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An avant-garde omnibus that features works by off-the-wall artists in many different disciplines.
Commissioned for the 1980 Winter Olympic Games in Lake Placid, New York, Olympic Fragments is a taut, expressive reinterpretation of athletic movement, a tour-de-force of dynamic editing and post-production techniques. Through sophisticated visual and aural juxtapositions, Fitzgerald and Sanborn isolate the gestures and movements of athletes in a controlled, powerful display. Eschewing the "thrill of victory" tradition of broadcast television sports coverage, they allow a portrait of individual skill and grace under pressure to emerge from their manipulation of highly fragmented and choreographed imagery — what they term the "skill, beauty and sheer joy of kineticism.
Rife with feeling and movement, Video Drawings is an expressionistic, animistic work that evokes the human condition. Created and then manipulated in real time with the Fairlight CVI, and scored to haunting Senegalese music (with Peter Gordon on saxophone), Fitzgerald's painterly landscape suggests human and animal life, suffering, destruction and hope through a cacophony of shifting, organic shapes and bright colors. The sensuous and harrowing images coalesce to form a video lament of emotional power.
In this vibrant moving painting, Fitzgerald animates her video canvas with symbols of love and romance. Set to original music by Peter Gordon, Romance merges vivid expressionistic imagery of men, women and animals with landscape. Her strong palette of color unfolds across screen, palpitating with organic form. With a witty visual style reminiscent of Paul Klee, Fitzgerald evokes sexual passion, romantic love and conflict.
A short survey of the small-gauge narrative film, beginning with the Kuchars' Sylvia's Promise (1962). Primarily focused on East Coast artists, the work of Eric Mitchell, Manuel DeLanda and Ericka Beckman is highlighted.
This work explores perception, time and memory, based on the concept that "science has yet to determine the actual resolution of the eye." Using time-lapse, slow dissolves, and ghostly, ephemeral images, the artists manipulate linear time and dimensionality. Evoking subconscious memory, Remains Vivid recalls childhood experiences through use of the "after-image," while Over/Time subtly transposes physical and temporal distance as contrasting, equally resonant landscapes. POV explores the subjective eye versus the camera eye, and the nature of artistic creation. Using a split-screen technique, Similar Nature dissects the activities of four people in a study of time, motion, and simultaneity of gesture. Sax and Violins is a conflation of sound and fragmented image in which the musicians perform separately and are brought together only in the post-production process.
A dramatic history of Pu Yi, the last of the Emperors of China, from his lofty birth and brief reign in the Forbidden City, the object of worship by half a billion people; through his abdication, his decline and dissolute lifestyle; his exploitation by the invading Japanese, and finally to his obscure existence as just another peasant worker in the People's Republic.
Island of Java, 1942, during World War II. British Major Jack Celliers arrives at a Japanese prison camp, run by the strict Captain Yonoi. Colonel John Lawrence, who has a profound knowledge of Japanese culture, and Sergeant Hara, brutal and simpleton, will witness the struggle of wills between two men from very different backgrounds who are tragically destined to clash.
A corporate raider and his henchman use a chanteuse to lure a scientific genius away from his employer and family.