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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
fax: 212-267-5666
e-mail: film6000@aol.com
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Film Catalog: Online SearchDore O Blond Barbarism Blonde Barbarei
(1972) 16mm, color, 24 min Genre: Experimental Keywords: Philosophical "Dore O.'s latest film, BLONDE BARBAREI, was shot in black and white and later sepia-colored throughout. It uses much music reminiscent of a Gregorian choral, a figure (a woman) moves in front of windows, looking down on houses, on roofs, into a courtyard with trees. The atmosphere is that of rain, of sadness, a closed-in life which she does not leave, always the windows, the variation of moving back and forth before them ... halting, a strange rhythm which sometimes seems to accompany, sometimes seems to run against that of the music but which still leaves one with the impression that it had been specifically 'composed' for that particular sound track. "Yes, the windows are factory windows, each consisting of many various glass panes which accounts probably for an association of church windows. But as in a church, it is the closed-in atmosphere, the sadness, the tendency to move slowly, that counts. "So that the film is a metaphor, for the life certainly of a woman (but then of men too?), lives imprisoned in the worlds around them, bourgeois marriage, bourgeois professions, everything that looms above & around us, 'inescapably.'" -- Andreas Weiland Rental: $40.00 |
Alice O'Malley Every Woman Here: Remnats of Seneca 1982-2006
(2007) DVD NTSC, Sound, 32 mins min Genre: Documentary Keywords: Queer / Bi / Trans Every Woman Here includes excerpts from nine oral herstories, samples of 15 songs from Peace Camp Sings (produced by Sorrel Hays and Marilyn Ries, 1986), three songs from the Average Dyke Band, 1985 and 305 images from dozens of photographers. Rental: $25.00 |
Pat O'Neill Easy Out
(1972) 16mm, color, Sound, 9 min Genre: Experimental Sound: Stan Levine; Mix: Don Worthen.
Has to do with a consideration of one possible conceptual model for human existence: that of a primitive form of yardchair, upon which sits The Creator, impassively observing the inexorable flow of His mountains. The name "Easyout" is derived from a commercially available bolt and stud-extracting tool, whose function seemed strangely parallel to that of the film. Rental: $30.00 |
Pat O'Neill Foregrounds
(1978) 16mm, color, sound, 13.5 min Genre: Experimental "FOREGROUNDS, like SAUGUS SERIES, is devoted almost entirely to carefully constructed spatial ambiguities. The most visceral of these prints a rotating boulder, occupying half of the screen, over a slow lateral pan across the desert (painted by Neon Park). A faint superimposition of leaves on top of the landscape has the effect of pushing its vista farther back in space. Correspondingly, the boulder bulges out of the picture-plane like a Cezanne apple. The effect is so strong that even when O'Neill begins to animate 'scratches' over the image, one's eye refuses to surrender the illusion of volume." -- J. Hoberman, The Village Voice Rental: $20.00 |
Pat O'Neill Runs Good
(1971) 16mm, color, sound, 15.25 min Genre: Experimental Keywords: Films about Film, Media Sound: Cisko Curtis A darkish journey down memory lane, to visit some news events, folkways and thought patterns associated with the late forties and early fifties. The film is also concerned with such perceptual phenomena as color-space, "false tones" caused by varying black-white alternations of simultaneously seen rhythms set up by multiple repetitive actions, and the use of image outlines as "containers" for other imagery. Sort of a working notebook, which is continued in EASYOUT and DOWN WIND. Award: First Prize, Ann Arbor Film Festival, 1971 Rental: $50.00 |
Pat O'Neill Saugus Series
