Marjorie
Keller

"The current art of the film deranges its predecessors...[I]t is in the work of women filmmakers of the avant-garde that the old forms are seen as if through an anamorphic lens." – Marjorie Keller

Films

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    Part IV:  Green Hill
    Experimental

    Part IV: Green Hill
    Marjorie Keller

    16mm, color, sound, 3 min
    Rental format: 16mm
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    Turtle
    Experimental

    Turtle
    Marjorie Keller

    16mm, color, silent, 2.5 min
    Rental format: 16mm
    • Personal / Diary / Journal
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    Backsection

    Backsection
    Marjorie Keller

    16mm
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    Untitled
    Experimental

    Untitled
    Marjorie Keller

    16mm, black and white, silent, 7.5 min
    Rental format: 16mm
    • Biography / Autobiography
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    The History of Art 3939

    The History of Art 3939
    Marjorie Keller

    Super8
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    The Outer Circle
    Experimental

    The Outer Circle
    Marjorie Keller

    16mm, color, sound, 6.5 min
    Rental format: 16mm
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    She/Va
    Experimental

    She/Va
    Marjorie Keller

    16mm, color, silent, 3 min
    Rental format: 16mm
    • Dance
    • Personal / Diary / Journal
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    Objection
    Experimental

    Objection
    Marjorie Keller

    16mm, color, sound, 18.25 min
    Rental format: 16mm
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    Film Notebook: Part 1
    Experimental

    Film Notebook: Part 1
    Marjorie Keller

    Super 8, color, silent, 12.25 min
    Rental format: super8

Biography

Experimental filmmaker, author, activist, film scholar, and cultural worker Marjorie Keller (1950-1994) created a uniquely personal and feminist body of work for twenty years beginning in the early 1970s. Keller also served on the board of directors of the Collective for Living Cinema, was the founding editor of their journal, Motion Picture from 1984 to 1987 and was Director of the New York Film-Makers' Cooperative in the late 1980s. Writer J. Hoberman called her “an unselfish champion of the avant-garde.”  Her films deftly combine home movie and diary styles through a potent politicized lens. The Fallen World (1983) is an elegy for a Newfoundland dog named Melville and a portrait of his owner. Daughters of Chaos (1980) “…deals simultaneously with girls becoming women and a woman looking back on her childhood. It is pervaded with voluptuousness, with longing: the woman, disappointed in love, looking for lost innocence, the girl yearning for the power of her sex.” -Anne Becker