Newsletter – Winter 2000

The Filmer’s Bugle
an “organ” of the Film-makers’ Cooperative


no.1 Winter 2000

NEW AMERICAN
CINEMA GROUP, INC.
(THE FILM-MAKERS’ COOPERATIVE)

175 LEXINGTON AVENUE
NEW YORK, NY 10016
(212)889-3820
filmmakerscoop@gmail.com

STAFF
M.M. Serra, Executive Director
Amy Granat
David Peng
Natalie To
Ariel Dovas

NEWSLETTER EDITORS
Brian Frye M.M. Serra

ADMINISTRATIVE OFFICES
Open Monday-Friday 10-5:30
BOARD OF DIRECTORS
Colin Barton
Cecilia Dougherty
Bradley Eros, Co-President
Brian Frye, Vice-President
Dave Gearey
Tessa Hughes-Freeland, Co-President
Jim Jennings
Cari Machet
John Mhiripiri
Jeff Scher
Joel Schlemowitz, Webmaster
M.M. Serra

VISIT THE CO-OP ON THE WEB: http://FILM-MAKERSCOOP.COM


What is the Film-makers’ Cooperative?

The FMC was founded in 1961 for the purpose of distributing independent, non-commercial, avant-garde films and videos. Since its foundation the FMC has become the largest distributor of avant-garde and experimental films and videos in the United States. It is artist-run and not-for-profit, linking the work of more than 700 media makers to 600 museums and exhibitors throughout the world, including hundreds of film studies programs in colleges and universities throughout the United States and Europe. It has proven to be an invaluable resource for countless institutions, including the Louvre, The Whitney Museum and The Cinematheque Francaise, as well as dozens of film festivals like Oberhausen, Sundance, Berlin, and Rotterdam.

A Word From the Editor – IMPORTANT!

This is (obviously) the first FMC newsletter to have appeared in quite some time. I’d like to see it continue, and come out on at least a semi-regular basis. Surprisingly enough, the most difficult aspect of putting a newsletter together, however, is scaring up enough copy – I’d hate for it to look sparse! For that reason, I’d like to encourage co-op members and renters to contribute articles, artwork, notes, letters, etc. Rest assured, I’ll print (just about) anything. As per the standard caveat, I’ll edit as necessary, but only if it’s really called for. Hey, I’m pretty busy, too. Send all materials to Brian Frye, Cooper Station Box 499, NYC, 10276-0499 (fryekino@redconnect.net).

Also, if you have submitted films to the co-op since the last catalog supplement or plan to do so, please send me all of the standard information about that film (ie your name, film title, gauge, color/B&W, silent/sound, running time, rental price and description). Now that the newsletter is up and running, the next project is a new supplement, as simply listing the new releases here is obviously insufficient, and there hasn’t been one for quite some time. I’m hoping to get it completed as soon as possible, and a formal notice will go out, but you can beat the crowd. The sooner I get it the better. Feel free to contact me with any questions or comments. And if you’d like to help out with any of these projects, you’re certainly welcome.

A Word From the Director

The building which has housed the Film-makers’ Cooperative (FMC) since 1964 (and Cinema 16 before that!) recently changed ownership and the new owners have not renewed our lease. While we are in no imminent danger of getting the boot, this is the perfect time for the FMC to find a larger, more appropriate space in which to both do business and house its collection of over 5000 films and videos. At only 600 square feet, the current office space is cramped, to say the least, and has become a bit dilapidated over the years. While the recent clean-up helped somewhat (thanks to everyone who pitched in) there’s only so much that can be done. I have contacted several institutions about renting available space, but no firm plans have yet been set. If members have suggestions of possible locations, know of available office space or would like to donate a building to the FMC, please contact M.M. Serra at the FMC office, (212)889-3820.

Announcing the Refurbishment of the Film-Makers Co-op Website

As of the beginning of March, Co-op member Joel Schlemowitz has been sprucing up the Co-op’s web site, which was originally built by the web design group Olio.

