’ origins. Hammer takes the diagrams and playfully animates these scientific ‘scale models’ by filming colorful arrangements of small stones, clods of dirt, sticks, and grasses. She brings an animism to the subsequent images of the structures themselves, and this animism seems just as valid an approach to the stone formations as the historical/scientific speculations regarding their significance.” — Claudia Gorbman, Jump Cut

Barbara Hammer

Optic Nerve (1985) 16mm, color and b&w, sound, 16-1/2 min. rental price: 35.00


Sound score by Helen Thorington.

“Barbara Hammer’s OPTIC NERVE is a powerful personal reflection on family and aging. Hammer employs filmed footage which, through optical printing and editing, is layered and manipulated to create a compelling meditation on her visit to her grandmother in a nursing home. The sense of sight becomes a constantly evolving process of reseeing images retrieved from the past and fused into the eternal present of the projected image. Hammer has lent a new voice to the long tradition of personal meditation in the avant-garde of the American independent cinema.” — John Hanhardt, Biennial Exhibition Catalogue, Whitney Museum of American Art, New York, 1987

Awards and Exhibition: Biennial Exhibition, Whitney Museum of American Art, 1987; First Prize, Ann Arbor Film Festival; Third Prize, Experimental Film Coalition Film Festival; Creteil Int’l Festival of Films by Women, France.

Barbara Hammer

Our Trip (1985) 16mm, color and b&w, sound, 4-1/4 min. rental price: 20.00


Sound score by Helen Thorington.

“Barbara Hammer’s OPTIC NERVE is a powerful personal reflection on family and aging. Hammer employs filmed footage which, through optical printing and editing, is layered and manipulated to create a compelling meditation on her visit to her grandmother in a nursing home. The sense of sight becomes a constantly evolving process of reseeing images retrieved from the past and fused into the eternal present of the projected image. Hammer has lent a new voice to the long tradition of personal meditation in the avant-garde of the American independent cinema.” — John Hanhardt, Biennial Exhibition Catalogue, Whitney Museum of American Art, New York, 1987

Awards and Exhibition: Biennial Exhibition, Whitney Museum of American Art, 1987; First Prize, Ann Arbor Film Festival; Third Prize, Experimental Film Coalition Film Festival; Creteil Int’l Festival of Films by Women, France.

Barbara Hammer

No No Nooky TV (1987) 16mm, color, sound, 17 min. rental price: 30.00


NO NO NOOKY TV posits sexuality to be a social construct in a “sex-text” of satiric graphic representation of “dirty pictures.” Made on an Amiga Computer and shot in 16mm film, NO NO NOOKY TV confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age.

Awards: Ann Arbor Film Festival, 1988; Humbolt Film Festival, 1988.

Exhibition: American Museum of the Moving Image, NY; Collective for Living Cinema, NY.

Barbara Hammer

Place Mattes (1987) 16mm, color and b&w, sound, 7-1/2 min. rental price: 25.00


Sound score by Terry Setter.

Traveling mattes of the artist’s torso, limbs, and extremities in Puget Sound, Yosemite and the Yucatan. Her attempt to “touch” nature is removed and blocked between figure and ground setups by the optical printer’s flatness of planes.

As the figure and ground are presented as two planal relationships, flattened and made two-dimensional through optical printing, so the artist (figure) is unable to touch the natural environment (ground) in Puget Sound, Yosemite and the Yucatan, yet finally comes to rest in the interior space of a restaurant.

Barbara Hammer

Endangered (1988) 16mm, color and b&w, sound, 18 min. rental price: 50.00


Score by Helen Thorington.

“It is against the background of these debates (the demise of avant-garde film) that Barbara Hammer made ENDANGERED, a reflection on the threatened tradition of filmmaking and the independent filmmaker. Hammer’s formal invention and manipulation of film through post-production effects created by optical printing become the means for developing new filmic metaphors. ENDANGERED is a compelling expression of the unique power of celluloid and the filmmaking process. Hammer does not hide behind the process of filmmaking — in ENDANGERED we see her making the film. In her hands, the transformation of film into a poetic and avant-garde art form comes about through the direct manipulation of celluloid.” — John Hanhardt, 1989 Whitney Museum Exhibition Catalogue

Awards: First Prize, Bucks County Film Festival; “Homage to Magellan” Award, Humboldt Film Festival; Cash Prize, Ann Arbor Film Festival; Gold Prize, Onion City Film Festival; Second Prize, Athens Int’l Film Festival; Black Maria Film and Video Festival; Santa Fe Film Expo; Third Int’l Women’s Film Festival, Seattle; Biennial Exhibition, Whitney Museum of American Art.

Barbara Hammer

Sanctus (1990) 16mm, color, sound, 19 min. rental price: 60.00


Sound composition by Neil B. Rolnick.

“In her most recent films, ENDANGERED and SANCTUS, Barbara has addressed the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. I have just recently screened the completed print of SANCTUS, and I was overwhelmed by it. The film is visually exquisite, and replete with symbolic meaning. She has transformed ‘found footage’ — scientific x-ray films from the 1950s — into a lyrical journey, transforming this raw material into a celebration of the body as temple.” — Jon Gartenberg, Asst. Curator of Film, Museum of Modern Art, NY

Roger Hammond

Kerb Drill () 16mm, b&w, sound, 5 min. rental price: 20.00


A filmic transmission of velocity subordinated to specific laws ‘a priori’. The transformations furbished are not immediately apparent. Film’s operations unfold in time (projection original camera time). The structures incurred demand just the slightest effort of reflection (abstract) & introspection…So… –R.H.

Anne Hanavan

I Love Jesus (2003) DVD, color, sound, 3 min. sale price: 50.00


“i love jesus” is an auto-erotic self portrait of the artist. High tone and natural light with clever editing set to a clasic punk sound track makes this piece the quintessential post modern porn.

Michelle Handelman

Safer Sexual Techniques in the Age of Mechanical Reproduction (1988) 16mm, color, sound, 10 min. rental price: 40.00


Working from the premise that there is no such thing as safe sex, this film is designed as an arcane storybook with each sexual act being contained within a 100 ft.-roll of film. A structural film with content, each roll contains layers of sexual illusion amid subliminal messages created by in-camera effects. The soundtrack starts from a single cat’s purr and is manipulated with each sexual act, creating a climatic fever sounding like a buzzing chainsaw.

Michelle Handelman

Homophobia Is Known To Cause Nightmares (1991) 16mm, color, sound, 9 min. rental price: 40.00


A woman imitating a man, imitating himself. Using the cut-up techniques of William S. Burroughs and Brion Gysin, I edited this film using experimental out-takes and guided purely by intuition. The film sat around for a year without a soundtrack. Then, due to a homophobic incident, I plotted my revenge, locked myself in a sound booth and let loose. A revenge film that will have you falling out of your seat.

Michelle Handelman

Hope (1991) video, color, sound, 21 min. rental price: 40.00


co-maker: Monte Cazazza

As skin dissolves and layers of the body are revealed, we become familiar with the flesh. . . its internal working more beautiful than its cosmetic cover. Hope is ambient cinema, evoking the transformative spirit of life after death. Images of blood and bone dissolve into each other with a soundtrack of Tibetan bowls, heartbeats, and irregular rhythms. Awards: 1996 American Film Institute-Sonyvisions of U.S. Award; 1995 Special Merit, Rutgers University S-8 Festival.

Michelle Handelman

CandyLand (2000) video, color, sound, 7 min. rental price: 40.00


Part of Handelman’s studio performance series: “Cannibal Garden,” here she slowly crawls across the floor — the artist as obsessive devouring action machine — consuming pure color in the form of hard crystals. Action and character become real-time animation.

Available as DVD or video formats

Michelle Handelman

History of Pain, A (2000) video, color, sound, 45 min. rental price: 85.00


An experimental narrative about the Spanish inquisition and how it still permeates our current psychosexual cultural milieu. Soundtrack by Psychic TV, Lustmord and Monte Cazazza. “A video odyssey through the jagged landscape of today’s political climate. Centering around a stolen Inquisition-era torture device, the work explores S&M, censorship, art and freedom.” — San Francisco Guardian

Michelle Handelman

I.C.U. (2000) video, color, sound, 2-1/2 min. rental price: 40.00


Part of Handelman’s studio performance series: “Cannibal Garden,” here she approaches the lens as the ultimate object of affection, pulling eyelashes from her mouth and covering the lens; assaulting beauty, artifice and the grotesqueness of glamour.

Available as DVD or video formats

Michelle Handelman

La Suture (2000) video, color, sound, 8-1/4 min. rental price: 40.00


Featuring: Michelle Handelman; Eleni Maravelia; Emily Michailidou; Camera: Michelle Handelman; Paolo RousseausAnimation and Avid Editor: David Nicholson

An attic, a giant sewing needle and an anti-gravity fairy tale of sibling rivalry. Three sisters fight over who gets the biggest phallus in this post-feminist animation-infused playground by media artist Michelle Handelman. If Hans Christian Anderson got a sex change, surfed the porn sites, and hung with the freaky girls, his stories would look like this.

AVAILABLE on DVD or VHS

Michelle Handelman

Michelle Handelman Performance Videos (2000-2001) video, color, sound, min. rental price: 65.00


Featuring selections from “Cannibal Garden”

I.C.U. 2-1/2 minutes; CandyLand 7 minutes; Aliendreamcord 3 minutes; pt.2pt 3 minutes

Available as DVD or video formats

Michelle Handelman

DJ Spooky vs. WebSpinstress M (2002) video, color, sound, 2-1/2 min. rental price: 40.00


Digital Animation

Credits: Produced and Directed by: Michelle Handelman; Music by: DJ Spooky – That Subliminal Kid and The Dub Pistols; Design and Animation by: Lucy Blackwell; Sound Design by : Vincentlanierbaker

This is a new addition to Handelman’s constructed persona series, “The Adventures of Lucky M.” Here her character stars as “WebSpinstress M” a mischievous punk who takes on the culture spin king of the art world, DJ Spooky. From the dregs of outdated technology to the pinnacle of the superbrand, this is a re-spinning of the old spider and the fly tale. A wry look at seduction and art politics in an age of corporate branding; where art and self-promotion feed the timeless race toward fandom.

“I have respun the old spider and the fly tale into a web of digital seduction, using the metaphor of spin to comment on the institutional branding of culture. This piece started as a project for “Test Pattern: Collaborations between visual artist’s and DJ’s” where participants were asked to make visual work inspired by the participating DJ’s. Paul D. Miller aka DJSpooky and I were paired for the exhibit. Paul gave me music to use and I worked with designer/animator Lucy Blackwell to create us as animated characters. For the past few years I have been developing a Superhero/trickster performance character called “Lucky M” and this seemed like the perfect opportunity to bring her into a cartoon format. Vincent Lanier Baker provided the final touches, constructing precision sound effects to articulate cultural metaphors.” — Michelle Handelman 2002

Available in DVD or video formats

Michelle Handelman

i hate you (2002) VHS or DVD, color, sound, 3 min. rental price: 40.00


Riffing off of Nauman’s early performance tapes, Handelman chants this negative affirmation into a song of personal endearment. Simultaneously self-reflexive, self-conscious, meditative and pathetically funny.

Available in DVD or video formats

Ruth Hardinger and Bill Brand

I’m a Pilot Like You (2000) VHS, Color, Sound, 40 Min. rental price: 80.00

“I’m a Pilot Like You” was shot July, 1999 inside and outside 20 North Moore Street where John and Carolyn Kennedy lived. Ruth Hardinger, a sculptor, is a 1st floor resident in this building and was unwittingly trapped by the media frenzy and the public attention that unfolded on the sidewalk in front of the building after the Kennedy plane crashed off Martha’s Vineyard. Made in collaboration with Bill Brand, a nearby neighbor and experimental filmmaker, “I’m a Pilot Like You” looks through the back side of the media mirror to reflect on the clouded boundary between public and private in the weeks immediately following the fatal Kennedy accident.

