20TH CENTURY VIXEN
CLAUSE AND EFFECT
UK, 1988, 20 min, video
Clause and Effect is a tape that combines documentary footage with positive images of gay men and lesbians to show the impact of Clause 28 of the Local Government Bill both on them and the wider community. The tape is framed by an exclusive interview with Derek Jarman who talks about the origins of the Clause, 'its roots in the moral majority and their interpretations of the Bible', the effect that it will have on the community and on his work as a film maker.

A-SOMA (Formerly John Apps)
MAD METROPOLIS
UK, 1979, Sound, Colour, 15 mins, 16mm
A Complete Novel in which a hero answers the call to adventure, crosses the first threshold and ventures forth upon The Road of Trials in search of the ultimate boon. This is recognised and achieved. He is free to continue around the same path. - J.A.

A-SOMA (Formerly John Apps)
THE WORD
1979, Sound, B&W, 9 mins, 16mm
'My face you cannot see, for no mortal man may see me and live.' - Exodus 33, 21.

A-SOMA (Formerly John Apps)
ORA
1980, Silent, Colour, 13 mins, 16mm
'If a film, which is already both the dream of its maker and the dream of its audience, can present itself as the dream of one of its characters, can it finally appear to dream itself?' - Bruce Kawin, Mindscreen.
Ora (a border or margin) is a pictorial sequence of overt theatrical gestures, which delineates itself. As such it infers Nothing. This is the context of myth. The sound track to this film is silence. - JA

MINEO AAYAMAGUCHI
FEET
UK, 1983, 10mins, video
'The video camera is focused on my feet. The sound is clapping my hands.' - M.A.

MINEO AAYAMAGUCHI
PICTURA
UK, 1983, 8mins, video
'In a video standing on its side, you can see my legs as I move across a floor. As I get closer to the camera and video, the effect is like that in a multiple mirror set-up or like that in a split-screen movie sequence: smaller and smaller rectangles, each with my legs shown at right angles to the last, spiral inwards to create an abstract design. The accompanying sound is of my monotone whistling.' - M.A.

MINEO AAYAMAGUCHI
INNER COLOUR
UK, 1984, 15mins, video
'In this video I was exploring the use of primary colours and colour construction with the video monitor using the human body to create coloured shadows and to create a mask from the human face. The sound of the waves breaking was to represent the flow of the life - breathing in and out.' - M.A.

MINEO AAYAMAGUCHI
OUTER COLOUR
UK, 1985, 9mins, video
'I am interested in environmental scenery and, particularity, in viewing such scenery through the "video eye" as opposed to the human eye. Video enables me to focus on particular scenes - a flower, streetlights - and transform the colours in these scenes. Through video, and the use of filters, a natural scene immediately becomes on artificial scene. I am interested in creating work reflects both nature - everyday scenery - and artificiality - video machine. In sound, I take a simple "instrument" as a pitch pipe, record and re-record spontaneous sound made on the pipe.' - M.A.

MINEO AAYAMAGUCHI
BEYOND COLOUR
UK, 1986, 13mins, video
‘The tape was made from images found in landscape - billboards, neon, bridges etc. I did use the whole image sometimes but more often close-up section so that the image is more ambiguous and I could concentrate on the colour and composition. Because of the nature of videotape I concentrated on primary colours in bright sunlight or neon light. There was no narrative content in the video - the colour, composition and impact of the image being the most important thing. The sound was self-made using a simple thumb piano. I recorded several tracks on top of each other.’ – M.A.

MINEO AAYAMAGUCHI
KALEIDOSCOPE
UK, 1988, 10mins, video
‘I made using 25 monitors and 3 videotapes I wanted explore the relationship between the screen, the floor space and the wall - the total 3D space. I want to create an environment, which is constantly changing, and reflecting images - to build up a symphony of colour and imagery exploring time and space within the environment. The sound was a self made tape using a synthesizer and a sampling keyboard - exploring their possibilities and relationship with the imagery.’ – M.A.