“I’ve mainly made lots of little changes, rather than big ones,” says Joel, “keeping what was good about the design intact, rather than starting from scratch. With the new design it will now be much easier to add new information to the site and to keep it updated than it was with the previous, rather overly intricate HTML coding.”

New to the site are: a page for selling videotapes, actual links on the Links page, a Members’ Page with helpful information for members on ways they can participate more actively in the co-op, and a counter to keep track of how many people are visiting the site.

Future plans include a gallery of QuickTime clips and the big project: putting the whole Co-op catalog on-line. As it has been so long since Catalog 7 was printed, its not as simple as just importing an already existing file. Many members have deposited new films, and some are no longer in distribution. At the moment, the co-op needs volunteers to help with this project.

“I hope members will get involved with the site, and see it as their own. This is part of the Co-op and really is a great opportunity for co-operative participation. It would really be against the spirit of the Co-op if one person provided all the content,” Joel stresses. “Anyone who has a link or something to add to the Members’ Page should e-mail me at schlemoj@newschool.edu.”

Film-makers’ Co-operative to Hold Two Benefits a Year
by Colin Barton

The FMC plans to continue to hold two seasonal benefit party/screenings a year, due to past success. The next two benefits will take place in the Spring and Fall of 2000, and like to the last two, they will consist of a mixture of film, video, performance art and music. Our most recent – and very successful – benefit, Gig-o-matic, took place at the west-side bar Baktun. The event featured an excellent experimental video screening curated by Cecilia Dougherty, live experimental drum & bass performances by Mocean Worker and Lloop, and film projections and visuals by Stom Sogo, Brian Frye, Bradley Eros, Adrienne G. and Colin Barton.

We’re starting to get on a roll, especially now that we’ve found an interesting and popular venue for the benefits in Baktun. If any co-op members are interested in participating in the production of the next benefit by contributing films or videos, or just helping out, contact Colin at (212)253-2182.

Co-op Grant Committee Update
by Dave Gearey

The Grants Committee, is composed of four volunteer members: Bradley Eros, Brian Frye, M. M. Serra and the Chair, Dave Gearey. It has been preparing grant application son behalf of the FMC for the last few years, and has met with substantial success. The FMC’s latest request to NYSCA was favorably received and approved for the 1999-2000 cycle. NYSCA will provide $15,000 in crucial support for operating expenses for each of the next two years. The members of the committee take this opportunity to thank NYSCA on behalf of the FMC membership for their continued confidence and support for the essential work performed by the FMC.

The FMC also received a grant from New York Women in Film and Television, prepared by M. M. Serra and Ghen Dennis, which will support the preservation of eight Super-8 “Cine- Poems” by Storm de Hirsch, including the important Charlotte Moorman’s Avant Garde Festival # 9, filmed at the Chelsea Piers in New York City. With the assistance of Tavia Ito, the FMC submitted a second film preservation grant proposal to the above organization, asking for support in the preservation of the films of Maya Deren.

In addition, the FMC received a Preservation Grant from NYSCA, which was used to hire film archivist and distribution services expert Jon Gartenberg to evaluate the status of the FMC collection. Jon will advise the FMC regarding the storage and condition of its many rare prints, examine and catalog a small collection of 35 mm films at the FMC and identify archival material in our paper collection.

Jon has already evaluated a collection of film equipment donated to the FMC. Items not germane to the needs of the FMC were sold on the internet, yielding $1340. He also reorganized the shelving system at the FMC, which will help Serra access and reshelve prints. Jon also began to inventory a collection of prints set aside for various reasons (damage, rarity etc.) He found several rare prints, including a reel of Harry Smith’s short films and a whole program of Japanese experimental films from the 60s, which were shown recently at the Robert Beck Memorial Cinema in order to call attention to his important work.

Mr. Gartenberg believes that the FMC’s new booking, accounting and film distribution software will need to be adapted for archival reasons. Apparently, the FMC can either adapt the Paradox system software currently in use, or export relevant data to a FileMaker Pro database. We’ll keep you posted as to further developments. Any members who have extensive computer experience are encourage to contact Serra regarding these questions – and help would be invaluable for the FMC.