Taylor Hardwick

Three Film Poems (1964/65) 16mm, color, sound, 22 min. rental price: 25.00


Taylor Hardwick

Crazy-Film (1966) 16mm, color, sound, 9 min. rental price: 20.00


Taylor Hardwick

Pariah (1966) 16mm, color, sound, 29 min. rental price: 30.00


Taylor Hardwick

Gables (1967) 16mm, color, sound, 12 min. rental price: 20.00


Taylor Hardwick

Irisville (1967) 16mm, color, sound, 16 min. rental price: 20.00


Jamie Harrar

Light Rhythms: Three Films Covered Bridge, Elf, At A Falling (1991) 16mm, color, silent, 10-1/2 min. rental price: 20.00


Three films on one reel.

COVERED BRIDGE: All textures and interplay between sunlight and the structure of an old covered bridge.

‘ELF: A creature of the woods comes out to breathe.

AT A FALLING: A reaction to the change in season.

Award: Second Prize, US S8mm Film Festival, 1993

Exhibition: Big As Life, Museum of Modern Art, NY; Anthology Film Archives; Berks Filmmakers; Rutgers University.

Jamie Harrar

Slypefilm (1991) 16mm, color, silent, 3-1/2 min. rental price: 20.00


A “slip” into a narrow Baroque passage.

Awards: Honorable Mention, US S8mm Film Festival

Exhibition: Anthology Film Archives; Berks Filmmakers, Reading, PA; Moviate; Innovision; Rutgers University.

Jamie Harrar

Three Short Films Shirt Tail Ghost, Helen Stitzinger, House (1992) 16mm, color, silent, 10 min. rental price: 25.00


Three films on one reel.

SHIRTTAIL GHOST: A wood-creature poem.

HELEN STITZINGER: Portrait of my Grandmother.

THE THOMPSON-NEELEY HOUSE: A vision of an old Bucks County home George Washington slept at.

Exhibition: Anthology Film Archives; Berks Filmmakers, Reading, PA; Moviate.

Curtis Harrington

Fragment of Seeking (1946) 16mm, b&w, sound, 13-3/4 min. rental price: 42.00


A cinematic portrait of the adolescent Narcissus. –C.H.

“I admire Curtis Harrington’s interpretation of the labyrinth of self-seeking and self-flight — as well as his sense of space, of balance within the symbol. –Anais Nin

Curtis Harrington

Picnic (1948) 16mm, b&w, sound, 22-1/4 min. rental price: 35.00


Beginning in the reality of American middle-class life, this film portrays the idealistic dream-quest of the protagonist, from which he is finally cast back, no longer living, into that same reality. –C.H.

Curtis Harrington

On The Edge (1949) 16mm, b&w, sound, 6 min. rental price: 20.00


(With music by Charles Ives)

In a bleak and desolate landscape, a man desperately atempts to avoid the inevitability of his own Fate. –C.H.

Curtis Harrington

Assignation, The (1952) 16mm, color, sound, 7-1/2 min. rental price: 25.00


Filmed in Venice, Italy, this film is an interpretation of the recurring Romantic theme of Death and the Maiden. –C.H.

Curtis Harrington

Wormwood Star, The (1956) 16mm, color, sound, 10 min. rental price: 25.00


This film presents the personality and work of trhe artist, Cameron. She is seen as an Alchemist, whose work leads to the transmutation of Immortality: the artist herself becomes a figure of gold, gazing upon the spectator with the eyes of Eternity. The voice of Cameron speaks from her Magical Diaries during the visual exploration of her work in film. –C.H.

Hilary Harris

Polaris Action () 16mm, b&w, sound, 10 min. rental price: 20.00


Hilary Harris

Longhorns (1951) 16mm, b&w, sound, 4-1/2 min. rental price: 20.00


Hilary Harris

Generation (1956) 16mm, color, sound, 3 min. rental price: 20.00


Hilary Harris

Highway (1958) 16mm, color, sound, 5 min. rental price: 20.00


Hilary Harris

Draft Card Burner, The (1966) 16mm, b&w, silent, 7 min. rental price: 20.00


This film shows draft card burning demonstrations that took place in New York City during the fall of 1965, relating these incidents to the protests against the draft system & the war in Vietnam. –H.H.

Hilary Harris

Nine Variations on a Dance Theme (1966) 16mm, b&w, sound, 13 min. rental price: 20.00


John Hawkins

LSD Wall (1964/65) 16mm, color, sound, 6-1/2 min. rental price: 20.00


An attempt to reproduce some visual hallucinations while on a trip (a number of years ago), done in the major portion with clay animation. On the average, it took one hour to shoot one-half second’s viewing time. I felt that clay was the best medium to demonstrate what one might see under the drug experience. –J.H.

John Hawkins

Valentine For Marie, A (1965) 16mm, color, sound, 4 min. rental price: 20.00


co-maker: Willard Maas.

A Valentine card from Willard Maas to his wife, Marie Menken, utilizing both animation and live-action photography. A “catch me if you can” game between two real hearts. –J.H.

John Hawkins

Gingerbread (1967) 16mm, b&w, silent, 4 min. rental price: 20.00


A short journey through some small town Victoriana… –J.H.

John Hawkins

Flower Pot (1969) 16mm, color, silent, 5-3/4 min. rental price: 20.00


Jerry Joyner and Gabrielle Maubrie face animated obstacles in a metamorphysical adventure. –J.H.

“The fun-and the only fun-is John Hawkins’ FLOWERPOT, a simple, frisky romp involving a cavorting couple and fresh colorations.” –Howard Thompson, The New York Times, 2/18/1972

Ben Hayeem

Papillote (1964) 16mm, b&w, sound, 10-1/2 min. rental price: 20.00


Every morning a man is born out of a paper bag. He distributes money to the financial world of the Stock Exchange in Wall Street, and disappears into his paper bag again at night. This is the basis for PAPILLOTE, a bizarre fantasy set in some unlikely corners of New York. –B.H.

Third Ann Arbor Film Festival: “The satirical and marvelous surprise of the festival was Benjamin Hayeem’s PAPILLOTE.” –Gregory J. Markopoulos

“Des trois recits, c’est PAPILLOTE de Benjamin Hayeem (U.S.A.) qui se detache du peloton. Ce comique pur, dans la tradition surannee a laquelle les “jeune” decidement reviennent comme a une source ou ils boiront le genie.” –la nouvelle republique

Ben Hayeem

Flora (1965) 16mm, b&w, sound, 6 min. rental price: 20.00


“Made, apparently, by a New York Taxi-driver, this little jeu d’esprit is reminiscent in style of Bob Godfrey’s films with its fragmentary, speeded-up techniques and frenzied pace… entertaining little lark, amusing joke… Suitability: A” –British Film Institute

Ben Hayeem

Extreme Unction (1969) 16mm, color, sound, 6-1/2 min. rental price: 20.00


An attempt to use Slavko Vorkapich’s kinesthetic aesthetic theory of film. –B.H.

Ben Hayeem

Christmas is Naked Turkey (1984) 16mm, b&w, sound, 9 min. rental price: 20.00


How to have a merry Christmas in spite of everything. Hayeem’s worst film. –B.H.

Birgit Hein

Baby I Will Make You Sweat (1995) 16mm, color, sound, 63 min. rental price: 75.00


In this highly personal and intimate travel diary, Birgit Hein has filmed with great candor her problems with aging, her need for tenderness, the frustration of beeing alone and her experience in Jamaica.

Marjorie Heins

Firearms () 16mm, b&w, sound, 6-1/2 min. rental price: 20.00


A universal soldier discovers who he’s really fighting. With Robert Speiser as the Soldiers, the Enemy, the Priest, the Pyromaniac, the Adolescent and the Adman. –M.H.

Marjorie Heins

Places () 16mm, b&w, sound, 7-1/2 min. rental price: 20.00


A call to overthrow the existing social structure in the form of a montage of New York’s Lower East Side, subways, bridges, and Fifth Avenue ruling class glitter. Included is some wistful footage of a farmhouse in Trumansburg, New York. A soundtrack of selections from the World Almanac–statistics of Welfare, U.S. corporate profits, v.s. territorial conquests, etc. -produces an extremely jarring effect. –M.H.

Piero Heliczer

Autumn Feast, The (1961) 16mm, color, sound, 14 min. rental price: 28.00


A grown-up fantasy based on Guy Fawkes Day, the great children’s holiday of England, which is a combination of Halloween and the Fourth of July –P.h.

“The AUTUMN FEAST lays bare (there should be something that rhymes with hair here or bare there) the mythic structure behind the orange domes and cardboard battlements and gilded gables of our Pasty National Howard Johnson Baghdad… It rubs the very noses of our mannequins in our own mold and sends us spinning into the street –undone and toothless.” –Jack Smith

“THE AUTUMN FEAST was conceived as the visual track to one of Heliczer’s poems. It combines film, still photography, and comic book speech balloons, and shows Heliczer sitting with friends, visiting a butcher shop, carrying a mannekin across town, and picking stranded wood on the shore.” –Juan A. Surez

Piero Heliczer

Bessie Smith () 16mm, color, sound, 6 min. rental price: 20.00


Which religion is the true one? None of them –P.H.

Piero Heliczer

Dirt () 16mm, color, sound, 12 min. rental price: 30.00


“Among all the new movies (it has been quiet lately on the underground scene) Piero Heliczer’s Dirt touched me most deeply. Its beauty is very personal and lyrical. And every frame of it is cinema. I can do not justice to this beautiful work in one paragraph. It was shot on 8mm and much of its beauty and its cinema come from 8mm properities of camera and film. It is all motion. Together with Brakhage’s Songs, Branaman’s abstractions and Ken Jackob’s not yet released work, Heliczer’s Dirt is one of the four works that use 8mm film properly and for art’s sake” – Jonas Mekas, Village Voice.

“At the beginning of his career, Piero Heliczer’s circle included Angus McLise (his high school buddy), Tony Conrad, and Andy Warhol. He wrote poetry, made films and organized performances and “expanded cinema” shows that included simultaneous live music, dancing, and poetry reading. His films are, in part, extremely elusive visual poems and in part demented home movies. They were shot in 8mm and often designed to be shown at silent speed. In Filmmakers Cinematheque programs from the mid-1960s DIRT is described as a lengthy work featuring Jack Smith, Mario Montez, Harry Smith, Andy Warhol, and Edie Sedgwick, among many others. The preserved fragment has a much smaller scale and none of the celebrity cast, yet is still fascinating. It starts with a color sequence with two nuns (men in nun drag) ambling about the city and ends with these nuns on a ferry standing next to a beaming sailor. In between there are some overexposed swish pans of high-rises, snippets from THE BRIDE OF FRANKENSTEIN, and a poetic scene, in a bluish tint, of two women taking a bath together.” –Juan A. Surez

Piero Heliczer

Robin Hood () 16mm, color, sound, 30 min. rental price: 50.00


Considered to be Mr. Heliczer’s most experimental film –P.H.

Piero Heliczer

Soap Opera, The (1964) 16mm, color, sound, 13 min. rental price: 30.00


At home in a small loft in the early days of the Golden Age of the Lower East Side –P.H.

