Blind man: “It is bad to be alone.”

The Creature: “Alone, bad.”

—The Bride of Frankenstein

It can be so bad to be alone that even an artificial heat is better than none.

“I could do wonders if I didn't have a body. But the body grabs me, it slows me, it enslaves me.”

-- Ponce de Léon

“We are hoping that in presenting this story in such a minimal way it would become evident that this Freudian logic is a conceptual and visual cliché. We want our audience to have an emotional response to the work, but at the same time realize that they’re being manipulated.” —Bruce and Norman Yonemoto

Incorporating appropriated television footage as artistic experimentation and social critique, Chilean artist Magaly Ponce retells a history of violence and repression from her point of view.

Silver directs and performs all the roles in this raucous and hilarious music video rendition of Lynyrd Skynyrd’s "Freebird", the infamous Southern rock anthem for an entire generation of 1970s male youth.

Panzano creates a matrix where the three most taken-for-granted elements of any film (camera, subjects, and the spaces they inhabit) are all delicately at odds with one another — allowed to float freely, gauge the terrain, and stake out a compr

Colectivo Los Ingrávidos (Tehuacán) is a Mexican film collective founded in 2012 to dismantle the commercial and corporate audiovisual grammar and its embedded ideology.

This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub.

A video poem about memory and loss. The abstraction in the meaning of words and how they become more dynamic in our consciousness.

still/here is a meditation on the vast landscape of ruins and vacant lots that constitute the north side of St.

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 1959, Jean Seberg stares into Raoul Coutard’s 35mm camera lens and then turns – the closing frame of Godard’s Breathless is the back of her head. For the film it is a closing. For her character it is less clear. Is it a refusal? A denial?

A portrait of risk and language, DAREDEVILS, presents the experimental narrative of a writer as she interviews a well-known artist and feels the reverberations of their discussion throughout her day.

"Over the course of one year, I periodically shot footage from the front window of my third floor apartment. This material became the basis of Window, a video about knowing. How do we come to know a place or a person?

The first in a pair of silent Super 8 films centering on the backyard of a modest house in a coastal community of north San Diego County.

20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere.

A portrait that follows Nan, my uncle who lives with his elderly parents, during the last two years that the three share the same house together.

"A cinematic doppelganger without precedent, Elisabeth Subrin’s Shulie

All that burns melts into air as “All that is solid melts into air” by Marx and Engels brings us to an imaginary of the present time marked by the reality and urgency of global warming. 

Footage from a performance produced at Forum en Scene in Middleburg, Holland of the players continually enacting the same tasks. Nothing To Lose opens with a young, androgynous sailor standing between two buildings, while the song Nothing To Lo

In Hyperthermia the cinematic body becomes overwhelmed by the luminous projection of outside political factors, causing the internal temperature of the celluloid to rise to dangerous levels.

Torn over the pressure to perform for his audience, Acconci fantasizes about "a dancing bear" who takes his place, performing in the spotlight, doing what others want, "what I always had to do."  The viewer is placed in the position of an authority

Part of the Hauntology Film Archives series.

Andries Botha (b.1952) creates sculptural forms made of found objects and natural materials which serve to interrogate the natural and social order. His work has been exhibited extensively throughout Africa and Europe. Botha lives and works in Durban, KwaZulu-Natal, South Africa.

Touch Parade is a 5-channel HD video installation consisting of crush (9:22 min. loop,) squeeze-2-pop (5:49 min. loop,) wading (3:41 min. loop,) glove love (6:58 min.

In the film Mad Ladders, the prophetic ramblings of an unseen narrator recount fantastical dreams of the coming Rapture, as crystalline imagery of rolling clouds gives way to heavily-processed video of moving stage sets from The American Music

The first twelve minutes features Phil keying his own image over his left eye (right on the screen), where he smokes and performs various facial gestures.

A fragmented puzzle of a sinister narrative turned inside out and comprised of digital video, digital video animation, and Super-8, with model animation and human pixelation.

Video Data Bank is proud to present the wonderful work of artist Laura Parnes.

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones.

From the point of view of the psychoananlyst's chair, we witness images that place us implicitly within the scene. The images depict two embracing men, and suggest a complex and ambiguous web of associations.

Black Rain is sourced from images collected by the twin satellite, solar mission, STEREO.

A Body in a Cemetery is a 15-min short film that documents a place-inspired solo performance by dancer/choreographer Eiko Otake in Green-Wood Cemetery, the U.S.’s second oldest cemetery in Brooklyn that holds 570,000 "permanent residents." Pres

Rhythmically chewing their meals, a herd of cattle creates interesting shapes, patterns, and movements in this “keyed” (a process of dividing areas of a black and white image into percentages of gradation) and colorized work.

Rare footage of a September 1970 rally honoring the late Fred Hampton, Deputy Chairman of the Illinois chapter of the Black Panther Party. One of the speakers leads the audience in a call and response.

A short anecdote created for an exhibition in commemoration of the events of September 11.

A flowing river, an injured arm, a dance floor, and a woman washing clothes in the bay—what carries the dust is the wind.

Paternal Rites is a first-person essay film that examines the secret underbelly of a contemporary Jewish American family as they grapple with the aftereffects of physical and sexual abuse on their present-day lives.

“Nobody likes you if they think you’re rude- you better act the way you should.” But we didn’t.

A cross-generational binding of three filmmakers seeking alternative possibilities to the power structures they are inherently part of. Each woman extends her reach to a subject she is outside of.

A collaboration with writer Luc Sante made in Tangier, Morocco, a city where neither of us had ever been.

In a fictional conduit space, language and function are recontextualized as the HalfLifers struggle to re-assess the nature of their mission while engaged in an eternal cycle of maintenance and communication routines.

Linda Williams writes on what she calls “body genres”: melodrama, horror, and, most famously, pornography.

Blood and Guts in High School features actress Stephanie Vella in a series of video installations* that re-imagine punk-feminist icon Kathy Acker's book of the same title.

The Templo Mayor was the center of the Aztecs' religious life in Tenochtitlán, a ceremonial building in the heart of Mesoamerica. A center of political battles of contemporary Mexico. A ritual of resistance.

Elizabeth Hess addresses issues of censorship, AIDS, war, feminism, and politics in general. She has written extensively on women’s issues, contributes to The Village Voice, and is co-author of Re-Making Love: The Feminization of Sex (1986).

Domestic life in south London filtered through stories of weight (and waiting), local history, bad dreams and the ongoing colonisation of the moon.

Original music by Bruno De Angelis.

The interstice of art and technology has proved to one of the most generative locations in contemporary transdisciplinarity.

I reconcile the violent act.

Filmed directly from the screen of a smartphone using a language translator app that has been told to translate from French into English, Steve Hates Fish interprets the signage and architecture in a busy London shopping street.