Film Rises
by Bradley Eros

The Film That Rises to the Surface: the Avant-Guide to the Avant-Garde, a monthly bulletin listing all the myriad screenings of experimental films which now occur in New York City, will kick in on April 1st (April Fools’ Day). An astonishing number of venues – both new and old – now screen experimental films on a regular basis. So many, in fact, that there is something every single day. The bulletin will cover both on-going series and unique or irregular presentations at the FMC, Anthology Film Archives, the Museum of Modern Art, the Whitney Museum , Millenium, the Walter Reade Theater, Brooklyn Academy of Music, the American Museum of the Moving Image, the Guggenheim Museum, Pratt Institute, Ocularis, Tonic, Exit Art, Thread Waxing Space, the Donnell Library. Brooklyn Babylon, LaVista at Segue, the Robert Beck Memorial Cinema, and any other screening open to the public.

Bradley Eros and Brian Frye will coordinate the listings in conjunction with the good people of LaVista at Segue. They hope that The film that rises to the surface… will both heighten awareness of the myriad events already taking place and encourage people to organize even more. You know who to contact already.


Co-op New Releases to Show at Anthology Film Archives

by Brian Frye

Quite some time ago, the FMC indicated to its members that regular programs of films recently deposited at the Co-op would appear at Anthology Film Archives. With the assistance of board member John Mhiripiri, the FMC will now make good on that promise. About twice a year (more often if necessary), the board will organize special programs of new Co-op films, ensuring that every new film deposited at the FMC shows at least once in NYC, and allowing museum curators and festival programmers a chance to see films they might otherwise miss.

The FMC will not charge rental fees for these shows, as they are intended to function as a showcase. Of course, members are at their liberty to choose not to participate in the programs. Simply indicate as much. While the current backlog of new films is prohibitively long (as you’ll see when you get to the list printed below), precluding the presentation of every film deposited at the FMC since the publication of the last supplement, a selection from these films will initiate the series. If you would like one of your films to appear in this first program, contact Serra at the FMC.

New Video at Film-maker’s Cooperative
By Cecilia Dougherty

Brand new FMC members include well-known videomakers Leah Gilliam, David Kalal, and Nguyen Tan Hoang. Their new tapes include several shown at the September 1999 Baktun Benefit, as well as the first ever all-video Personal Selection from the Filmmaker’s Cooperative show at Anthology Film Archives last November.

Apeshit by Leah Gilliam (1998-99, 8:00) is a visual thesis examining American racial politics as it was played out in the popular Planet of the Apes movie series, both on the screen and on the set. Apeshit makes a claim that the era of tolerance is finally over, and also keys into major themes of Afro-Futurism, sci-fi, and electronic mixing. She used a Paik-Abe synthesizer in postproduction, incorporating old video-futurist aesthetics directly into the message. Gilliam’s second tape in the collection is Sapphire and the Slave Girl (1997, 17:30), described by Tammy Rae Carland, of Mr. Lady Records and Tapes as “a sort of scratch-mix riff tape somewhat based on the 1959 feature film Sapphire which is a fictional story about the murder of a black woman who had been passing for white. Referencing everything from Marlowe to Shaft, this tape situates itself in the persona of the hard-boiled detective story.” Racial politics are positioned at the core of the intrigue, the theme around which the mystery spins. And the city, Chicago, provides the premises from which a theorem is proved. Action passes for fiction; architecture and streets pass for avenues of control. Things are not always what they seem, and yet?

David Kalal, former Distribution Manager at Third World Newsreel, is also new to the Co-op. His work includes Five Minutes to Cloud Boundary, (1999, 8:00), a hybrid video which is intricately mixed and processed, using a combination of old and new methods for image capture, recording, transferring and editing. The tape, which is an homage to Indian beauty queen Persis Khambatta, former Miss India, appropriates every shot from a particular Star Trek episode in which Ms. Khambatta appears alone, usually in close-up. Kalal’s second tape in distribution is Garam Garam Chai (1999, 13:00), a travelogue imaged between video formats, a family saga danced on a Manhattan rooftop. The title – an Indian street vendor’s chant – Tea!

