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All film descriptions were written by Neelon Crawford. Program approx. 52 min.
Freakquently. 1968. 8 min.
I shot my first film on 16 millimeter inside the eight-foot mirrored cube “optical sculpture” I had built in 1966, and on exterior locations, as a blissful celebration of the visual tools and techniques I found at my disposal. Bruce Baillie’s Castro Street (1966) confirmed my intuition that making visually defined films was the direction I wanted to pursue.
Skyjacker. 1969. Silent. 9 min.
Mostly animated from 35mm slides, Skyjacker slips to a dream world of Ohio woods, British Columbia winter, and New York. A critical aspect to film work that interested me was the second phase effort found in the editing choices. While placing two still photographs next to each other creates a combined effect that neither image transmits alone, the editorial options in cinema are considerably more complicated.
Prison 1. 1969. 8 min.
During the winter of 1968–69, I saw that much of the footage I was shooting was filled with a tension reflecting my own anxieties. Rather than terminate my filmmaking, I chose to shoot a film about self-generating depression. Prison I is about the frustration and fear reaching out to others and risking the revelation of one’s self.
Rays. 1969. 9 min.
[…A] tribute to the Sun. It is a celebration of light and water shot in Ohio and while crossing the country to the Northwest during the spring and summer of 1969.
Light Pleasures. 1970. Silent. 4 min.
Visually oriented films presented as moving light paintings enabled me to leave the structures and expectations of dramatic and documentary motion pictures aside.
Saturday Club Meeting 1971. Silent. 8 min.
On the first and third Saturday of each month, Master Choy Kam-man has a club meeting with all of his students who have completed at least one course in Tai Chi Chuan. Together, the students practice their form and Master Choy helps them to correct their movements….
Needle at Sea Bottom. 1971. 6 min.
Influenced by the early theories of Sergei Eisenstein (1898–1948), in Needle at Sea Bottom I sought to create and implied time and space not found in either of the component images…the power of still awareness is literally depicted…. The film’s title is taken from the name of a specific named movement in the Tai Chi Chuan.
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