Part of the Hauntology Film Archives series.

Gallup, New Mexico, in the American Southwest, has hosted the Inter-Tribal Indian Ceremonial annually since 1922.

The fifth in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–Tejana tableaux artist Santa Barranza, Taiwanese video and interactive installation artist Shu Lea Cheang,

After the screening of his film Wai'á rini, the power of dream in other Xavante villages, the people of Aldeia Nova from the São Marcos reservation asked Divino to make a film on the same ritual, the Wai'á ceremony.

Mom and Dad highlights causal conservations between Phil and his parents around family life, road trips, and camping in an interview-like setting, where his parents sit against a plain brick wall facing the cameras.

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).

By subjecting fragments from the Akira Kurosawa’s film Rashomon to a mirror effect, Provost creates a hallucinatory scene of a woman’s reverse chrysalis into an imploding butterfly.

Nancy Graves (1939-1995) was a New York sculptor, painter, and filmmaker who used natural history as a reference for dealing with the relationships between time, space, and form.

“Animists are people who recognise that the world is full of persons, some of whom are human, and that life is always lived in relationship with others.”

-- Graham Harvey, Animism

Cambodian Stories is Eiko & Koma's multi-disciplinary collaboration with Reyum Painting Collective, young painters who study and work at the Reyum Institute of Arts and Culture in Phnom Penh, Cambodia.

Confrontation is the element that defines Acconci’s work, from explorations of the body and self to his performances, videos, and installations to the more recent “transporting and self-erecting architecture.” Throughout his wo

The artist swings a live-set small game trap near his extended other hand. The trap swings ominously: will it snap his fingers? The end comes quickly!

Hotel Globo critically examines the changing urban surface of Luanda through video, photographic and performative incursions into the interior landscapes of the 1950s Hotel Globo in Luanda, Angola.

In the nest of the sun, Xolotl, Huitzilin and Xochitl meet to recover the dance of radiation, whose colorful heat stirs the new fire of their cosmic dance. Part of the Film Tonalli.

Documentary about a sensation by the author. A sensation that the author can only describe with the documentary itself, a nighttime thunderstorm that produces the most beautiful image of the combined action of rhythm and time.

The artist Bruce Conner is featured in this videotape which bounces east and west, depicting the fragility of holistic hooligans in a world of hit-and-run encounters, Prozac, and pizzas. A meditation on faulty plumbing and paradise lost...

My TV Dictionary: The Drill (1986) translated through digital filtering in 2014.

"Pointing at my own image on the video monitor: my attempt is to keep my finger constantly in the center of the screen — I keep narrowing my focus into my finger.

British-Ghanaian, writer, theorist and filmmaker Kodwo Eshun (b.1967) is known for his interest in the electronic mythology of sound. In this interview, Eshun discusses his desire to challenge the predominance of sociological inquiries into the historical and stylistic development of music.  Eshun seeks to establish a model of inquiry that is much more concerned with the materiality of sound.

Ruth Jarman and Joe Gerhardt, who comprise the UK artist duo Semiconductor, make moving image works that explore the material nature of our world and question our place in the physical universe.

6^ is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.

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

In imaginary landscapes where trees talk and frogs turn to handsome princes, Pizzly Bear is a story of a cross between a Grizzly and Polar Bear.

"The life of objects intrigues me. Apparently inanimate, they adopt the souls, actions and lifestyles of their keepers. Here, a bed testifies to what goes on behind the closed door of a decent family's bedroom."

—Ximena Cuevas

This is a fragment of the sacred lizard in desecrated times, an intermittent tour of the flashing body of the Cipactli lizard. Part of the Cipactli series.

A family embraces the heart of evil in this Poltergeist re-make/drag show, circa 1992.

A documentary – of sorts – retinted, toned, sped up, slowed down.

Brief and bouncy document of Jennet’s open studios private view, back when she was still mostly a painter.

Most of the moving images produced for science, industry, commerce, and medicine are seen only by specialized audiences, and are then discarded soon after they are made. Rumour Of True Things is constructed entirely from such moving image ephem

"Love at first sight, one night, down at Silverror’s Saloon!" Mickey R Mahoney and jonCates direct Silverror’s Saloon, the next film in the 鬼鎮 (Ghosttown) Glitch Western

Recently I found myself rising from a forced landing on the floor after being catapulted into the air by an exercise machine and bouncing off the dresser.

An experimental video on national insecurities.

This is an edited excerpt of Eiko and Iris McCloughan's experiment working over Zoom on May 5, 2020 as a part of Eiko's Virtual Creative Residency hosted by Wesleyan University. 

"Newly hand-built digital video A to D and D to A with ALU bit flipping. Controlled by an ELF II computer. The image brightness changes also controlled analog synthesizer parameters of the live flute playing.

A picture of the day-to-day life of Shomõtsi, an Ashaninka Indian living on the border of Brazil and Peru. Valdete, a teacher and one of the village video makers, highlights his hardheaded and witty uncle.

Commissioned by and performed at the 2000 Brooklyn Academy Music Next Wave Festival, When Nights Were Dark is a full evening-length collaboration with Joseph Jennings and the Praise Choir.

Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany.

Working with his Collie-breeding parents, their dogs, and the puppy play kink community, Lax explores the rituals by which humans tame and use animals to mitigate disaster and themselves.

This single channel tape was created from a 4-channel live mix of 4 VCRs, an A/V mixer, and a sampler.

This is the invocation to the ancestral god of the underworld, the ancient annihilator, which preserves the ritual inertia of the bones and stones.

This film was made from The New York Times newspaper articles. The semi-automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

In a tape that stands out as one of the earliest examples of the use of appropriated television footage, Freed assembles a collage of images representing American media icons, from Mickey Mouse and Richard Nixon, to The Wizard of Oz and the Rol

Benglis uses the video format as a metaphor for other types of limiting conditions or limited realities.

Kentridge's hauntingly beautiful series of animated black and white drawings brings viewers into the artist's unconscious.

Strapped for time due to her busy schedule of personal appearances, Anderson creates a rather clumsy looking clone to take over and keep up her artistic production.

A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California.

Imagine that the camera is possessed with a psychosis similar to human schizophrenia; suppose that this disease subtly changes every single frame of film while leaving the narrative superficially intact.

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

John Smith, throughout his 40-year career, has approached the moving image from film, video and installations, generating a tremendous body of work that’s as diverse in its topics as it is in its methods.

A table is set with two red books placed at diagonal corners and a stack of three poker chips placed in the center. Two women enter, sit, and begin to play with the books and poker chips.

The violent surgical act of a boy’s circumcision is contradicted by the peacefulness of his facial expression. Proud to join the world of men, the boy is trying his best to be brave. Yet can the passage to adulthood be that simple?