MINEO AAYAMAGUCHI
PRIMARY CONTRASTING ELEMENTS
1993, 1min, video
Primary Contrasting Elements explores the symbolic relationships between primary forms (the circle, square and triangle) and video colours.
Part of ONE MINUTE TELEVISION

MINEO AAYAMAGUCHI & JEREMY WELSH
LIGHT / WATER
UK, 1987, 8mins, video
'All images used in the videotape shown in the installation derive from water, often seen in close up detail that creates a distorted sense of scale. The videotape employ contrast and rhythm to suggest a sense of change, of movement through a shifting series of landscapes. Sound is also used as a further sensory element and often as a counterpoint to the image.' - M.A.

RUTH ABRAHAMS
BEING OF THE BEGINNING
USA, 1973, Sound, B&W, 3 mins, 16mm
Animated line drawings of people and objects are metamorphosed into other objects and/or abstract shapes, with musical accompaniment.

NICK ABRAHAMS & ANA CORY-WRIGHT
NO AGE, NEW YORK
UK, 1993, 50 mins, video
'This rough-guide to the New York scene of the 1980's is a whirlwind tour of the city's film and video 'underground' that doubles up as a walk-on-the-wild-side of the modern imagination. Mixing interviews with underground alumni Beth B, Nick Zedd, Henry Rollins, Lydia Lunch and Richard Kern alongside clips of their controversial, confrontational works. No Age... junks standard documentary structure in favour of a scattershot fanzine-type approach that vividly captures the scene of the period and the energy and attitude behind it.' -Steven Bode

VITO ACCONCI
THE RED TAPES 1, 2 & 3
USA, 1976, 120mins, video
The Red Tapes is Acconci's masterwork, a three-part epic that is one of the major works in video. Designed originally for video projection, the work is structured to merge video space -- the close-up -- with filmic space -- the landscape. Acconci maps a topography of the self within a cultural and social context, locating personal identity through history, cultural artifacts, language and representation. Stating that the work moves 'from Vito Acconci to a larger Americanism, between a psychological personal space and a cultural personal space,' he constructs a dense, poetic text in this search for self and America.

ROGER ACKLING
BOOT FILM
UK, 1967, Silent, B&W, 8 mins, 16mm
A very simple film of a boot seen slowly from a number of viewpoints and distances. The pace is gentle, the result is sad and comic.

JOHN ADAMS
STORIES
UK, 1982, 13mins, video

JOHN ADAMS
INTELLECTUAL PROPERTIES
UK, 1985, 55mins, video

JOHN ADAMS
GOLDFISH MEMOIRS
UK 1993, 26 mins, video
Commissioned for the Tyne International exhibition of contemporary art in 1993, this single monitor version of John Adam's installation has the intelligent humour and idiosyncrasy characteristic of his work. One part of the tape is a story told in photographs (which are used to allude to photographic memory) about a man treated with a drug to give him perfect memory and fantastic intelligence. However in spite of the great benefits these attributes bring, the agreement to take the drug turns into a Faustian pact. The narrative is inter-cut with interviews with a number of people on the subject of memory. We get a wide range of discussion on the subject, from the freshness of a child's idea of the brain to the serious and thought-provoking ideas of artists and psychologists.

KEVIN ADAMS
CAN'T TAKE THAT AWAY FROM ME
1992, USA, 13mins, video
This award winning experimental video is a lyrical yet piercing documentation of the brutal gay bashing murder of 27 year old Paul Broussard that took place in Houston, Texas, in 1991. Broussard's story, told in text, is situated between aestheticized images of gay couples, creating a quietly powerful critique of society's intolerance, while affirming gay presence.

LESLEY ADAMS
POSTCARDS OF BELIEF
UK, 2001, 5mins, video
When the frame rebels and pain is the only option, the body artist gives up on speech. The picture is breaking up. This is the sound that collapse makes. Drawn out.