“SOAP OPERA is disjointed, with shots of children at play in what looks like a tenement backyard, an overexposed sequence of a dancer indoors, takes of a group of friends lying down, smoking, and chatting in a grimy interior, footage shot off a TV screen, and views of a country landscape upside down, and it ends with two motorcyclists riding in circles.” –Juan A. Surez

Piero Heliczer

Stone Age, The () 16mm, color, sound, 30 min. rental price: 50.00


“The question is, it is either going to be a stoned age or a new Stone Age” – Louis Brigante

Piero Heliczer

U.S.A. vs. Piero Heliczer () 16mm, color, sound, 10 min. rental price: 200.00


Mike Henderson

Dufus () 16mm, b&w, sound, 8 min. rental price: 20.00


“Henderson movies are the first movies in the world to bring the authentic ‘talkin blues’ tradition into film, THE LAST SUPPER and DUFUS are illustrated funky blues. His films are the best that I’ve seen anywhere in a long time.” –Robert Nelson

Mike Henderson

Last Supper () 16mm, color, sound, 25 min. rental price: 30.00


“The film’s concept of the last supper as a hippie orgy is even more blasphemous than Luis Bunuel’s shattering recreation of it in VIRIDIANA” –Stanley Eichelbaum, S.F. Examiner

Leonard M. Henny

Black Power-We’re Goin Survive America () 16mm, color, sound, 15 min. rental price: 25.00


Produced by Leonard M. Henny in cooperation with the Black Panther Party and American Documentary Films. Camera by Steven Lighthill and Leonard Henny. Editing by Kees Hin. Speech by Stokely Carmichael. Dancing by Uzozi Aroho Dancers and Company, Birth of Soul Dancers. Portrait of the struggle for black liberation, the African heritage of American blacks, the need to form a Black United Front in order to survive the threats of white racism in America and in the world today.

The speech by Stokely Carmichael was given at the occasion of the merger between the Student Non-Violent Coordinating Committee (SNCC) and the Black Panther Party in Oakland, California, February 1968. The merger took place on the birthday of Huey P. Newton, Minister of Defense of the Black Panther Party, who was jailed for allegedly having killed a policeman. The speech ends with the famous: “Huey Newton will be set free, or else ….”

Leonard M. Henny

But What Do We Do? () 16mm, color, sound, 18 min. rental price: 25.00


Many scientists and engineers who work on military R & D projects became concerned about the contributions of their work to the United States’ role in the Vietnam war and the military and industrial organizations that create the capability to wage such a war. BUT WHAT DO WE DO? is the true story of how one engineer became aware of the consequences of his work and grappled with and resolved the growing contradiction between his personal convictions and his work. The role of the engineer is played by the engineer who actually went through the experience described. The film shows how various events affected the engineer’s thinking: the news of the war in Vietnam, an introduction to the concept of non-violence by Joan Baez, student demonstrations against military contractors and “peace games” of non-violent civil defense.

BUT WHAT DO WE DO? challenges students, engineers and scientists to face up to the moral and political choices they must make when seeking employment, and confronts already-employed engineers and scientists with the necessity of taking responsibility for the consequences of their work.

Leonard M. Henny

Dead Earth () 16mm, color, sound, 20 min. rental price: 25.00


“An ecology film which links together the issues of the survival of our environment with the issues of corporate irresponsability and the devastating effects of the war, both in S.E. Asia and at home. In Vietnam we are destroying the countryside with our defoliation program. At home we dump wastes from the production of herbicides into the communities of blacks and the poor who live in the neighbourhoods adjacent to the chemical companies that produce 2-4-5 T and 2-4 D components.” –noted ecologist Barry Commoner

Leonard M. Henny

Peace Pickets Arrested For Disturbing The Peace () 16mm, color, sound, 6-3/4 min. rental price: 20.00


A film by Leonard Henny. Singing, clapping, speak-out: Joan Baez; Songtext: Bob Dylan; Reporting: Colin Edwards; Editing: Kees Hin.

This documentary depicts the preparations for and the development of the October 1967 non-violent, anti-draft demonstration at the Oakland Induction Center that led to the arrest of Joan Baez and 20 pacifists.

Leonard M. Henny

Resistance, The () 16mm, color, sound, 16-1/2 min. rental price: 25.00


Produced by Leonard Henny in cooperation with the Peace and Liberation Commune and the Committee for Draft Resistance in the San Francisco Bay Area. Camera by Leonard Henny. Editing by Kees Hin. Speak-out by David Harris and members of The Resistance. Complicity statements by friends of The Resistance. Songs by the band of the Peace and Liberation Commune, Palo Alto. Rock music by The Charletans. Theatre by The San Francisco Mime Troupe. This film was produced to be shown on the summer project of The Resistance, 1968. A truck with a projection screen and sound installation traveled across the US to spread the word about The Resistance and to show the people in the country the alternatives before them. Over and above their non-cooperation with the draft, members of The Resistance searched for a new form of society, a new attitude towards fellow people in the world and a new approach to what is worth doing with our lives.

Leonard M. Henny

Schizophrenia of Working For War, The () 16mm, color, sound, 32 min. rental price: 40.00


This film portrays the dilemma of engineers who, although opposed to the war in Vietnam, were weapon-makers, employed at some of the most prestigious California institutions, specializing in war-materials production. The film presents their stories. The men play themselves.

The analysis distinguishes three types of response to the dilemma: the rationalizer, the drop-out and the organizer. The rationalizer: “we don’t make killing weapons; we make protective devices for the planes, to confuse the enemy radar. We don’t kill people so to speak, our instruments are designed to save the lives of pilots ….”

The drop-out actually decides to quit his job …. The third person, the organizer, opposes the war openly …. He is subsequently fired, but later becomes one of the prime organizers of the Technology and Society Committee (TASC), a California non-profit organization which helped defense engineers to shift to peace-oriented employment.

This film is not just about weaponmakers. It is about the dilemma of anyone who finds himself opposed to the system he lives in and works for.

Leonard M. Henny

Vietnam Veteran () 16mm, color, sound, 17 min. rental price: 20.00


co-maker: Kees Hin.

Though the Vietnam war has come to an end, we are still faced with the conditions that made the war possible.

A black veteran returns to the United States, to find that the ‘freedom’ which he defended overseas does not apply for him at home. After a three-year search for steady employment, the veteran is pushed to taking the law in his own hands. When he attempts to steal car, the police are immediately at the scene, and the former was hero is killed instantly in the streets of America. –L.M.H.

Leonard M. Henny

Dead End Street? (1970) 16mm, color, sound, 11 min. rental price: 25.00


Lonnie Ward, an ex-convict and Black Panther, experiences college life in America. He helps found a Black Student Union, which creates a political storm on campus. Later he goes back to the black community to help bring black consciousness to his friends who didn’t go to college.

Leonard M. Henny

Why Worry? (1972) 16mm, b&w, sound, 24 min. rental price: 20.00


If we stop technology today, our society will collapse tomorrow. If we continue present technology, our earth will become uninhabitable. –L.M.H.

Leonard M. Henny

Getting It Together (1973) 16mm, color, sound, 18 min. rental price: 25.00


co-maker: Jan Boon.

This is a film on Larry Eigner, poet. Larry was born in Swampscott, Mass. Due to ill birth he cannot walk and can hardly speak or write. Yet, in spite of handicap, his poetry continues to flow and is widely published and read in both America and in Europe. Larry Eigner can communicate with the world only by dictating his poems to his mother and to his brother, Joe-who are the only ones who can understand him. In recent years he has begun to learn a technique of one-finger typing. –L.M.H.

Abbie Herrick

Ghosts (1974) 16mm, b&w, sound, 9-1/2 min. rental price: 25.00


Abbie Herrick

Prey (1974) 16mm, b&w, sound, 5 min. rental price: 20.00


The strategy of a woman in a mortal confrontation with a rapist, told in surrealistic style. –A.H.

Abbie Herrick

Fifty Years: An Album (1975) 16mm, b&w, sound, 14-1/2 min. rental price: 25.00


Have you ever wanted to look through old albums and diaries to see how people were years ago? Old films, snapshots, and animation with diaries as commentary, show three generations of a family (1915-1965) and the world around them from Wold Wars to World’s Fairs, Vietnam and the assassination of JFK. –A.H.

Abbie Herrick

Mugging (1979) 16mm, b&w, sound, 2-1/2 min. rental price:


N.B. MUGGING is available free when two or more Abbie Herrick films are rented.

A comic ‘documentary’ of a different kind of mugger. –A.H.

Abbie Herrick

Dinner for Two (1980) 16mm, b&w, sound, 5-3/4 min. rental price: 20.00


A comedy of two women who try to make ends meet. –A.H.

Abbie Herrick

Carnivore (1983) 16mm, b&w, sound, 14 min. rental price: 30.00


The story of how humans lived after WWII as told by two survivors centuries later. –A.H.

Bob Herrman

Images of the King () 16mm, color, sound, 3 min. rental price: 20.00


“A beautiful film…crude at spots, but very tight and evocative. A lot of in-camera superimpositions, fade-outs with plastic filters and lens-stopping; in-cameramatte-ing by taping up the aperture. False notes and authenticity. The track, tho, is another matter.” –Wheeler Dixon (1974).

Isa Hesse-Rabinovich

Spiegelei () 16mm, color, sound, 6-1/2 min. rental price: 20.00


A woman awakens from a horrible nightmare to find herself in an even worse situation. –A.H.

Isa Hesse-Rabinovich

About a Tapestry (1973) 16mm, color, sound, 9-1/2 min. rental price: 23.00


In Hermann Hesse’s study hung a colorful tapestry composed of birds, beasts, trees and flowers. The flora and fauna represented a universe of harmony, the celebration of life, woven by delighted hands. Its praise and influence upon his work are evoked in the words from Hesse’s own journal.

‘On the wall of my studio hangs a tapestry…’ So begin the words of Hermann Hesse in writing about his favorite tapestry. Isa Hesse-Rabinovitch, his daughter-in-law, has filmed the tapestry and used his words to describe its beautiful folkloric and dream-like forms. The viewer thus enters the philosophical world of Hermann Hesse. –I.H.R.

Isa Hesse-Rabinovich

Julie from Ohio (1978) 16mm, color and b&w, sound, 28-1/2 min. rental price: 45.00


JULIE FROM OHIO is a reconstructed journey recorded in dreams and impressions in Julie’s notebook. Julie lives in New York and works as a call-girl, waitress, yoga teacher, and model. In an effort to gain objectivitym she leaves New York to visit relatives in the Abruzzi region of Italy. Her sense of time becomes blurred as she visits cemeteries and museums and looks at old family photos. She finds her strongest sense of certainty in the symbols of the Tarot, whose constancy among the anachronisms around her remains unchanged. As she recalls her life in New York, she gradually begins to understand her shifting sense of values and, shortly before she leaves Italy, she finds and abandoned tower in whose scribbled-on walls she seems to recognize symbols of her past and of what her future might become. –I.H.R.

Isa Hesse-Rabinovich

Siren Island (1981) 16mm, color, sound, 96 min. rental price: 140.00


SIREN ISLAND is a real find-stream-of-consciousness from Switzerland. Director Isa Hesse-Rabinovitch creates a moviegoer’s ‘Morpehus Descending,’ a dream trip on stepping stones of the drugged self into an Underworld/Underground of floozy female ‘chanteuses,’ drag acts and the lunatic fringe of showbiz. Mostly set in New York but also slithering for surreal variation through the skull-piled catacombs in Rome, this narrative fantasia is pure association-of-ideas in film form. (…) –Harlan Kennedy, 1982 Venice Film Festival, Film Comment

Dick Higgins

End, The (1962) 16mm, b&w, sound, 12 min. rental price: 20.00


A satire on business. We see a distinguished business man speaking gibberish, telephone ploes being ripped down to make room for beautiful farmlands, prices tumbling. I hoped the end would justify the means. –D.H.