(1974) 16mm, color, sound, 18.5 min Genre: Experimental Saw: Chris Casady; Key: Mort Subotnick; Blue Paint: 7-K Color Co; Mix: Don Worthen. Actually, seven short films, one-and-a-half to six minutes long, united by a common soundtrack. Each is an evolving "still life," made up of meticulously assembled but spatially contradictory elements. For example, in one part the sun can be seen, by its shadows, to be traveling in one direction in the upper half of the screen, and in the opposite in the lower half. Commentary on Part 5: P: Now you might say this is an interesting sort of design .... B: But after a while you'd grow tired of looking at it. It would lack interest. P: And so the artist must always temper his repetition of movements of forms with what might be called a certain amount of variety. B: Suppose I enlarged some of them, changed their direction, make some smaller, add dark values and lighter values .... P: Or perhaps a tree, sharply contrasting in value from the surrounding shapes. B: There is sharp contrast, at this point, between the fan and the surrounding objects in a Great Triangle someplace perhaps a mile or a mile and a half above the surface of the Earth. P: And here we see order; order which includes omission and alternation from nature. Award: Tom Berman Award, Ann Arbor Film Festival, 1975 Rental: $25.00 |
Pat O'Neill Sidewinder's Delta
(1976) 16mm, color, sound, 21.25 min Genre: Experimental "When a giant trowel is plunged into the floor of Monument Valley, it's as though John Ford had hired Claes Oldenburg to dress his set. The film, O'Neill's most ambitious to date, with a dreamy, narrative subtext underlying its sensuous surface, is framed by abstract animations which denote scratches or scraped-off emulsion in much the same way that Roy Lichtenstein offered a benday-dot brushstroke as a painterly gesture." -- J. Hoberman, The Village Voice "Almost every sequence in SIDEWINDER'S DELTA concludes with a rough end -- punches, flares, white flashes, etc. But unlike the academy leaders of RUNS GOOD with their rhythmic, emblematic and referential functions, as well as their purely reflexive alienation effect, these glimpses of film technology in SIDEWINDER'S DELTA serve primarily to delineate and verify the conceptual unit of O'Neill's filmmaking, for we can see directly at what stage his idea was completely formulated, and in the case of some early scenes with sync-punch mattes, exactly what elements were compounded in what way to compose this particular idea structure of ideograph." -- William Moritz Rental: $30.00 |
Pat O'Neill Sleeping Dogs
(1978) 16mm, color, sound, 9.5 min Genre: Experimental The day they filled all that gravel in front of Jack and Jerry's old studio on Venice Blvd. A yellow bird fascinated by reflection. Several views from the San Francisco Marine Museum on a gray day in December. Three views of Mercer Street, New York after the second big snowstorm of January, '78. Several fogs, a strange puddle, and a female Husky induced to howl by humans. (This film is perhaps best seen after one of the others, like a "chaser.") Rental: $20.00 |
Pat O'Neill Water and Power
(1989) 16mm, color, sound, 55 min Genre: Experimental Its title comes from the Los Angeles water district. Much of the film was shot in the Owens Valley and in an old office building in downtown LA and is metaphorically about the exchange of energy between two places. It is also about water, in all of its states, and about cyclical motion: the planets, the tides, the implied rotation of the camera on its axis, and the repetitive actions of the performers. There are also quotations from older movies and their soundtracks: at times their landscapes become continuous with those of the present. Human habitation in this wilderness is tenuous and risky. "... reveals a modern city as layer over layer of experience, and makes no pretense of reducing Los Angeles to anything like a single, coherent understanding. In WATER AND POWER, LA is not merely an elaborate reality; it is a nearly overwhelming surreality." -- Scott McDonald, Wide Angle "The 'reality' animated by the film is LA; its topography and social ambiance, its myths of creation and embedding of a dream. It is surely the greatest of contemporary 'city symphonies.'" -- Paul Arthur, Moving Picture "The continuous shifts and surprises that lie at the heart of the film's form make a kind of grand metaphor for the never-ending change that underlies nature, civilization and the multiply symbiotic interchanges between them." -- Fred Camper, Chicago Reader Exhibition: NY Film Festival; Berlin Film Festival; Image Forum, Tokyo; Telluride Film Festival; Sundance Film Festival; Helsinki Film Festival; Bombay Film Festival and others. Rental: $100.00 |
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