RUSSELL ADAMS
SNAP SHOTS
1972, Silent, B&W, 4 mins, 16mm.
This film composition is arrived at through a number of drawn and painted images. Not on the film but on paper and photographed in their process of being made. There has been change through the editing process also. I attempted the use of the lens aperture as a painting device rather than just an adjustment for light. An individual may see colour in the film. It is a black and white film however. - R.A.

RUSSELL ADAMS
AN ANIMATED PICTURE SHOW
1972, Silent, Colour, 3 mins, 16mm.
This film is composed of three individual parts: The first, The Red Board, the second, Hard Edge The Way I Like It, the third, Beasties. The imagery of the film is animated. There is no particular story in any one of the separate parts. The images are just things that I wanted to see and make move. - R.A.

GARY ADELSTEIN
ST TERESA
USA, 1983, Sound, Colour, 5 mins, 16mm.

PEGGY AHWESH & KEITH SANBORN
THE DEADMAN
USA, 1989, Sound, B&W, 37 mins, 16mm.
'The film manages to approximate the transgressive poetic prose of Bataille (a mixture of elegance, raunchy defilement and barbaric splendour) while celebrating female sexual desire without the usual patriarchal porn trimmings. Equally remarkable for its endlessly inventive soundtrack and its beautiful black and white photography, it already bears the earmarks of an authentic avant-garde classic. The relationship between the visual story-telling, the ornate printed titles, and the occasional voice-over is both subtle and complex, mixing tenses and cross-weaving modes of narration with a unique fusion of abandon and rigour.' - Jonathan Rosenbaum

PEGGY AHWESH & MARGIE STROSSER
STRANGE WEATHER
USA 1993, 50 mins, video
A Fisher Price pixelvision camera follows four young junkies in a dark and gloomy subterranean underworld of drugs and addiction. Set in a black and white Florida constantly threatened by storms and hurricanes, Strange Weather takes us on an intimate and extraordinary journey, portrayed through ritualistic and claustrophobic close ups of ice cream, guns and drugs.

AL + AL
PERPETUAL MOTION
UK, 2004, 7 mins, digital video
James Brown is a retired engineer and inventor living in the north of England. The film re-fabricates his lifelong endeavours to break the law of physics and create a perpetual motion device. Free power for the people will produce a land flowing with milk and honey.

AL + AL
HARD DRIVE (A:)
UK, 2004, 8 mins, digital video
Hard Drive (A : ) simulates an inertial journey through the world wide web.
AL + AL ride their search engine in a quest to find bodies stripped and ready for intimacy.
In this coded space, erotic contact becomes an onanistic hallucination and the body disappears into a mental universe of mediated masks.

AL + AL
INTERSTELLA STELLA
UK, 2005, digibeta, 13 mins, col
Growing up inside the spectacle of perfect illusions, a child model embarks on a journey inside a labyrinth formed from her advertising pictures. Looking through the mirror of technology, she glimpses the stellar course of her mystery and unveils the secret project of photography…

JANE ALDERSON
THE ROOM
UK, 1981, Sound Mag Stripe, B&W, 25fps, 10 mins, 16mm.
A space, the room, the house pre-exists the occupier. The presence of another, an old lady now dead. Fear of contamination. Identity questioned. - J.A.

JANE ALDERSON
RITUAL TRANSITIONS
1991, Sound, Colour & B&W, 10 mins, 16mm.
Soundtrack composed by Ralph Cook.
Framing who we are today in the ritual of preparing to leave. The daily process of waking, bathing, dressing, looking, re-arranging endlessly repeated. Our identity for today. The confusion between the image and the self. The act of constructing a self-image almost as routine.
The music guides our attention to the inner space and the outer noise. - J.A.