Dick Higgins

Hank and Mary Without Apologies (1962/70) 16mm, color, sound, 17-1/2 min. rental price: 50.00


This film belongs to Higgins’ ‘hard series’, meaning that the formal structure is relatively inflexible. The colors shift from the normal to their complements, producing extraordinary after-images, and this is done to a pulse by means of over 3000 splices to the films. The sound is from a tape recording of the Ray Gun Specs at the Judson Church in 1960, and in which Higgins was one of the featured Happenings artists. –D.H.

Dick Higgins

Flaming City, The (1963) 16mm, color, sound, 121 min. rental price: 150.00


An anti-semantic love story about a marvelous part of New York City and the people who lived there as the city is destroyed so are they, except that both are indestructible. Reel 3 uses extraordinary technical effects. –D.H.

Dick Higgins

Invocations of Canyons and Boulders for Stan Brakhage (1963) 16mm, color, sound, 1 min. rental price: 20.00


“Higgins’ movie is a five-foot loop showing a closeup of a man (Higgins himself) chewing some imaginary object…started at 8 p.m. and at 1 a.m., when I left, it was still running… INVOCATION is Higgins’ Satie movie… the purest attempt to clear art from any or all historical, esthetic, thematic, ornamental claptrap to regain the lost-eye consciousness.” –Jonas Mekas

Dick Higgins

Scenario (1968) 16mm, color, sound, 11 min. rental price: 20.00


The scenario for what might have been quite a beautiful films is projected as a text. In between the blocks of text, two small girls romp, as if from another movie altogether. –D.H.

Dick Higgins

Mysteries (1969) 16mm, b&w, sound, 8 min. rental price: 20.00


A double murder is committed–presumably. A sleepwalker is unaware where she is going or what the consequences of her actions are–presumably. The law investigates–presumably. Nothing is solved, or is it? Is there a suicide at the end? More mysterious than narrative. –D.H.

Gerrit Hilhorst

Film (for Jasper Johns) () 16mm, color, , 4 min. rental price: 20.00


A silent color film — 26 transparent images to Jasper Johns.

Gerrit Hilhorst

Single Roll Revolution () 16mm, b&w, sound, 29 min. rental price: 64.00


A single filmstrip used as interlocking A & B rolls, printed first from head to tail and then from tail to head. The result is a constant meshing of beginning and ending in an aural/visual dialectic concerning the individual and his conscience and society and its rulers. –G.H.

Jerome Hill

Death in The Forenoon or Who’s Afriad of Earnest Hemingway (1933/65) 16mm, color, sound, 2 min. rental price: 20.00


A party of other world creatures breaks up a bull-fight. –J.H.

“I must tell you that Peter Kubelka (who is staying with us this month) (and who is, to my way of thinking, the greatest ‘perfectionist’ of the film medium and, thus, finds it very difficult to ‘like’ anything but his work, a few of mine, and one or two other films in the whole world) DID like your film and was much interested in this unique effect you’ve created..what I call the ‘back-space.’ I think the children were actually tempted to look behind the screen – I mean that there is such a play between the shapes you’ve painted and those photographed that the former do very much seem in a different ‘plane’ and definitely as if emerging from behind.” –Stan Brakhage in a letter to Jerome Hill

Jerome Hill

Albert Schweitzer (1957) 16mm, color, sound, 81 min. rental price: 120.00


The definitive cinema biography of the Nobel Peace Prize winner. — Noel Productions

Academy Award: Best Documentary Feature of 1957

Jerome Hill

Sand Castle, The (1961) 16mm, color and b&w, sound, 65 min. rental price: 100.00


“A story of an afternoon in a boy’s life. It is a double film. What occurs in his waking consciousness is in black and white, and what he dreams is in color.” –Noel Productions

Jerome Hill

Open The Door And See All The People (1964) 16mm, b&w, sound, 82 min. rental price: 100.00


“The film in appearance is a complete unbridled fantasy- a poem of the ‘absurd’ whose complete sense is by no means apparent at the first viewing. If one wants to go along with it one cannot help but be own over progressively by the delicate euphoria.

We are in the blessed kingdom of the unexpected, of the unpredictable. (…) — Telerama, Paris

Jerome Hill

Schweitzer and Bach (1965) 16mm, color, sound, 13-1/2 min. rental price: 30.00


Albert Schweitzer plays phrases and explains to a friend how he thinks Bach should be played — Noel Productions.

Jerome Hill

Artist’s Friend, The (1966) 16mm, color, sound, 4-1/2 min. rental price: 20.00


Filmed in Cassis, France. It is about Man and Machines. — Noel Productions

Jerome Hill

Canaries, The (1968) 16mm, color, sound, 4 min. rental price: 20.00


A lesson in love-making. Handpainted animation on film. — Noel Productions

Jerome Hill

Merry Christmas (1969) 16mm, color, sound, 3 min. rental price: 20.00


Christmas comes to New York together with Joseph and Mary on a donkey. Animation. — Noel Productions

Jerome Hill

Film Portrait (1970) 16mm, color, sound, 80-1/2 min. rental price: 120.00


“Jerome Hill’s film FILM PORTRAIT is one of the key works in the comparatively new genre of the diary film, the autobiographical film. It’s a genre of film where the author works basically with the footage that comes from close around his life. By means of this footage, he leads us into the period of the class from which he comes, or into his own ideas. In this particular case, among many other things, through the FILM PORTRAIT, Jerome Hill leads us into a social background that is not only very uniquely American but which also is about the least documented in cinema-at least not as genuinely as Jerome Hill does it in his film: the life, the feeling, and the style of the well-to-do American class at the beginning of the century. Specifically, the film deals with the family of James J. Hill, the family that built the railroads of America, and the development of Jerome Hill himself as a Young Man and an Artist. Since the period dealt with in this film coincides with the development of Cinema as a Young Art, and the development of the Avantgarde Film as a form of cinema, FILM PORTRAIT becomes also a film about the art of cinema and a film about the Avantgarde Film… It’s about the liberation of an artist from the bonds of his family, his class, the fashionable art styles, and one thousand other bonds: a liberation through cinema…” –Jonas Mekas

Henry Hills

George (1976/88) 16mm, color and b&w, silent, 2 min. rental price: 20.00


When I recently moved, I found the “lost” original of this optically printed portrait of George Kuchar smoking (with Melinda McDowell and Virginia Giritlian): four or more scenes progressing simultaneously through frame alternation.

Henry Hills

Porter Springs 3 (1977) 16mm, color, silent, 5-1/2 min. rental price: 20.00


These beautiful, intricately animated reflections were unfortunately shot in ECO which has proved to be remarkably unstable, turning blue before I had an internegative made. Therefore, this is one of only three prints of this “elegant and serene experience” (Pat O’Neill).

Please handle with care!

Henry Hills

North Beach (1978) 16mm, color and b&w, silent, 10-1/2 min. rental price: 25.00


Documentary of my neighborhood of three years. The lamp at the end of the alley between Molinari Delicatessen and Rossi Market (view from Roma) as christological numen mediating between the Above and the Below. Above: the stairs behind my “illegal” at 1735B Stockton. Moving out. Columbus Day Parade: serpent. Below: the hills as Nestle’s Crunch.

“NORTH BEACH is a beautiful film. The human race should stick around to enjoy it. It’s all cinema, all experience. No ‘problems,’ art in-jokes, other fashionable bluffing. Hills composes, orchestrates. The film’s a concentrate of rhythmic invention, solid work, shapely; gorgeous.” — Ken Jacobs

Henry Hills

North Beach 2 (1979) 16mm, color, silent, 9-1/2 min. rental price: 25.00


A re-edited version of NORTH BEACH; more frenetic, more out there, more ’80s. “It is interesting to note that this tendency toward design, so prominent in ’70s filmmakers like Hills, currently have connotations of hard-mindedness, rigorousness and even asceticism, whereas in other times such a preoccupation with pattern would more often than not be associated with mere decoration, hedonism, frivolousness and irrationalism.” — Noel Carroll, The Soho Weekly News

Henry Hills

Kino Da! (1981) 16mm, b&w, sound, 4 min. rental price: 20.00


Shot in sync with wind-up Bolex. Sound recording: Mark McGowan.

Portrait of North Beach Communist cafe poet & gentle comrade, Jack Hirschman.

KINO DA! (ah, ke, ke) KINO DA! The Dead die die dada low king quanto zong MOVE! (ur, ur) Grey todays it-a clear to the quick ear, quicker z’heels The Poe (pay, po, pee, pick-pick), nuf of “D” yet Call Vertov (beep, beep) Eisenstein even & viterulably cheeness of a ram innerwear (airs; hen) Time, Time, Money d-d-d- junk rock did travel & falls (spring) Fall Spring is the simplest inflationary dime. Be in everything Joy, in experimental & (thus) proletarian & wwea air of airs at this school of po’try-painting CUT! “To know toe no! no! MONTAGE (nadazha), in any instant (instant) of the writing of Stein & the facts of that (tle) kind. FEEL IT! (the steak) yes, ache, in trends & whatevers. Mmmm-pah-ah Cops, man in case (nnn), man nnn. (KO) be-a mayu po pony; .(KO) be-a (what?) o-long kind.

GO! (be what) OM, prose, Pentacost; be what this there the (pause) & (serious pause) the neb with a gram of ire illia-it’s still justs Jah.

Viparko r-rrr re ad adici, yes! YES!

ssssssssssane! mmmm keybo z’Kruchchev.

Henry Hills

Plagiarism (1981) 16mm, color, sound, 9 min. rental price: 25.00


A raw documentary of the New York “language poets” in their milieu, with Bruce Andrews and Charles Bernstein (co-editors of L=A=N=G=U=A=G=E), James Sherry and Hanna Weiner.

Henry Hills

Radio Adios (1982) 16mm, color, sound, 10-1/2 min. rental price: 30.00


Starring: Hannah Weiner, Diane Ward, Sally Silvers, Jemeel Moondoc & Muntu, Aline Mayer, Jackson MacLow, Abigail Child, Charles Bernstein, Bruce Andrews and Rashied Ali on drums, with George Kuchar as a Maoist revolutionary.

A superabundance of useless information effectively subdues freedom of speech. Condense and survive!

RADIO ADIOS is a monologue in 12 plaited strands; an extremely precise, condensed and intensely rhythmic Busby Berkeleyish spectacle of an examination of conversational and literary language over a fair range of vocal timbre, microphones, volume settings and single-system sync peculiarities and its dissolution into music to the accompaniment of simultaneous Manhattan ambiences punctuated by fragments of jazz … personalized handheld camera movement, movement from cut to cut — juxtapositions of scale, pulsating changes in light intensity, a varying palette of various filmstocks, generations, etc., at an appropriately furious pace and in strict one-track sync … offering simultaneously several levels of apprehension or interpretation to encourage multiple viewings. Text published in O.ARS/3: Translations (Cambridge, 1983).

Brakhage says it’s real.

Henry Hills

Money (1985) 16mm, color, sound, 14-1/2 min. rental price: 40.00


Starring: John Zorn, Diane Ward, Carmen Vigil, Susie Timmons, Sally Silvers, Ron Silliman, James Sherry, David Moss, Mark Miller, Arto Lindsay, Pooh Kaye, Fred Frith, Alan Davies, Tom Cora, Jack Collom, Yoshiko Chuma, Abigail Child, Charles Bernstein, Bruce Andrews.

Filmed primarily on the streets of Manhattan for the ambient sounds and movements and occasional pedestrian interaction to create a rich tapestry of swirling colors and juxtaposed architectural spaces in deep focus and present the intense urban over-flowing energy that is experience living here. MONEY is thematically centered around a discussion of economic problems facing avant-garde artists in the Reagan era. Discussion, however, is fragmented into words and phrases and reassembled into writing. Musical and movement phrases are woven through this conversation to create an almost operatic composition. Give me money! “If time is money, this 15-minute film is a bargain.” — J. Hoberman, The Village Voice

“Henry Hills’s most recent superspliced effort is MONEY, a speedy think-piece on cash and chaos in post-capitalist New York. — It’ll titillate your retina.” — Katherine Dieckmann, NY Talk

Collections: Museum of Modern Art, NY and the Donnell Media Center collection of the NY Public Library.

