16mm, color, 8.5 min
A bowl of blueberries in milk, changing light radiant on the berries and on the glazed bowl, the ever more radiant orb of milk transforming into glowing light itself, with a brief shadow coda answering the complex play of shadows. The regular pulses of light framing the looser rhythmus of the spoon, itself a frame. A charging of each of the frame's edges with its own particular energy. Within and without, whites and blues, lines and curves. The pulses of vision, the simple natural processes, lift the spirit.--L. G.
16mm Rental: $40.00
16mm, color, 10.5 min
A fixed camera companion to FOG LINE. Bright green leaves stripped from ears of corn, and later, the vibrant yellow ears placed steaming in the waiting bowl. Each of these actions inaugurates a period in which one contemplates an image whose steady transformation is barely perceptible--the delicate slow movement of light and shadow, the evolution of subtle steam into the film grain. A meditation on the fragile moments of corn's passage from living sun-nourished plant to food to light image. The mind attempts to grasp duration itself, to distinguish its own creating from its perceiving, but distictions blur in the wholeness of times's and consciousness' flow.--L. G.
16mm Rental: $50.00
16mm, color, 11 min
"It is a small but perfect film." -- Jonas Mekas "The metaphor in FOG LINE is so delicately positioned that I find myself receding in many directions to discover its source: The Raw and the Cooked? Analytic vs. Synthetic? Town & Country? Ridiculous and Sublime? One line is scarcely adequate to the bounty which hangs from fog & line conjoined." -- Tony Conrad "FOG LINE is a wonderful piece of conceptual art, a stroke along that careful line between wit and wisdom -- a melody in which literally every frame is different from every preceding frame (since the fog is always lifting) and the various elements of the composition -- trees, animals, vegetation, sky, and, quite importantly, the emulsion, the grain of the film itself -- continue to play off one another as do notes in a musical composition. The quality of the light - the tonality of the image itself -- adds immeasurably to the mystery and excitement as the work unfolds, the fog lifting, the film running through the gate, the composition static yet the frame itself fluid, dynamic, magnificently kinetic." -- Raymond Foery
16mm Rental: $40.00
16mm, color, 34 min
"BARN RUSHES is one of those seldom films which surprises one over and over. I remember the surprise I had when I used it first in a class; BARN RUSHES is so ecstatic and visionary that I thought a didactic setting might smother it. However, the film instead emerged not only unscathed, but (phoenix-like) improved! For aside from the compositional/retinal joy of the film, it is also a tour-de-force in sequential organization of thematic material, the closest possible approach to a textbook of atmosphere, camera vision, and lighting, as they relate personal concept to purely visual relationships. "... elegant yet rustic in its simplicity of execution; tugged gently toward different sides of the set by hints of color and motion interactions, positive and negative spaces, etc., and the unyielding delivery on one of the great apotheoses of poetic cinema at fade-out time." -- Tony Conrad Collection: Carnegie Institute; Moderna Mus'et, Stockholm
16mm Rental: $144.00
16mm, black and white, 7.5 min
"Perfect works have a way of appearing unobtrusive or simple, the complexities seeming to be so correct that they flow - mesmerize one through their form - a form that bespeaks of harmony between many aesthetic concerns. ... Larry Gottheim's DOORWAY is such a film. His concern for working with edges, isolating details, the prominence of the frame as a shape and revealer of edges, love of photographic texture, are all dealt with lucidly in this film. ... One is drawn into these beautiful images through Gottheim's poetic feel for photographic qualities -- i. e., light, movement, texture -- his ability to transform a landscape through his rigorous use of the frame to isolate in order to call attention to a heretofore hidden beauty revealed through a highly selective eye." -- Barry Gerson, Film Culture
16mm Rental: $60.00
16mm, color, 10.5 min
With Shelley Berde. O! the one Life within us and abroad, Which meets all motion and becomes its soul, A light in sound, a sound-like power in light, Rhythm is all thought, and joyance everywhere -- Methinks, it should have been impossible Not to love all things in a world so fill'd; Where the breeze warbles, and the mute still air is Music slumbering on her instrument. And what if all animated nature Be but organic Harps diversely fram'd That tremble into thought, as o'er them sweeps Plastic and vast, one intellectual breeze, At once the Soul of Each, and Good of all? -- S. T. Coleridge, The Eolian Harp
16mm Rental: $44.00
16mm, color, 7 min
In 1971 it seemed a formal companion to DOORWAY, bringing out further possibilities of small movements within the format of a continuous shot. In 1980 something sang to my current conserns, hinted at by drawing this title into that gentle sensual pulling. Something about what is moving between me, us and that out there... what us per-forming.--L. G.