From the West Coast, comes new FMC member Nguyen Tan Hoang, who’s tape PIRATED! (1999, 11:00), is an autobiography of the development of personal sexuality based on early childhood trauma of the war in Vietnam and escape from terror, with a good deal of pop culture coming to the rescue. This tape is extremely interesting thematically, an unlikely mixture of ideas about war, race, love, death and fantasy. It provides a new turn in the previous decade?s film and video obsession with identity politics. Also from Nguyen, is Video Letters #1 and #2 (1995, 3:00). The tape is a Valentine to a long distance lover, (video) toasted warmly into two charming and overtly sentimental video letters.

I should also mention George Kuchar’s new videotape Chigger Country (1999, 30:00), which premiered at Anthology in November. The story of the tape according to Kuchar: “Last May an ex-student of mine asked if I’d like to spend 2 weeks at her folks ranch in south central Oklahoma. It was a cattle ranch and usually I’m holed-up in a crummily adequate motel room when I visit that part of the country (there’re shots of one that serve as “book-ends” to this piece). But this was something different: 20,000 acres and a whole house to myself (and a couple of scorpions). The scorpions weren’t videotaped but there’s cowboys and cattle and plenty of scenery for them to chew up. I hope you enjoy the trip!” Kuchar’s tape typifies his wonderful sense of humor, and of the enormous, often untimely infusions of a his deeply personal sense of pathos. Shot on digital Hi-8, Chigger Country does incredible justice to this new video format.

The Robert Beck Memorial Cinema
by Brian Frye

Since the summer of 1998, Bradley Eros and myself have presented experimental films on a weekly basis in New York City’s Lower East Side. The Robert Beck Memorial Cinema convenes every Tuesday at 9pm at Collective Unconscious, a theater collective located at 145 Ludlow, just south of Houston. With more than 75 shows under its belt already, the RBMC has shown everything from home movies and filmstrips to hand-cranked 35mm films and 3D slides, larded with plenty of avant-garde classics, and featured artists from around the world.

Many of the films shown at the RBMC come from the Co-op collection, and Co-op members are encouraged to contact us about booking a show when they visit New York City. We try to coordinate the RBMC schedule with the programming at other, more financially solvent institutions, enabling artists to show films that otherwise might be difficult to see in New York. Familiar artists featured to date at the RBMC include Phil Solomon, Greta Snider, Scott Stark, Zöe Beloff, tENTATIVELY a cONVENIENCE, Julie Murray, Saul Levine, Jim Jennings, James Otis, Bill Morrison and many others.

We took the RBMC on the road this fall, presenting three shows in the San Francisco Bay Area (at PFA, SF Cinematheque and Craig Baldwin’s OTHER CINEMA). The shows went swimmingly, and gave San Francisco cineastes a pretty fine idea of what the RBMC shows in NYC are like. If you’d like to get a better idea of the sort of programs the RBMC has presented so far, contact me and ask about the lovely bound edition (over 180 pages!) of programs, calendars and various ephemera printed up just before the California shows, which you can purchase for the very reasonable price of $15, postage paid. At this point there are only a couple left, so don’t delay! You can reach Brian via e-mail (Fryekino@redconnect.net) or regular post (Cooper Station Box 499, NYC 10276-0499) or write to Bradley Eros (115 Essex #53, NYC 10002).



FILM-MAKERS’ COOPERATIVE NEW RELEASES AS OF FALL 1999

Amodeo, Rachel
What About Me (1997) $200

Ahwesh, Peggy
The Vision Machine (1997)
Trickfilm (1997)
Nocturne (1998)

Arnold, Martin
Alone, Life Wastes Andy Hardy (1998)

Barton, Colin
Unbearable Being (1997)
Four Short Films (1992-7)