Henry Hills

SSS (1988) 16mm, color, sound, 5-1/2 min. rental price: 20.00


A dance film, starring Pooh Kaye, Sally Silvers, Lee Katz, Harry Sheppard, Kumiko Kimoto, David Zambrano, Ginger Gillesbie, Mark Dendy and others, with music improvised by Tom Cora, Christian Marclay and Zeena Parkins. Filmed on the streets of the East Village and edited over three years.

Henry Hills

Igneous Ejaculation (1990) 16mm, color, sound, 0-1/2 min. rental price: 20.00


A gift to John Zorn who thought my first Naked City video (GOTHAM) was not hardcore enough. An overflowing performance by Desiree Costeau. –H.H.

Henry Hills

Bali Mecanique (1992) 16mm, color, sound, 17 min. rental price: 50.00


Starring the dancers from the Tirta Sari, Gunung Sari and Samara Jati gamelan orchestras of Peliatan.

BALI MECANIQUE is a two-part, self-reflective study of the dance and rhythms of life in Bali, combining experimental film techniques with documentary-style footage. The first section presents a complete Legong dance intercut with footage of Odalans (temple celebrations) and sacred architecture, building into an increasingly frenetic collage as the dance reaches its crescendo. In contrast, the second section weaves together footage of lush rice terraces and the “erotic bumblebee” of the Oleg Tambulilingan dance to give a humorous literalization of the “other” vision of Bali; the Westerners’ paradise on Earth, set to the original record of “Bali Hai” from South Pacific, which the filmmaker grew up on and recently found in a stack of discs on the floor of a closet in his parents’ house. The film ends with the famous Kris dance of Batubulan as it is performed today.

Henry Hills

Goa Lawah (1992) 16mm, b&w, sound, 4 min. rental price: 25.00


An eerie journey into the famous holy bat cave of Eastern Bali.

Henry Hills

Little Lieutenant (1994) 16mm, color, sound, 7 min. rental price: 30.00


Made with Sally Silvers.

LITTLE LIEUTENANT is a look back at the late Weimar era with its struggles and celebrations leading up to world war, a period piece. Scored to John Zorn’s arrangement of the Kurt Weill song, “Little Lieutenant of the Loving God,” and drawing its imagery both from the original song and its somewhat idiosyncratic rearrangement, the film presents an internal reading of Silvers’ solo scored to the same musical piece, “Along the Skid Mark of Recorded History.” Closely following the Zorn arrangement, the film was storyboarded in 30 scenes (the arrangement changes approximately every four measures) and principally shot in a small studio employing rear projection, with foreground movement choreographed to interact with the projected imagery which reflects themes apparent in the song and its arrangement (Weimar cabaret scenes, labor footage, empty industrial landscapes, water, slides of moody photographs by James Casebere, a kinescope of Silvers’ performance of the solo at the Joyce Theatre, battle newsreels, Walther Ruttmann’s film Berlin: Symphony of a Great City, and a restructured animation, The Youth Machine). Silvers and Cydney Wilkes portray dual aspects of the Salvation Army Lieutenant who sang the song in the Brecht/Weill play Happy End, with Kumiko Kimoto, Leonard Cruz, Pilar Alamo and Toby Vann.

Awards and Exhibition 1994-1995: Manheim Film Festival; Silver Prize, Eye on Dance, NY; Rotterdam Film Festival; Director’s Award, Black Maria Film and Video Festival; Singapore Film Festival; Cleveland Film Festival; Image Forum, Tokyo & Osaka; Second Prize, Big Muddy Film Festival; Onion City Film Festival; Kodak Award, Sinking Creek Film & Video Festival; Conspiracies, NY; Latavia; Dance Screen, Lyon; Viper, Lucerne; Ljubljana; FIPA, Nice; SxSW Film and Media Conference; and Short Film Mart, Cannes Film Festival.

Henry Hills

Heretic (1995) 16mm, color, sound, 15 min. rental price: 50.00


HERETIC, or The Genius Preview, is composed from outtakes from the 1992 Joe Gibbons/Emily Breer feature THE GENIUS, and stars Gibbons, Karen Finley, Adolphus Mekas, Henry Hills, Mark McElhatten, Tony Oursler, Keith Sanborn, and Jennifer Montgomery, with original music by Naked City (“HERETIC, the original movie soundtrack,” available on AVANT Records, disk UNION R-250225), original titles, some rephotography off the original videos, and original narration performed by Frank Snider. A study of editing and its relation to the mechanics of the brain, HERETIC initially poses as a preview to the Gibbons film which it then deconstructs and reforms into a satire on psychotherapy.

Henry Hills

Mechanics of the Brain (1997) 16mm, color, sound, 20 min. rental price: 100.00


Made with Sally Silvers.

The film stars dancers Sean Curran, Kate Gyllenhaal, Phillip Karg, Alejandra Martorell, Sally Silvers, and Laura Staton, with narration by Fiona Templeton (reading selected sentences from The Oxford Companion to the Mind). The original music score by John Zorn is available on CD as Filmworks VI 1996 (Tzadek 7308).

“Interesting to see how Henry’s accommodation in terms of longer duration of shots meshed with the fragmentation of [Sally’s] phrases to produce an analog for neuron firing and assorted inexplicable meta-techno-behaviourist follies while sending up the smug labors of the laboratory. I thought it was beautifully realized, very funny and scary, a sort of souped-up pataphysical exercise for the millennium crossed with Hollywood horror genre. Pavlov’s dog was heart-rending and the soundtrack was fabulous.” — Yvonne Rainer

On one level I conceived of our film as a “remake” of the Pudovkin’s 1926 documentary (of the same name) on Pavlov’s experiments — in the postmodern Hollywood sense (like the remakes of famous noirs and TV shows where a knowledge of the original is presumed and thus the “story” is just a vehicle for making a statement on the current state of movie perception). Our MECHANICS is a dance film in the guise of science documentary, an exploration of relationships between film and video, a shadowplay giving a literal presentation of the “mechanics” of the brain, an advanced rhythmic structure extending the art of film into future possibilities through an organic development of new methods of information management. Science films made with the most serious attempt to explain complex processes to a general audience at a point in time tend to look ridiculous when viewed several decades later; with our MECHANICS OF THE BRAIN, we speed this process up.

Henry Hills

Porter Springs 4 (2000) 16mm, color, sound, 14-1/2 min. rental price: 75.00


Remake of my first (1975) film, composed from footage shot on summer vacation in the North Georgia mountains over 20 years (reversal, negative, 8mm, super-8, 8mm video, mini-DV & old photos), with an audio track composed from the video sync, ambient recordings, and a tape I made in highschool of my uncle telling stories and playing piano & of selections from his record collection that we listened to on family vaction in my childhood. The sadness of my father growing old & feeble, my only footage of my dead sister and grandmother (Gonga) and of my log cabin (the Bug House) which was struck by lightning and burned to the ground in 1990, memories of my two ex’s, eternal nature, ensless walks in the woods, building my new cabin and dream time there, and various typical family scenes, assembled and presented in the rhythms of my mind and body.

Henry Hills

Next Stop (2002) color, sound, 10 mins. rental price: 40.00


Vienna as seen riding the old trams, beautiful and slightly claustrophobic.

Henry Hills

Mechanics of the Brain (1997) 16mm, color, sound, 20 min. rental price: 100.00


Made with Sally Silvers.

The film stars dancers Sean Curran, Kate Gyllenhaal, Phillip Karg, Alejandra Martorell, Sally Silvers, and Laura Staton, with narration by Fiona Templeton (reading selected sentences from The Oxford Companion to the Mind). The original music score by John Zorn is available on CD as Filmworks VI 1996 (Tzadek 7308).

“Interesting to see how Henry’s accommodation in terms of longer duration of shots meshed with the fragmentation of [Sally’s] phrases to produce an analog for neuron firing and assorted inexplicable meta-techno-behaviourist follies while sending up the smug labors of the laboratory. I thought it was beautifully realized, very funny and scary, a sort of souped-up pataphysical exercise for the millennium crossed with Hollywood horror genre. Pavlov’s dog was heart-rending and the soundtrack was fabulous.” — Yvonne Rainer

On one level I conceived of our film as a “remake” of the Pudovkin’s 1926 documentary (of the same name) on Pavlov’s experiments — in the postmodern Hollywood sense (like the remakes of famous noirs and TV shows where a knowledge of the original is presumed and thus the “story” is just a vehicle for making a statement on the current state of movie perception). Our MECHANICS is a dance film in the guise of science documentary, an exploration of relationships between film and video, a shadowplay giving a literal presentation of the “mechanics” of the brain, an advanced rhythmic structure extending the art of film into future possibilities through an organic development of new methods of information management. Science films made with the most serious attempt to explain complex processes to a general audience at a point in time tend to look ridiculous when viewed several decades later; with our MECHANICS OF THE BRAIN, we speed this process up.

Henry Hills

Nervous Ken (2004) DVD, color, sound, 20 min. sale price: 100.00


In NERVOUS KEN, experimental film legend and long-time Tribeca resident Ken Jacobs is interviewed by an urbane 12-year old from the Upper West Side, Emma Bernstein. Envisioning an exploration of the nature of listening (of apprehending or not, remembering or not, & creating meaning) and of the repetitions & variations of verbal expression and its accompanying often-emphatic physical gesturing as a basis for making visual music, Henry Hills employs the full range of temporal manipulation available within the digital realm, exploiting the unique corners which differentiate DV from 16mm, though including frequent references to themes & techniques from Jacobs own work within the arcanum of film. The musical score is derived through permutations of the sync track. This is the first released section from the ongoing series, EMMAS DILEMMA, which follows its protagonist through numerous encounters with a range of artists in a search for identity spanning her entire teen years. –H.H.

Henry Hills

King Richard (2005) DVD, color, sound, 20 min. sale price: 100.00


KING RICHARD is a portrait of New York avant-garde playwright Richard Foreman in his Ontological-Hysteric Theatre. Focusing on the periphery of a recent production–the elaborate set design and lighting, the non-speaking supporting cast (the so-called “stage crew”) with their frantic movement patterns, props and recurrent imagery, removed from their specific context; i.e., those elements that are “typical” of his recent work, rather than the principals & texts which distinguish one play from the next–Hills utilizes a range of disruptive shooting & editing techniques (as well as color & density alterations) which mimic disruptive theatrical tropes Foreman frequently draws upon to emphasize his non-narrative bias and humorously aggressive relation to his audience. This strand interweaves with a charming yet revealing interview on the set by pre-teen protagonist Emma Bernstein around which the piece is structured. Music is arranged using a selection of Foreman’s sound loops. –H.H.

Will Hindle

Non Catholicam (1957/63) 16mm, b&w, sound, 9-1/4 min. rental price: 20.00


Another granddaddy of the American Personal Film movement. Set to the music of Hindemith, filmed entirely in a Gothic cathedral and edited to precision counter-point. An almost somber beginning that rises to brilliant exaltation. As with PASTORALE, extremely innovative for its day and even now. Entire film was an “optical print” to retain light nuances. Has never been placed in competition.

Will Hindle

29: ‘Merci, Merci’ (1966) 16mm, b&w, sound, 30 min. rental price: 40.00


A rude and abrupt departure from Hindle’s two early visual poems. Between those early works and MERCI, Hindle was sought to film the Winter Olympics, 150 short works for Westinghouse/CBS, and the South Sea voyages of Sterling Hayden’s schooner, “Wanderer.” The inability to get on with his own work produced MERCI. A poignant comment concerning the film artist’s dilemma. Aftermaths of Western Civilization. Including never-seen-elsewhere Nazi footage inserts.

