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The images consist of stills from Barney's movie, Cremaster 3. -- Source of annotation: Marvin or Ruth Sackner.

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Shirin Neshat's powerful and meaningful film was presented at the Chicago Art Institute. It was an installation of two synchronized black and white video sequences projected on large screens on opposite facing walls. In "Rapture," Neshat articulates the ways in which space and spatial boundaries are politicized in Islam. The men populate a stone fortress on one side of the room all wearing black pants and white shirts, and on the other wall the women move in a barren dessert wearing black full-length veils. The message by Neshat is that "both men and women are contained and controlled by a fortress mentality - women behind the veil, men behind the wall." The film was accompanied by music by Sussan Deyhim, blending Middle Eastern and North African folk traditions with contemporary sources using lyrics, abstract primal utterances, natural ambient sounds, electronic noise and percussion. -- Source of annotation: Marvin or Ruth Sackner.

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This is a summary of selections oresented at the Second Biennale Internationale du Film sur l'Art in Paris in 1989. -- Source of annotation: Marvin or Ruth Sackner.

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This the narrrative track for a film by Gio Sampoga using texts assembled by curry from his journals. -- Source of annotation: Marvin or Ruth Sackner.

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This is the scene by scene breakdown sheme for the film of the same title by Gio Sampoga. -- Source of annotation: Marvin or Ruth Sackner.

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This is a single sheet issued as wallpaper. Prints two stills from Ono's 1966 film No. 4, Bottoms, a study of naked buttocks -- Source of annotation: Marvin or Ruth Sackner.

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Screenplay based on "Portrait of a Young Man Trying to Eat the Sun" the life, death & legacy of d.a. levy. -- Source of annotation: Marvin or Ruth Sackner.

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The "Art of Typewriting" is listed and illustrated (page 31). It contains illustrated works and descriptions from the Sackner Achive. Four of the uniquely designed book covers are shown. On the back covers the works of Leandro Katz (Word Column IV) and Steve McCaffery (Carnival - second column) are illustrated. The smaller soft cover book contains children's publications. -- Source of annotation: Marvin or Ruth Sackner.

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The cover, designed by Logue, consists of found concrete poetry, The numbered copies were printed on Holland van Gelder Paper. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents From the dustjacket, "Sidney Peterson was one of the originators of the American avant-garde cinema. The five films he made in San Francisco between 1947 and 1950 have become classics; they have influenced the cinematic education of many of the best filmmakers of the subsequent generations. For years Peterson had an underground reputation as a man of immense and arcane learning, surprising wit, and unorthodox insights into the working of advanced cinema and modern art. In The Dark of the Screen he writes about the cinematic experience and his role as a filmmaker. It is a book in the tradition and spirit of Marcel Duchamp. Elegantly written, drolly irreverent, it tells the story of his involvement with cinema during what has been called the San Francisco Renaissance (1945-50) and his subsequent adventures as the first consultant on the artistic future of television for the Museum of Modern Art in New York. After attempting to make a documentary film about Kwakiutl Indians, he worked...

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It should be noted that his book entitled "Cycle" (1964) hand printed at Indiana University is not listed in the chronology of his works published in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Peter Greenaway has based his movie of 1994 on the story of Sei Shonagon a lady in waiting at the Japanese Heian Dynasty Imperial Court. He adapted this ancient story to a contemporary setting. It is a story of a contemporary Japanese woman who obsessively has her many lovers write texts on her body and she on theirs. "Our attention is drawn to view the film as an ironic demonstration that cinema, even now after hundred years of pretending to be an autonomous activity, is invariably text-driven, and almost wholly supported by literature." This book documents the script of the film and reproduces representative stills from it. -- Source of annotation: Marvin or Ruth Sackner.

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This is a modern day version of a 10th Century Chinese story that has been brilliantly adapted, conceived, written and directed by Greenaway. It features body art using Japanese calligraphy done by Brody Neuenschwander. -- Source of annotation: Marvin or Ruth Sackner.

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This is a modern day version of a 10th Century Chinese story that has been brilliantly adapted, conceived, written and directed by Greenaway. It features body art using Japanese calligraphy done by Brody Neuenschwander. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The documentation of this experimental lettriste film in the accompanying book was written by Frederique Devaux.Wikipedia: Treaty of drool and eternity is an experimental film French written and directed by Isidore Isou in 1951 , produced by Marc'O and mounted with the help of Maurice Lemaitre . Duration: 120 min. This is the first work of cinema Lettrist . This film caused a scandal at Cannes in 1951 and received the Prix Spectators Avant-Garde. This film is based on the principle Isou called discrepant assembly, which consists of a total disjunction between sound and image, processed independently without any meaningful relationship. Thus, the soundtrack consists of poems Lettrists (for generic and interludes), which is added a narrative telling the story of Daniel, author of a manifesto for a new cinema (the cinema discrepant) of his speech in front of a hostile audience and his love affair with a woman named Eve. The empowerment of its purpose to do to reach their full...