Beauvais, Yann
Still VHS and 3/4″

Beloff, Zoe
A Trip to the Land of Knowledge (1995) $100

Brakhage, Stan
Worm and Web Love (1999) $25
The Persian Series 1-5 (1999) $40
Persian 6 (2000) $20
Persian 7 (2000) $20
Stately Mansions Did Decree (1999) $30
The Dark Tower (1999) $20
Cloud Chamber (1999) $20
Commingled Containers (1996) $20
Birds of Paradise (1999) $20
Earthsong of the Cricket (1999) $20
Cricket Requiem (1999) $20
Self Song/Death Song (1997) $20
The Lion and the Zebra Make God’s Raw Jewels (1999) $30
The “b” Series (1995) $55
(…) or ellipses, Parts I, II , III and IV (1998) $30 each
The Mammals of Victoria (1994) $90
Polite Madness (1996) $20
Beautiful Funerals (1996) $20
Divertimento (1997) $20
Female Mystique and Spare Leaves (for Gordon, 1965-1998) $20
Yggdrasil: whose roots are stars on human minds (1998) $60
Garden Aerie (1995) $20
Preludes 1-6 (1995) $35
Preludes 7-12 (1996) $45
Preludes 13-18 (1996) $45
Preludes 19-24 (year) $45
Last hymn to the Night (Novalis) (1997) $60
The Lost Film (1995) $95
The Small “b” Series (1995) $55
The Fur of Home (1996) $20
Zone Moment (1965) $20
Persian Series 1-5 (1999) $20
Cat of the Worm’s Green Realm (1998) $30
Sexual Saga (1996)
Coupling (1999) $30

Boyd, Coby
Demolition of a Typewriter (1994) $100

Boutet de Monvel, Genevieve
Exhibit V (1997) VHS and 3/4″ $15

Cazazza, Monte
Pierce + SXXX-80 (2 films) VHS and 3/4″ $45

Cameron, Donna
Canvas (1995) VHS $ 75

Child, Abigail
8 Million (1993) VHS $60/$120
B/Side (1996) $120-16 mm, $120/$225 – video sale

Colburn, Martha
Lift Off (1998) $15
Evil of Dracula (1997) $15
There’s A Pervert in Our Pool (1998) $15
What’s on? (1997) $15

Czioska, Anja
Roof Shower Under Water (1994) $35
Princess Marina (1996) $25
Bolero (1995) $30
Ions Dance (1997) $20
Shiwa (1991) $20
Birgit Shower, London (1992) $30
Shower, Rotterdam (1991) $30
Feeds in the Sea (1992) $30
In the Grass (1994) $30
Jonas Mekas, Friday 13 October 1995 NYC (1995) $40

Dick, Vivienne
A Skinny Little Man Attacked Daddy (1994) VHS $100

Durr, Karisa
Grade AA Butt (1996) $125

Dougherty, Cecilia
Laurie (1998) BetaSP and VHS
Sale: $50 individual, $100 institutional, rental:$50
Leslie (1998) BetaSP and VHS
Sale: $50 individual, $100 institutional, rental:$50
The Dream and The Waking (1997) BetaSP and VHS
Sale: $50 individual, $100 institutional, rental:$50
My Failure to Assimilate (1995) BetaSP andVHS
Sale: $50 individual, $100 institutional, rental: $50
Joe-Joe (in collaboration with Leslie Singer) (1993)
Sale: $100 individual, $200 institutional, rental: $75
The Drama of the Gifted Child (1992) BetaSP and VHS
Sale: $30 individual, $75 institutional
Coal Miner’s Granddaughter (1991) BetaSP and VHS
Sale: $100 individual, $200 institutional, rental: $75
Grapefruit (1989) 3/4 and VHS only
Sale: $100 individual, $200 institutional, rental: $75
Claudia (1987) BetaSP, 3/4 and VHS
Sale: $50 individual, $100 institutional, rental: $50

Downing, Todd
Dirty Baby Does Fire Island (1998) $35

Elder, Bruce
A Man Whose Life was Full Of Woe
Has Been Surprised By Joy (1998) $250