Premiere: Intersection, SF

Awards: Kenyon and Kent State Festivals; Ann Arbor Film Festival Tour.

Will Hindle

Chinese Firedrill (1968) 16mm, color, sound, 23 min. rental price: 40.00


“The year’s best short film, Hindle’s CHINESE FIREDRILL is dazzling and sympathetic. By itself, the film demonstrates the importance of independent filmmaking and makes this a movie year to remember.” – National Review

“Will Hindle’s work is an experience, whatever else you want to call it, revealing a nearly perfect camera eye.” — New Haven Register

“CHINESE FIREDRILL is an intellectually demanding film, but is essentially an overwhelming, disturbing unique emotional experience. I can’t tell you how beautiful it is.” — R. Corliss, Film Quarterly

Hindle’s prize-laden work of cataclysmic visual and mental schisms stands as one-of-a-kind. Human universals crammed into a moment (infinity?) in one small enclosure (the universe?). The identifying viewer will judge.

Awards: First Prize, Ann Arbor Film Festival; First Prize, Barn Gallery, Maine; First Prize, SF Int’l Film Festival; First Prize, Foothill College Film Festival.

Exhibition: Premiere, Chicago Museum of Modern Art; Yale Film Festival; Ann Arbor Tour.

Will Hindle

Billabong (1969) 16mm, color, sound, 8-1/4 min. rental price: 30.00


Winner of the main prize of the Oberhausen (Germany) International Film Festival, BILLABONG has gone on to even greater acclaim than its much-awarded predecessor. Now in collections and archives on three continents, BILLABONG … mates verité camera and violently creative and master editing … revealing the mood of youths contained by the government. On location in Oregon. Empathetic in the extreme.

“Hindle’s works are especially notable for their ability to generate overwhelming emotional impact almost exclusively from cinematic technique, not thematic content. Hindle has an uncanny talent for transforming spontaneous unstylized reality into unearthly poetic visions; as in BILLABONG, a wordless impressionistic ‘documentary’ about a boys’ camp, and WATERSMITH, a spectacular visual fantasy created from footage of an Olympic swimming team at practice. FIREDRILL contains possibly one of the great scenes in the history of film.” — Gene Youngblood, Expanded Cinema

Premiere: Robert Flaherty Film Seminar

Will Hindle

Saint Flournoy Lobos-Logos And The Eastern Europe Fetus Taxing Japan Brides In West Coast Places … (1970) 16mm, color, sound, 12 min. rental price: 25.00


Presaging details and intent of the Charles Manson’s cult and actions was not meant to be one of this film’s greater attributes. It was, however, filmed uncannily months before the facts were known. The resemblance is oblique. The film: the mysticism of a “calling,” a journey to be made, a vision in mid-desert to behold and oneness with it all. Filmed in Death Valley.

Will Hindle

Later That Same Night (1971) 16mm, color, sound, 10 min. rental price: 20.00


Hindle’s first all-southern-made work, filmed shortly after moving his studio from San Francisco to the lower Appalachians. Jackie Dicie sings the song in disruptive out-of-synchronization. It is Hindle’s first-water attempt to express the southern country mode of existence … the alone woman and the lonesome land.

Katsumi Hirano

Conversation Between a Nail and a Stocking (1958) 16mm, b&w, sound, 25 min. rental price: 25.00


A surrealist short story. Made with the assistance of students at the Nippon University Film-Makers Group.

“Dealing essentially with the terror that arises from the breakdown of vital communication in modern society, this film expresses the confusion resulting from the conflict of reality and hallucination in the life of modern Japanese youth. A monumental post-war work in Japanese student film-making.” –Limura

Harriet Hirschorn

Sodom By the Sea (1989) 16mm, color, sound, 17 min. rental price: 50.00


co-maker: Mary Patierno

Sodom By the Sea is a 17 minute experimental documentary about immigration to the United States. It uses the historic site of Coney Island as a point of departure from which to explore both the hopes and failed dreams of those who left their native lands to start a new life in America. Optically printed images of contemporary Coney Island are juxtaposed against the voices of immigrants describing their varied yet shared experiences. Intertitles serve to stitch together two parallel themes: that the heyday of Coney Island and the heyday of immigration to America occurred simultaneously, and that the two had both a subtle and lasting impact on each other. We hope to enlighten our audience to the fact that America has not always been welcoming to the newly arrived and to also remind people of the richness and diversity that immigrants continue to bring to the American mosaic. Sodom by the Sea was shot entirely on Coney Island, NY. All of the sound effects, as well as most of the interviews were also gathered at Coney Island or at nearby Brighton Beach.

Michael Hirsh

Greeks Had a Word for It, The (1966) 16mm, color, tape, 7 min. rental price: 20.00


“A black humor movie, Hirsch is setting up bright-colored and sharp-edged barriers against death. Black-and-white alternating with color frames. Constant sitches from snips of beauty to chunks of pain. The structure is a visual matrix with the actors’ progress through time, space, and story being walled in by binding white film-pencils. The finest example pf Geometric Aestheticism I’ve seen outside WHAT’S NEW PUSSYCAT> This is the way movies are heading. A rock & roll for the eyes by Michael H., the shiniest sax in New American Cinema.” –Elia Jakov Katz

Solrun Hoaas

The HATOMA films () VHS, color, sound, min. rental price: 75.00


The HATOMA films: Contains the following films: Waiting for Water (1981) 16mm, color sound, 27 mins; There’s Nothing that doesn’t Take Time (1981) 16mm, color/sound, 7 mins; The Priestess/The Storekeeper, (1983) 16mm, color/sound, 30 mins; Sacred Vandals (1983) 16mm, color/sound, 55 mins. vhs rental: 75.00.

Hatoma is a coral island of just over one square kilometre in area, located in Yaeyama , the southernmost part of the Ryukyu Islands, now Okinawa Prefecture. Okinawa was once an independent kingdom and a flourishing trade route. Early in the 17th century the islands came under Japanese dominance and most were directly annexed by Japan in 1879. This led to a conscious policy of “Japanization” and the people were forced to learn Japanese in addition to their own dialects.

The people were more resistant, however, to the influences of Buddhism and Confucianism, and retained their own belief system of animistic origins. In contrast to the rest of Japan, it is the women who take leading roles in the spiritual and ritual life of the islands, in addition to their responsibilities for farming and social activities.

In 1972 the islands reverted to Japan after a period of US occupation, and despite their cultural traditions are becoming increasingly like the “mainland”.

SEE INDIVIDUAL FILMS ABOVE FOR DESCRIPTIONS

Solrun Hoaas

At Edge (1978) 16mm, color, sound, 21-1/2 min. rental price: 40.00


With Judith Wright

Filmed in the autumn and winter of 1978, just after the poet Judith Wright had moved “Edge” in the Half-Moon Wildlife District, Mongarlowe, NSW, AT EDGE communicates a relationship between the poet and her bush environment. In the film Judith Wright speaks her mind about her work on conservation and her poetry she comments on film rushes shown to her; she reads several poems, some written at the time of filming. Entirely filmed at “Edge.”

Solrun Hoaas

Effacement (1978) 16mm, color, sound, 13-3/4 min. rental price: 40.00


EFFACEMENT shows a Japanese Noh mask maker, Taniguchi Akiko, at work on her masks in her Tokyo studio. She carves the mask, paints, and moves it in the pace of an actor’s movements on the traditional stage.

Solrun Hoaas

In Search of the Japanese (1980) 16mm, color and b&w, sound, 17 min. rental price: 36.00


A fictional comedy about Australian and Japanese culture clash.

Solrun Hoaas

There’s Nothing That Doesn’t Take Time (1981) 16mm, color, sound, 7-3/4 min. rental price: 20.00


A mini-film from Hatoma showing a 76-year-old woman weaving a basket for the fishing. During the task, which takes from morning till late afternoon, she talks about herself and her life.

Solrun Hoaas

Waiting for Water (1981) 16mm, color, sound, 27 min. rental price: 60.00


The first of Solrun Hoaas’ films from Hatoma Island, Okinawa, Japan. A documentary on daily life on small depopulated island using a combination of diary narration and English subtitles. The film uses an ebb-and-flow structure to capture the recurring events and images of life on an island that once had over 600 people, but now only little over 40 due to the move to the cities “for the sake of the children’s education.”

J Hoberman

Customs And Immigration (1970/71) 16mm, color, sound, 34 min. rental price: 60.00


A sci-fi chapter thematically akin to FORBIDDEN PLANET, CUSTOMS & IMMIGRATION (a.k.a ANOTHER WORLD) is an angst-ridden as PANIC IN THE YEAR ZERO, as alienated as CREATION OF THE HUMANOIDS, as tacky as ATTACK OF THE CRAB MONSTER, as turgidly poetic as THE NEXT VOICE YOU HEAR (Wm. Wellman, 1950) & as baroquely conceptual as RED PLANET MARS. –J.H.

J Hoberman

Cargo of Lure (1974) 16mm, color, silent, 14-1/2 min. rental price: 40.00


Up the Harlem River, looking east. Is the film the reflection of reality or the reality of the reflection. –J.H.

J Hoberman

Broken Honeymoon #3 (1977/78) 16mm, b&w, sound, 21-1/2 min. rental price: 60.00


A structural work in which Frankenstein attempts to conquer the universe. (See ‘Independent Film and Popular Culture: Films of J. Hoberman’ by Jonathan Buchsbaum, Millenium Film Journal # 6, for detailed description.) –J.H.

J Hoberman

Mission To Mongo (1977/78) 16mm, color, sound, 3-1/4 min. rental price: 20.00


First, I wanted to make a kind of reflexively impoverished Busky Berkeley extravaganza. Second I was interested in juxtaposing two cultural artifacts–which could be schematized as East/West, socialism/capitalism, propaganda/entertainment, as well as image/sound–and see how they reverberated. In other words, I wanted to make an essay out of things, as well as a communist musical. But the question arose–what was the ideology of such film play? Is MISSION TO MONGO aestheticized politics or political art? –J.H.

Louis Hock

Elements (1972) 16mm, color, sound, 10 min. rental price: 25.00


Beginning with black, the potential, adding only the basis of the film phenomenon, the film ritual, the concepts of causation, and primordial semiotics, the work is an annunciation. –L.H.

Louis Hock

Silent Reversal (1972) 16mm, color, silent, 11 min. rental price: 20.00


The film does not end, is never rewound, and each frame is seen twice in a single viewing: a palindrome illustrating the Chicago “elevated,” the backbone of the city, shuttling its oblivious passengers to death.

“Hypnotic study in motion.” — Nora Sayre, The New York Times

Note: Shown head to tail, then tail to head.

Louis Hock

Zebra (1973) 16mm, b&w, silent, 17-1/4 min. rental price: 35.00


A visual keening for the exterminated quagga. A silent dirge for lost friends, shadowed up against the wall with light from the tombs.

Louis Hock

Light Traps (1975) 16mm, color, silent, 10 min. rental price: 20.00


A dance metered between the tempo of 60 cycles per second of electrified gas and camera shutter, further wrought by manual, etched harmonics. Las Vegas in a closet.

Louis Hock

Still Lives (1975) 16mm, color, sound, 19 min. rental price: 45.00


September 23, 1973: A motion picture camera shooting through a portal in a church began accumulating images of an adjacent Arlington, Texas shopping plaza at the rate of 1 frame per hour, 24 hours a day.

September 22, 1974: The camera was stopped. Meteorological fluctuations, this planet’s revolutions (solar and axial), and the palpable presence of human cycles are transposed from slow daily change into rapid visual rhythms. The act of metamorphosis during the year visually displaces the pictorial arena in which the year transpires. Space, the image frame, becomes a manifestation of time.