16mm Rental: $35.00
Horizons (Elective Affinities, Part 1)
16mm, color, 77 min
Completed in 1973 (with assistance from CAPS), HORIZONS was released as an individual film and continues to stand as such. However, I have incorporated it as Part 1 "Overture" to the series Elective Affinities, which includes three further sound films: MOUCHES VOLANTES (1976), FOUR SHADOWS (1978) and TREE OF KNOWLEDGE (1981). "This was also my fifth viewing of Gottheim's HORIZONS. (It is said, in Analects, VII:31, that 'when Confucius was pleased with the singing of someone he was with, he would always ask to have the song repeated and would join in himself.') During the first viewing of HORIZONS, in London, I just looked at it, with my eyes all open and ablaze, and I found it very beautiful. Later I listened to Gottheim talk about the film. I found out about the complex web of image rhymes and correspondences in the film. During my second and third viewings I became very absorbed in seeing and figuring out the correspondences and rhymes. But I found the film equally, if not more, beautiful. The fourth viewing was again an open eye viewing, without any special emphasis. During the Cooper Union screening I suddenly discovered its incredible richness of color. I sat close to the screen and I saw these glorious colors and I was amazed that I could look at HORIZONS four times and not notice the magnificence of its color." -- Jonas Mekas, Movie Journal Collection: Centre Beaubourg, Paris
16mm Rental: $150.00
Mouches Volantes (Elective Affinities, Part II)
16mm, black and white, 69 min
Three elements, at first quite independently, struck me deeply, were brought together: this title which suggested do much to me, this narration by Angelina Johnson of the story of the life of her husband, Blind Willie Johnson; and groups of visual material, light fragments from my own personal world of occupations.(...) As in all my films, the basic processes of cinema, the exposing of film stock to light, here the stringing together of linear patterns of sound and image, become metaphors, embodiments of acts of coming to feel, coming to know.(...) Words, images, sound, light, flows of energy leaping and cavorting in conciousness, taking form. A celebration of elusive relationships.--L. G. "The film unfolds and recedes before us as do the waves on the beach in Sections 5 and 6. The shots themselves become familiar images, as does the quizzically magical sound track. The tonality of the film stock moves from high contrast balck and white to subdued color and back again. All of this cyclical lyricism creates a fullness, an organic whole.(...)"--Raymond Foery, Idiolects
16mm Rental: $120.00
Four Shadows (Elective Affinities III) 2 Reels
16mm, color, 65 min
Like constellations wheeling round, a double chain of four image segments and four sound segments wheel past each other in 16 combinations -- a family of Gibbon apes, a landscape measured, a shadowed diagram after Cezanne, a wintry urban scene, a text by Wordsworth, a climactic scene from Debussy's opera Pelleas et Melisande .... The stately ceremony can generate rich sensuous cinematic pleasure as well as a free-flowing stream of associations. Containment and flowing free -- these are some of the issues. The third film in the Elective Affinities cycle. Exhibition: Biennial Exhibition, Whitney Museum of American Art, 1978; Berlin Film Festival.
16mm Rental: $256.00
Tree of Knowledge (Elective Affinities IV)
16mm, color, 57.75 min
It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES. But the essential feelings and meanings of that filmiming held themselves back. So I pursued sounds of comparable texture and richness, from which material the 'deaf bar" (thanks to Roger Jacoby and Pittsburgh Filmmakers) and stockyard (thanks to Alan Berliner and U. of Oklahoma) sounds attached themselves to the work. But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. (...)--L. G.
16mm Rental: $150.00
16mm, color, 35.25 min
Radiating from the Darwinian text-fragments outward through the material is much pictorial and spoken signifying text having to do with issues such as communication, translation, dynamics of perception, art, science, isolation and social interaction etc. In a certain sense a meaning does arise from all of this. At the same time the endless groupings and regroupings of material suggest yet another realm of meaning. Finally it is the experience of our own selection of a pattern among the myriad richness of combining materials, superimposed on my own composed pattern, that opens up the real film--L. G. A sensual, pleasurable enigma, this."--L. A. Times
16mm Rental: $75.00
"Sorry / Hear Us"
16mm, black and white, 8 min
(note, quotation marks are part of the title) A violated text, a hint of which leaks out throught the cut-up, generates a film with its own overt surprises and suppressed associations. An old kind of poem bears, under pressure of a backwards undertow, a brash new cinema poem. Sharp and even funny, it grows out of a new mode of working, developing my desire to work collaboratively in a way that stimulates and benefits from the creative associations and acts of others. Doug Foote, David Gresalfi, Erick Pinedo-- it's fully their film, too. Kathy Benedek started it off. Karen Krawczyk, Jack Holland, Chris Sivolella made creative contributions. Also Henry Lou, Marty Sheehan, Tom Murray, Fernando Pimenta.--LG
16mm Rental: $25.00
Mnemosyne Mother of Muses
16mm, color, 16.25 min
A mirrored form in counter-movement, dense with emotion-charged memory -- a rapidly sparking dynamism of image and afterimage, swirling resonant words/music, juxtaposing loss, my father's stroke, Toscanini, Siodmak's The Killers, the Red Robin Diner. ... I seem to be quickening.
16mm Rental: $72.00
Red Thread, The
16mm, color, 15.5 min
Mostly shot in San Francisco and Northern California, material filmed (using the camera almost as a p[r/a]inter, a means of shaping the visual world as film, but without reflection) in response to what that world was opening in me. "Material!" -- analogies between weaving and spinning thread and images already a pattern within film history (e. g., in Deren) is here carried into further ramifications of unraveling and patterning in fabric- and cinema-making, as well as in personal and mythic dimensions. The open unfolding structure, which pulls away from the balanced design of much of my work, gives equal weight to the sound composition. Involves "opening" with its perils and ambiguities.
16mm Rental: $68.00
Machette Gillette... Mama
16mm, color, 45 min
Rapid, disjunctive images and sounds from aspects of life in the Dominican Republic -- a film dealing with representation itself, within ritual, within cinema, within history, within narrating. The title is a Dominican song, based on a Haitian song, meaning a razor-sharp machete; it is, of course, a complex metaphor within the cultures from which it comes, but also within the film, extending my longstanding interest in edges, borders, horizons, into material of documentary interest. Partially supported by a grant from NYSCA. Exhibition: Havana Film Festival; Cine San Juan Festival; Oberhausen Film Festival.
16mm Rental: $180.00
Your Television Traveler
16mm, color, 15 min
The history of space, the place of mystery, the mystery of trace, the space of history.
16mm Rental: $45.00
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