Fenz, Robert
Meditations on Revolution, Part II: The Space in Between (1997) $25

Frye, Brian
Lachrymae (2000) $15
The Anatomy of Melancholy (1999) $20
Ladies Day (1997) $20
Francois Boue Services the Fragrance Machine at Bloomingdales (1999) $15
Meeting With Khruschev (1997) $30
6.95:striptease (1995) $10
11.95: the most important moment in my life (infinite set) $10

Gearey, Dave
Final Screens (1999) VHS $50

Geiser, Janie
The Secret Story (1996) $30
Immer Zu (1997) $30
Babel Town (1997) $30

Goldsmith, Silvianna
Hearts, Chains and Flowers (1979-95) $25

Grenier, Vincent
Surface Tension #2 (1995) $30
Feet (1994) VHS $50
Miracle Grow (1998) 16mm/VHS $35
Brendan’s Cracker (1999) 16mm/VHS $35
D’Apres Meg (1982) VHS $50
Talking Portraits (You, Out & Feet)(1990-4) VHS $100

Handelman, Michelle
Catscan (with Monte Cazazza) (1989) $30
A History of Pain (1992) VHS, $30
Safer Sexual Techniques In the Age Of Mechanical Reproduction (1988) $30
Homophobia Is Known to Cause Nightmares (1991) $30
Blood Sisters (1992) VHS $150

Hatfield, Jackie
Compilation 1994-98 VHS $75
Scar I, II and III, VHS $120

Hughes, Donald
The Follower (1996) $75

Jacobs, Ken
Four Shorts of Jack Smith (1999) $50

Jennings, Jim
The School of Athens (1997) $30
The Elevated (1997) $25
Bye Bye Bob (1990) $25
Intrigue (1998) $25
Dwellings (1997) $20
Painting the Town (1998) $30
Silvercup (1998) $30
F Stops (1998) $30
Life Line (1994) $20
Poems of Rome (part one) (1997) $20

Jost, Jon
Speaking Directly (1972) $250
Angel City (1976) $200
Stagefright (1979) $200
Slow Moves (1981) $200
Bell Diamond (1986) $200
Uncommon Senses (1987) $250
Rembrandt Laughing (1988) $250

Kenji Onishi
A Burning Star $150

Klahr, Lewis
Marietta’s Lied (1999) $30
Lulu (1998) $30

Kleine, Cindy
Holy Matter (1996) VHS $50

Kobland, Ken
Moscow X (1993) $200

Koebel, Caroline
Puss! The Booted Cat (1995) $50

Knecht, John
301 Nails No Air Loss! (1995) VHS $50
The Possible Fog of Heaven (1993) VHS $50

Koschmann, Nicole
Fishing For Brad (1998) 35mm $50
Cinderella Lies (1996) $35

Laitala, Kerry
Secure the Shadow (1997) $30
Test (1996) $30
Retrospectroscope (1997) $30

Liotta, Jeanne
Ceci n’est pas (1997) $25

Mattuschka, Mara
S.O.S Extraterrestria (1993) $25
Beauty and the Beast (1993) $25
The Assmachine Enterprise (1998) $60

Michaud, Hans D.
3 (1992) $40

O’Neill, Pat
Water and Power (1997) $100

Moore, Peter
Stockhausen’s Originale: Doubletakes (1994) $90

Parnes, Laura
Hollywood Inferno (Part I) (1998), individuals- $35, institutions- $50
Wrong Place, Wrong Time (1998), individuals- $35, institutions- $50
Real Life Music Television: A Trilogy (1995/6), individuals- $40,
institutions- $60
Blue Movie Visitor (1994)
Buy Now Pay Never (1994)
GoGo Customer (1993)
Embarrassing Childhood Memories (Combined with a Description of an Atomic
Chain Reaction) (1993)
Lies Phil Spector Told Me (1992)

Price, Luther
Sodom (1992) $45

Rappa, Bradley
Utopia (1995) $30
Through Revolving Doors (1997) $35

Reeves, Jennifer
We Are Going Home (1998) $40
Darling International (2000)(w/ M.M. Serra) $75