“Our eyes are virtually goaded out of our heads.” — Richard Eder, The New York Times

Louis Hock

Studies In Chronovision (1975) 16mm, color, , 21-3/4 min. rental price: 45.00


Film sketches constructed over the past five years investigating temporal composition via single frame-time lapse techniques: light struck metronomes, 20th century dust from a Mayan dream, horology complete with coordinates, Kodak vs. Timex.

“… resembles visual works of art ….” — Janet Kutner, Dallas Morning News

R. Hoeplinger

Unko (1995) 16mm, color, sound, 8-1/2 min. rental price: 25.00


Body functions: eating, drinking, shiting — pfuit — pfuit ! Represented by mice, worms, rabbits, people — unkh, oahh, oink — oink.

Ray Hoersch

Memoir () 16mm, b&w, sound, 8 min. rental price: 20.00


Non-involvement has always been a safe way for me to approach any type of personal or emotional relationship. It means turning off when I feel things are beyond absolute personal control. In this case I regret the decisions. The film is about an “almost” love affair. –R.H.

Matt Hoffman

Meter Maiden (1965) 16mm, color, sound, 7 min. rental price: 20.00


co-makers: Lee Brozgold and Alix Schneeberg.

Op, pop, and the Beatles meet the New York City traffic bureau. –M.H.

Philip Hoffman

?O,Zoo! (The Making of a Fiction Film) (1986) 16mm, color, sound, 23 min. rental price: 55.00


“Philip Hoffman’s ?O,ZOO! (THE MAKING OF A FICTION FILM) uses a diary format to skirt along the edge of someone else’s filmed narrative (Peter Greenaway’s A Zed & Two Noughts), and to trace the anatomy of pure image-making. ‘Pure’ is both the right and the wrong word: Hoffman is a man addicted to the hermetic thisness of filmed images, and plagued by the suspicion that these images, far from being pure, are really scabs torn away from the sores of the world. Found footage shot by his grandfather (a newsreel cameraman) is the starting point for Hoffman’s meditations on the illusion of visual purity, and on the distance between the ‘neutral’ image and the value-laden narrative that it can be made to serve. It is a moral distance, one that this filmmaker surveys with a wary fascination.” — Robert Everett-Green

“… Hoffman rewrites the Canadian documentary tradition into a family memory and romance.” — Blaine Allan

Philip Hoffman

passing through/torn formations (1988) 16mm, color, sound, 43 min. rental price: 90.00


“Philip Hoffman’s PASSING THROUGH/TORN FORMATIONS is a wide open ramble through the labyrinth of memory, considered primarily as a family affair. The film deals with the life and history of Hoffman’s Czech-born mother and her family, presented as a kind of polyphonic recitation – of words, of images and of sounds.” — Robert Everett-Green

“PASSING THROUGH/TORN FORMATIONS extends from Eastern Europe and back again — an unravelling tapestry of family relations that speaks of migration and translation.” — Marian McMahon

“PASSING THROUGH/TORN FORMATIONS accomplishes a multi-faceted experience for the viewer – it is a poetic document of Family, for instance – but Philip Hoffman’s editing throughout is true to thought process, tracks visual theme as the mind tracks shape, makes melody of noise and words as the mind recalls sound.” — Stan Brakhage

Philip Hoffman

river (1989) 16mm, color, sound, 15 min. rental price: 35.00


The Saugeen River-Sauking, ‘where it flows out’–named by Ojibways in the early 1800’s, runs into Lake Huron. The place where I know it is 20 miles south of Owen Sound, Ontario, where I spent time in my youth exploring gnarly banks. through filmmaking, I returned to the sight of the river, starting in 1977 and subsequently made three other visits. RIVER can be seen as a chronological picture of the way I have come to think through image-making over the past 12 years: of my relationship to the camera and to the ineffableness of the world at large. –P.H.

Philip Hoffman

Kitchener-Berliner (1990) 16mm, color, sound, 34 min. rental price: 75.00


“Hoffman juxtaposes his home town, the Canadian city of Kitchener (formerly called Berlin), with its European namesake of the World War II era. ‘The hyphen in the title suggests both severance from the past and connection to it.’ The history of the area underpins the film, but refuses to bind it or restrict it from free association. Hoffman assembles a wide range of visual materials including home movies, television, news footage and archival film as well as his own characteristically enticing images, to build complex layers of superimpositions analogous to the impressions of memory. The film’s opening segment, ‘A Measured Dance,’ is fluid and seductive, with deliberate and rhythmic camera movement and complex editing. Its second part, ‘Veiled Flight’ (introduced with an astounding ‘Prologue’ drawn from archival sources), is more enigmatic, turning inward with the visual metaphor of underground exploration, and suggests the extent to which film-makers are engaged in the work of making ghosts of the past for the future.” — Blaine Allen

Roni Hoffman

Gumby’s Adventures On The Moon (1969) 16mm, b&w, silent, 2 min. rental price: 20.00


“He was once a little green slab of clay, / But you should see what Gumby can do today. / He can walk into any book / With his pony pal Pokey too. / If you’ve got a heart then Gumby’s part of you-ou. / Do Da Da Do Do.” –Clokey Productions.

Roni Hoffman

On Top of Old Stogie (1969) 16mm, color, silent, 4 min. rental price: 20.00


R. Meltzer enjoying an after-haircut cigar. Or was it before? –R.H.

Doloris Holmes

Room of the White Mask (1973) 16mm, color, sound, 12-1/2 min. rental price: 35.00


Theme: Transformation through newly created rituals. Rebirth of an individual woman through identification with all women. (…) –D.H.

Doloris Holmes

Searching For The Women Of The Left Bank, a play by Doloris Holmes (1993) video, color, sound, 83 min. rental price: 55.00


Contemporary writer following a tragedy conjures literary/artistic greats from Paris during 1920s-40s: Josephine Baker, Anaïs Nin, Antonin Artaud, Gertude Stein, and others.

Tape includes visit to the studio of the playwright, describing meeting, and friendship with Anïs Nin, including interviewing her for Archives of American Art.

Five minute promotional: rental $20

Nancy Holt

Swamp (1971) 16mm, color, sound, 6 min. rental price: 45.00. DVD or VHS purchase price: 200.00


Co-maker: Robert Smithson.

Deals with the limitations of perceptions through the camera eye as Bob (Robert Smithson) and the filmmaker (Nancy Holt) struggle through a muddy New Jersey swamp. Verbal directions cannot easily be followed as the reeds crash against the lens, blocking vision and forming continuously shifting patterns. Confusion ensues.

Nancy Holt

Underscan (1974) VHS, b&w, sound, 8 min. rental price: 300.00


Based on the letters received by the artist from her Aunt Ethel, UNDERSCAN is a videotape about the passage of time. The tape chronicles the daily events in the aging woman’s life, including the gradual deterioration of both her body and her house.

While the letters are read, photographs of Aunt Ethel’s environment are seen: exterior shots of her house are followed by shots of the living room, which are in turn followed by pictures of more personal scenes in the kitchen and bedroom. These images are manipulated by the video underscan process which appears to distort and then compress the information, just as Nancy Holt has done in editing the letters. In this way, the sound of Holt’s voice reading her aunt’s descent into old age interacts with the images.

Certain yearly occurrences repeat in an auditory rhythm, coinciding with the cycle of visual changes.

“Her accounts…create a moving narrative about the process of growing old. The neutral delivery of the artist’s voice reading the letters precludes any sentimentality in our response to them. Aunt Ethel’s vision begins to fail, she listens to Oral Roberts. Living alone, she makes arrangements for her own funeral. Throughout the tape there are references to natural cycles and in her last letter Aunt Ethel writes, ‘…my yard is full of roses now, it is very pretty.'” –Arthur Tsuchiya, Afterimage

Nancy Holt

Pine Barrens (1975) 16mm, color, sound, 31 min. rental price: 60.00. DVD or VHS purchase price: 300.00


Concerned with evoking through a film a barren wilderness in south-central New Jersey. The camera is always in motion–tracking, pivoting, and walking through the landscape. Though they are never seen in the film, the voices of the local people, the “Pineys,” are heard relating their feelings about the land, their attitudes about city life, their myths of the area, etc. Their voices and the music of Bill Patton’s Pine Barrens Trio add a psychological dimension to the landscape

Nancy Holt

Sun Tunnels (1978) 16mm, color, sound, 26-1/2 min. rental price: 75.00. DVD purchase price: 300.00


Takes a close look at the many different processes involved in making art in the American landscape, away from urban centers and outside the usual art-world confines of museums and galleries. More specifically, it is a personal record of the making the filmmaker’s art-work, “Sun Tunnels,” in the remote northwest Utah desert. Being aligned with the sunsets and sunrises during the summer and winter solstices, the sculpture indicates the daily and yearly cycle of the sun. The sunlight, which changes slowly within the tunnels during the day, is speeded up, making available an experience of the work which is filmic in nature.

“The work not only frames a landscape but exposes the process of the forming of that image. The participant/viewer becomes aware of his or her place in the physical environment and the process of making the image. As Holt says, ‘The work becomes a human focal point, and in that respect brings the vast landscape back to human proportion and makes the viewer the center of things.’

Holt has astronomically aligned the two sets of tunnels so that respectively, at the summer and winter solstices, at sunrise and sunset, the sun itself can be sighted through the tunnels. Adding another dimension to this universal overview, holes drilled in the tunnel surfaces (in formations of selected Constellations) cast light patterns on the insides of the tunnels. The inclusion of these astrological references not only reveal Holt’s own sense of place in the universe (or the viewer’s guided sense) but define as well a consciousness that would further use such information in an investigation of light and shadow at once visually engaging and at the same time revealing of the transitory nature of the experience…

In the final sequences of the film we are privy to a sighting through the tunnels with the camera as the sun sets in its solstice, and then the shifting light patterns made by the ‘star holes’ speeded up by the time lapse photography offer an experience available only through a viewing of the film. It is in fact a filmic overview of the filmic qualities of the sculptures.” — Bill Jones, Independent, May 1979

Nancy Holt

Art in the Public Eye the Making of Dark Star Park (1988) VHS, color, sound, 33 min. rental price: 300.00. DVD purchase price: 300.00


A record by the artist of the many interrelationships and processes involved in reclaiming a blighted urban area through the construction of functional public sculpture.

Interviews with some of the people responsible for bringing DARK STAR PARK into existence — the artist, the administrator, the developer, the landscape architect, the gunite contractor, the foreman, the maintenance man, and lastly the art historian/critic, John Beardsley, are interspersed with shots of the construction — guniting, steel fabrication, masonry work, and landscaping.

“Designed by environmental artist Nancy Holt, DARK STAR PARK is both a park and a work of art. Holt’s site specific sculptures are an intriguing response to a contemporary urban context. They speak to the growing business district of Rosslyn (in Arlington, VA) that borders Washington, D.C.; the site and its relationship to earth and sky; and one’s perception of place.

Because it is both park and work of art, the spatial experience of the park is also the sculptural experience of the work…giant concrete spheres perch precariously on the earth. They cast shadows like planetary bodies and eclipse each other as you drive or walk by…At one end of the site, an irregular mound of earth embedded with concrete pipes looks an ancient landform encroached upon by modern civilization.

