Film time takes on book time. An homage to a Bette J. Davis’ illustrated text, itself an homage to the small music makers of the insect world.

Camera, edit, sound design: Deborah Stratman

Music: Fontanelle

The images are derived from found footage of an 8th grade talent show and are combined with a list of gender-specific transformative sexual memories from the age of 4-18.

Afraid to Look reflects on our conditioned responses to historical actions that create inhibiting filters limiting our ability to see more positive alternatives.

Using Wagner's Faust as a touchstone, Damnation of Faust is a trilogy of highly structured and composed video works evoking a free-floating, non-linear dream or memory.

Live in San Diego is my first live performance. David Antin, my mentor when I was a graduate student at the University of California at San Diego, encouraged me to perform in front of an audience. Why?

Aroma of Enchantment is a video essay investigating the fascination Japanese teenagers have for the America of the 1950s and '60s, sporting bobby socks and hair soaked with Brylcreem.

The Politics of Breathing: Tear Gas.

The video opens with visual feedback and various sounds including snoring, whistling, and other generated audio. The video then slowly transitions into Phil Morton’s monologue and a solarized image.

An ex-student of mine opens up in the privacy of her home and shows me her etchings (watercolors) as we talk of art and things that slip under the fabric of daily attire. - George Kuchar

A girl with a bad habit of falling for older women befriends a boy lover. This video is an examination of relationships between adults and teenagers. It involves ice cream trucks and bowie knives.

A woman sets out to photograph moments of intimacy.

R.M. Fischer’s lamp sculptures, made from found industrial parts in a hybrid style of high-tech slickness and Baroque exaggeration suggested parodies of industrial commercials.

Documentary of the New York experimental theater company The Wooster Group on tour in Glasgow, Scotland, 2000, installing their production of HOUSE/LIGHTS.

Laura Mulvey published her seminal essay "Visual Pleasure and Narrative Cinema" in 1975; it has subsequently become one of the most influential work in film theory.

This video shows the design and choreography of Eiko's three-channel installation on one screen. Each video was shot in California by Alexis Moh and Marjorie Hunt during a creative residency at UCLA in April 2019. 

TVTV's inside view of the 1972 Republican National Convention made broadcast history.

This short animation explores various ways to narrate an incident that once took place in the mythical Hotel Carlton.

An excerpt from an episode of On Our Own, this video features the roommates preparing to "get crazy, cut loose, and celebrate the day." The incessantly ringing doorbell incites Joe to poison the "punks" outside by injecting kitchen chemicals in

Indians In Brazil is an educational series for Brazilian public schools that invites students to experience cultural diversity.

Block is a round-the-clock portrait, shot over a duration of ten months, of a 1960s tower block in south east London. The film is a portrait that developed out of this long duration spent there.

In this attempt to resolve the on-going crisis, Burns and Discenza find themselves in, variously, a childrens adventure playground, a garage and a yard.

BAGHDAD IN NO PARTICULAR ORDER is an ambient video essay of life in Baghdad before the invasion and occupation. Men dance, women draw and sufis sing as they await the coming of another war.

Fashioned out of home movies recovered from failing hard drives, this glitch-art video makes comparisons between different forms of memory - suggesting that, while error and decay may keep us up at night, they might also be the way we put our ghosts to

"This video in two parts is a newcomer's portrait of Montréal, and focuses on two of my architectural obsessions: the Hydro Québec building and the Métro. I spent my first winter in Montréal in a cold, dark, first-floor apartment.

Utilizing strategies of condensation and re-assemblage, these three pieces take Hollywood classics as their starting point. The re-editing process shifts and displaces old meanings until new ones are made.

A Second Quarter is decidedly European; the “place” (Berlin) is the catalyst for the “action” (the work). The works recited in the film are concerned with barriers and borders, physical and geophysical phenomena.

An exploration into the potentials, practicalities, and pitfalls of ‘playing Indian’.

Part of The Savage Philosophy of Endless Acknowledgment suite. 

"I brought live reptiles, birds of prey and exotic flowers to a very stereotyped and neglected section of the city of St.

Breder regarded Eclipse I as one of his most successful intermedia performance works for the complexity of the experience.

U & I dOt cOm is an experimental narrative/documentary hybrid about Zoey, a teenage girl who negotiates her identity in cyberspace. Dreaming about the perfect true love, she secretly navigates 3-D worlds to find romance.

The city today is as rationalised and regulated as a production process. The images which today determine the day of the city are operative images, control images.

Impetigo is the story of passion and possession in a steamy nocturnal landscape. The title is a reference to the poem A Man All Grown Up is Supposed To, by Terry Stokes.

A call from the beginning, the ancestral water, the everlasting belly from where life cries out.

Pagan and Christian souls clash in this student-collaborated mix of the defrocked and the deflowered.

Ron Gorchov (b. 1930) is an American artist who has been working with curved surface paintings and shaped canvases since 1967.

This high octane drama that I made with my students at the San Francisco Art Institute chronicles the moral decline of it's heroine, as the love of a man she obsesses over drives her over something else: a cliff into hell.  It's a free fall all the

Part of the Hauntology Film Archives series.

Part of paraconsistent sequence series and the hauntology series.

In this elegant demonstration, Sandin explains the mistake of using common language concepts and spatial relations to describe what actually can happen on the video screen.

“I am a mannish / Muff-diving / Size queen / With bad attitude / An arse-licking / Psychofag / Molesting the flies of privacy / Balling lesbian boys / A perverted heterodemon / Crossing purpose with death / I am a cock-sucking / Straight-acting / Lesbia

Private photos of an exploitation film matron (Doris Wishman) in action highlight this collection of summer fare that features a wide range of image-makers pursuing their dreams.

Joan Fontcuberta was born in Barcelona in 1955. His work has been widely exhibited internationally. Fontcuberta uses photography as a conceptual medium, often testing the limits of the image’s credibility.

“Fouteen-year-old bone collector Maxine Rose is looking for validation from her heroes, amongst them the primatologist Jane Goodall, Archbishop Desmond Tutu and the New Zealand teen pop star Lorde.

Time Bomb tells the story of a young girl's experience at a Baptist retreat, where she is called upon to accept Jesus into her life after a coercive game of terror.

Path combines striking imagery of the earth’s topography from the air, the ground, and beneath the sea.

This video presents a history of alternative spaces in New York City during the late 1960s and early 1970s, focusing on two galleries that no longer exist.

This video was made as the end-credit sequence for a film version of Ron Vawter's performance piece, Roy Cohen/Jack Smith, by Jill Godmilow. Ron was an extraordinary actor and extraordinary man.

Give it Back: Stage Theory’s point of departure is the détournement of Panorama of the Monumental Grandeur of the Mississippi Valley (1850), a 9 foot tall, 348 foot long proto-cinematic moving panorama commissioned by and based on the contempor