Resetarits, Kathrin
Egypt (1998) $40

Roth, Cliff
The Reagans Speak Out on Drugs (1988) VHS $60

Saroff, Raymond
Claes Oldenburg Happenings 1963 (1994) VHS $80

Scher, Jeffrey Noyes
Ann Arbor Festival Trailer (1997) $20
Sid (1998) $35
Turkish Traffic (1998) $30
Bang Bang (1998) $30
Aria Striata (1978) $30
Reasons to Be Glad (1998) $20
Trigger Happy (1998) $30
Yours (1997) $30
Warren (1998) $20

Schlemowitz, Joel
Representative Works VHS (60 minutes)
$30 individual, $100 institutions
Little Nothings (1997) $30
1734 (1997) $40
Eye Music (1997) $15
Invitation to a Voyage (1997) $30
Bagatelle in Neon (1997) $20

Serra, M.M.
Just For You, Girls (1997) $20
Soi Meme (1997) $30
Darling International (2000)(w/ Jennifer Reeves) $75

Skratil, Stefan and Bady Minck
The Man With the Modern Nerves (1996) $25

Smith, Jack
Scotch Tape (1961) $30
Overstimulated (1960) $45
I Was a Male Yvonne de Carlo (1962) $80

Sondheim, Alan
Compilation I (1969-72) $25
Compilation II (1969-72) $25
Hudson+2 (1976) $30
Films 1-37 (1980-82) $80
Recapitulation and I Am Working on a Film (1980-81) $35
Sexual War Films (1980-81) $90
Virgin (1980-81) $90
Hollywood (1981) $140
Symmetry Film and Summer 1981 (1971-81) $40
Testimony of Love and War and Some Features of US Chemical Warfare In South Vietnam (1982) $60
Air (1983) $75
Buffalo Silent Films (1983) $25
Tasmanian Silent Films (1982-83) $30
Desperate Signal Films (1984) $30
Everywhere at Once (1984) $25
Mexico Laura (1984) $50
This Is the Film in Which You Are Forgiven and This Is the Film in Which I Am Lost (1984) $20
One Day in the Life of Tryon (1985) $75
The Untitled Frenzy of History (1970-84) $90
Travelling (1985) $25
Using a Computer I Graph (1985) $90
Experiments (1986) $60
Denise/Drucker, Theatrefilm, Wilkesbarre, Breakers, TVX2 (1987) $60
Denise Forge Mountaintop Blue Tanks (1987) $35
Despair (1987) $40
Insane Laura (1987) $30
Nina Hagan (1988) $25
Offensive Sexuality (1988) $25
Radiation (1987-88) $25
Sleazy and the Year 2000 (1987-8) $100
Debrisfilm (1989) $100
Goodbyefilm and Asheville Snarl (1985-9) $50
Sick and Violent Love (1989) $90
Talking Cure and Into the Light (1982-9) $80
Best Lovers of Numerous Others (1990) $80
Dirty Film (1990) $20
Misrecognitions (1990) $40
Second Person Singular (1990) $60
Singular Illumination of the Body (1990) $90
An Accident in the Revolution (1991) $25
Part-Objects Float to the Surface of Desperate Thought (1991) $40
Theory of Writing (1991) $25
Thought (1991) $30
Trance Film (1991) $45

Steiner, Edie
Roses Are Blue (1996) $

Stetner, Thomas
Ikonostasis-Live (1994) $30

Stracke, Caspar
Afterbirth (1995) $50

Tartaglia, Jerry
See For Yourself (1995) $65
Amnesia (1999) $30

Tish, Pauline
The Doris Chase Dance Series With Gay Delaughe (1979) $50

Waldemar, Eric
Very Important: A Bird Walked On It (1995) $20
The Discovery of the Crystalline (1991) $55

White, Lili
The House of the Gentle (1996), rental – $20, sale – $30

This list may well be incomplete. If you have a new film that was not included, don’t despair! Another newsletter will be issued very soon. Just contact Brian Frye or the FMC office and indicate which film is missing. And don’t forget to contribute to the next newsletter. The sooner we have enough material, the sooner a new issue will be printed.

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