Holt’s vision did not stop at the site’s boundaries. During the planning process she successfully integrated the park with the adjacent office building and extended it onto a nearby traffic island.” — Terry Ryan LeVeque, Landscape Architecture, July/August 1985

Johannes Holzhausen

Those Loved by God (1992) 16mm, color, sound, 35 min. rental price: 70.00


“THOSE LOVED BY GOD is an arrangement of recollections of the would-be entertainer Albert Fortelka and the short stories of his companion Kathi. An unlikely pair, a partnership in which needs the other to save him or herself. While Fortelka, the former hobo and ‘born comedian who was thrust into destiny’ carefully orchestrates the details and recollections of his life, we also get the childlike remembrances of Kathi. Kathi, who never grew up, tells us of the daily and ordinary nightmares of life: her mother who sent her of to ‘the crazy house’, the step father, the brutal lover who beat her unconscious and then tattooed his name on her arm. Looking back from a happy life to a darker and unhappy past. And nothing to smile about.” Robert Weixlbaumer

Andrew Horn

Doomed Love (1984) 16mm, color, sound, 73-1/2 min. rental price: 160.00


“Steeped in bittersweet camp, 19th Century imagery and free floating Jungian equivalences. Undeniably sensitive… goes beyond romantic angst.” –J. Hoberman, Village Voice

George Hornbein

Biologos () 16mm, color, sound, 7 min. rental price: 20.00


…a lyrical study of two people who try to make it and then find out there is no means of communication which binds them together. –G.H.

Leonard Horowitz

New York, 9 AM () 16mm, b&w, silent, 2-1/2 min. rental price: 20.00


Note: Project twice: 1st at 24 fps; 2nd at slowest speed available. The sound should be a radio tuned to an all-news station.

This film was shot one day after the New York subway fares went from 20c to 30c. Many demonstrations and much confusion resulted. I went out early next morning to a particularly troubled corner (34th & 7th) to film possible protests, but true to form, New Yorkers had accepted the increase. I stared at the people emerging from the subway hole, waiting for the lights to change, obeying the traffic cop, the buses and generally absorbing the early morning (for me) winter grayness. You can see this reflected in their faces. I just pointed the camera, held it steady, stared through the viewer and squeezed the trigger for 3 minutes. –L.H.

Courtney Hoskins

Gossamer Conglomerate (2001) 16mm, b&w and color, silent, 4-1/2 min. rental price: 20.00


Gossamer Conglomerate consists of hand-manipulated material, optically printed under closely controlled and monitored lighting situations. The film explores the delicate nature of film by placing the fluttering colors of “fresh” film materials upon a colorless base of film destroyed by the molecular breakdown associated with “vinegar syndrome.” The film represents the life cycle of film and its rebirth as a new and personal work and is suggestive of a butterfly’s flight from the darkness of the chrysalis.

Courtney Hoskins

Munkphilm (2001) 16mm, color, silent, 4 min. rental price: 20.00


Munkphilm explores meditation and inspiration in the cinematic medium. Carefully timed, animated fades set a rhythm that is interrupted and overlapped by moments of luminescence. These moments come and go, but in the end we are left with the original breath.

Bill Howe

MYO (1979) 16mm, color, silent, 7-1/4 min. rental price: 20.00


A Taoist mobius strip. –B.H.

Jim Hubbard

Home (1986) 16mm, color, silent, 11-1/2 min. rental price: 30.00


With Lenora Champagne. Kevin Duffy, Patricia Pretzinger, and Nelson Gonzalez.

Hand-processed film contrasts city and country life and celebrates the life-spirit that creates art in the face of immense obstruction.

Jim Hubbard

Elegy In The Streets (1989) 16mm, color, silent, 30 min. rental price: 65.00


Exploring the AIDS crisis from both a personal and a political perspective, the film intertwines two main motifs: memories of Roger Jacoby, a filmmaker who died of AIDS, and the development of a mass response to AIDS. The collective response begins with mourning at a candlelight vigil and the deep sadness of the AIDS Quilt and then progresses toward a much more determined reaction by ACT-UP: first, in the Gay Pride March in New York City, then in separate demonstrations that build in militancy — with a corresponding increasingly heavy-handed response by the police — culminating in a demonstration during a baseball game and the thumbs-up sign of a teenager sporting a Silence = Death button.

“… roars with urgency from beginning to end.” – Karl Soehnlein, Outweek

“… a powerful work that chronicles the filmmaker’s experience of a political moment filled with personal loss.” — Jason Simon, Afterimage

“… exquisitely hand-processed … miniature portraits of a friend … infusing his memorial not with nostalgia, but activism.” — Manohla Dargis, The Village Voice

Jim Hubbard

Valentine For Nelson, A (1990) 16mm, color, sound, 5 min. rental price: 20.00


A long overdue love letter. A relationship is as hard to build as a cathedral — it takes more than one lifetime. A film in which virtually every shot is intended as a metaphor. Tender, loving and unsentimental.

“This five-minute charmer is a tribute to relationships, the ups and downs of being in love and living together.” — Jeff Lunger

Jim Hubbard

Two Marches (1991) 16mm, color, sound, 8 min. rental price: 30.00


“In [Jim Hubbard’s] latest work, scenes shot at two national gay marches on Washington, DC are juxtaposed to reveal some of the devastating changes in the gay movement from 1979 to 1987, as hope is replaced by frustration and mourning.

“In Hubbard’s roving footage we follow the shifts in spirit, age and racial composition of the demonstrators and witness the growing organization of the protest spectacle, as ragtag bunches of rebellious marchers give way to marching bands and the unfurling of the Names Project AIDS Quilt. … Yet his touch is always gentle, and deeply, if elusively, personal, from the opening shots of Hubbard embracing the late filmmaker Roger Jacoby to the beautifully choreographed hands of deaf people signing. Always working within a small scale and tightly focused format, Hubbard has developed an astonishingly varied and emotionally complex body of work over the years, a series of personal film essays of intertwined loss and liberation.” — Liz Kotz, Afterimage

Jim Hubbard

Dance, The (1992) 16mm, color, sound, 8 min. rental price: 30.00


An intimate portrait of songwriters, performance artists and lovers Dan Martin and Michael Biello, THE DANCE explores the interconnectedness of their domestic life, art work and selfless devotion to a community of artists they have helped to create and support. The film uses hand-processed footage to convey the emotional intensity of their lives. The handmade quality of the film imparts a sense of poignancy and brotherly loving in the era of AIDS. Based on “The Dance,” a song about living on in the face of loss, with music by Dan Martin and lyrics by Michael Biello.

Jim Hubbard

Memento Mori (1995) 16mm, color, sound, 17 min. rental price: 60.00


Memento Mori MEMENTO MORI tells about death …. It surpasses the formal inventory of feature film cinema to develop its own narrative structure as a filmic poem. … [He] chooses … Cinemascope – not as a visual gag, but as a necessary means to communicate his visual motives. … [W]hen Hubbard shows a skull, or his friend in front of a still life, or a woman cleaning a room, he does not … juggle with metaphors and symbols, but shows … what lies behind the symbolic connotations of the images on screen: What is it like when a body doesn’t move anymore? How does it feel — the ashes of the dead or the soil which covers a corpse? … Most paradoxical however [in] MEMENTO MORI … cinematic images do not erase life with stereotypes but let life live on, somewhere else, outside the screen. … In this context, the final image of MEMENTO MORI is one of the most haunting and beautiful we experienced.” — Stefan Hayn

Award: Winner, Jury Ursula Award, Hamburg Lesbian & Gay Film Festival Short Film, 1995

Note: Anamorphic Lens available upon request.

Jim Hubbard

Don’t Do It! (1998) super-8, color, sound on CD, 3 min. rental price: 20.00


Emily Hubley

Big Brown Eyes (1982) 16mm, 2 min. rental price: 20.00


Interpretation of a song by Peter Holsapple, performed by the dB’s.

Museum of Modern Art October 1990; 1983 Thomas Edison/Black Maria Festival.

Emily Hubley

Deliberating Man (1985) 16mm, 6 min. rental price: 20.00


A “man” is manipulated by words and ultimately punished by the false deity created by misperception.

Screenings: 1987 Short Stakes Series at the Symphony Space; Museum of Modern Art October 1990, May 1991.
Selected Festivals: 1986 Thomas Edison/Black Maria Festival, 1986 Ann Arbor Film Festival.

Peter Hudiburg

Revamp () 16mm, b&w, sound, 6 min. rental price: 20.00


A vampire film about vampire films, REVAMP clatters through the sexual aberrations of vampirism and violence with the blood and gore appropriate to the excesses of American film. Six tracks of mixed sound rumble off this optical film as visions of “cherry pie” go ripping past your stupefied eyes. Transylvanian folklore distends into the American dream and our Vampire sucks his pretty victim again and again and again. –P.H.

Peter Hudiburg

Collaborative Drawing (1971) 16mm, color, sound, 11 min. rental price: 30.00


A high-spirited, fast-moving musical document of Tom Ryan and Kent Holloway creating an eighteen by six foot paster drawing. In eleven minutes one witnesses the evolution from bare paper to completed art work with music and dance along the way. A vibrant display of the interrelation of the arts. –P.H.

Donald Hughes

Follower, The (1968/1996) 16mm, color, sound, 27 min. rental price: 75.00


16mm CinemaScope or flat print, DVD, VHS

THE FOLLOWER blends a B-movie plot with the radical narrative shorthand of pure film. Two solitary people, a fashion model (Sandra Locke) and an art collector (C.B. Anderson) wreak havoc on each others’ lives over possession of a valuable work of art. The story is set amidst the cultural iconography of the 1960s. The soundtrack, almost entirely without dialogue, combines source music and natural sound. A mysterious ending hints at who the survivor may be.

Special opening night selection, 1999 CineVegas International Film Festival.

“Excellent … I was really held by it.”– Kathleen LaCamera, VISN Cable Network.

film rental $75 (specify CinemaScope or flat letterboxed print) optional scope lens rental $10

DVD sale $45, VHS sale $35

Donald Hughes

An American Boy (2005) DVD 40 min. sale price: 20.00 Individual, 45.00 Institutional


A boy in a homemade racer is poised at the top of a steep hill. On a dare, he’s about to tempt gravity and fate at the bottom. What follows is the odyssey of a 12 year-old whose exploits as a race driver, commando and ballroom dancer bring him face to face with life’s joys and disasters – a poignant memoir of mid-20th century boyhood.

Tessa Hughes-Freeland

Baby Doll () 16mm, b&w, sound, 5 min. rental price: 30.00


A docu-portrait of two GoGo dancers, revealing their experience of how it is on their side of the dollars. –T.H.-F.

Tessa Hughes-Freeland

Play Boy (1984) 16mm, color, sound, 10 min. rental price: 40.00


Originally intended to be a loop installed in a booth where one would insert money into a slot & watch various sections of film, PLAY BOY is a suggestion of a dream or a hypnotic fantasy. –T.H.-F

Tessa Hughes-Freeland

Nymphomania (1994) DVD, b&w, sound, 9 min. rental price: 40.00


“NYMPHOMANIA deptics the archetypal personification of female sexuality via the motif if a beautiful, graceful, dancing Nymph. Against the nymph, Hughes-Freeland & Adams present a massively phallicised Pan who is aroused by the nymph’s neauty and watches her. The film is a parody of myths of an ‘ancient/pagan’ essential plentitude and is thus a blackly Comedic critique of attitudes toward the dialectic of male/female sexuality. It locates a sexual mythology specific to Western Culture and deconstructs it via a depiction of its inherent power relationships and by pursuing this trajectory to its logical conclusion.” –Jack Sargeant, “Death Tripping”, 1995

Angel Hurtado

Venezia () 16mm, b&w, sound, 8 min. rental price: 20.00


“A visual poem to the glory of Venice by the gifted young Venezuelan painter, with music by Vivaldi.” –G.Weinberg

Angel Hurtado

Vibrations () 16mm, color, sound, 8 min. rental price: 20.00


“An abstract film in which image and sound (musique concrete) combine to evoke the modern age.” –G. Weinberg



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