IGOR & GLEB ALEINIKOV
METACTA 361
Rus, 1985-86, Sound, B&W, 20 mins, 16mm.
From the founding members of the subversive 'parallel' cinema movement that exploded in the Soviet Union five years ago. An all-out anarchic assault on the senses, using material culled from Soviet television.

IGOR & GLEB ALEINIKOV
TRACTORS
1987, Sound, B&W, 13 mins, 16mm.
Another found footage film from the Aleinikov brothers, this time using Soviet propaganda material to suggest the tragic history behind this icon.
Tractors also forms a part of the Soviet Avant-Garde package.

IGOR & GLEB ALEINIKOV
SOVIET AVANT-GARDE FILM PROGRAMME
USSR, sound, B&W, 92mins, 16mm

IGOR & GLEB ALEINIKOV
SOVIET AVANT-GARDE FILM PROGRAMME
USSR, 1987-90, mag stripe / sound / silent, B&W, 92 mins, 16mm
EVGENIJ KONDRATIEV
A SUPPORTER OF OLF
1987; Sound; B&W; 9 mins, 16mm.
PETR POSPELOV
MASKA, WHO WANTS TO BE A TEACHER
1988; Sound Mag Stripe; B&W; 22 mins, 16mm.
IGOR & GLEB ALEINIKOV and EVGENIJ KONDRATIEV
REVOLUTIONARY ETUDE
1987; Sound; B&W; 8 mins, 16mm.
IGOR & GLEB ALEINIKOV
TRACTORS
1987; Sound; B&W; 13 mins, 16mm.
VLADIMIR ZAKHAROV
WAR AND PEACE
1989; Sound; B&W; 11 mins, 16mm.
CHAPAEV FILM GROUP
A MEMBER OF THE CHAPAEV SOCIETY SPEAKING
1988; Silent; B&W; 7 mins, 16mm.
IGOR & GLEB ALEINIKOV
WAITING FOR DE BILL
1990; Sound; B&W; 22 mins, 16mm.

LIZ ALLAN & JORAM TENBRINK
FUTURE TENSE
UK, 1981, 40 mins, video

TONY ALLARD
SHIP OF FOOLS
USA, 1998, 18 min, video
'An experimental narrative that examines, from a personal and sociological perspective, the 15th century practice in northern Europe of placing insane citizens on ships, or floating asylums, and banishing them from 'normal' society to the unreason of the sea. Ship of Fools is a poetic recreation of a ship of folly. Passengers include myself and my father and the journey moves from the harbour in Amsterdam to New York City and includes several encounters with the irrational' - Tony Allard

TONY ALLARD & KRISTINE DIEKMAN
CORPSE AND MIRROR
USA, 1996, 25 mins, video
'Corpse And Mirror' questions the ability of rational language to adequately describe and control extreme mental states. Based on a monologue by Tony Allard, the tape moves through seven memories of his childhood experience, of his father's manic depression and institutionalisation in a state hospital. The confusion of the world of sane and insane, the safe and unsafe and the process of memory itself are found in this fractured account of the family's taboo history. Central to the piece is the use of poetic language, a strategy to convey the shifting unconcious through image, sound and text, to delightfully unbalance our sense of the real.

MICHAEL ALMEREYDA
ANOTHER GIRL, ANOTHER PLANET
USA 1992, 60 mins, video
The first feature-length work to be produced entirely with a pixelvision camera, this award-winning video chronicles an unmarried man's involvement with a succession of women. The prevailing sensations are love and loss, romantic yearning and desolation. Wonderful low-key acting offset with improbable outbursts of lyricism and humour mark the tone. Gently formalist, the video is striking in its intimacy, capturing a particular form of giddy desperation common to certain residents of New York.

MAX ALMY
PERFECT LEADER
USA, 1983, 4mins, video

MICHEL AMARGER
CURSIVITES
Fra, 1982, Silent, B&W, 10 mins, 16mm.

MICHEL AMARGER
LA CHAIR FRAICHE
Fra, 1987, 8mins, super-8

MICHEL AMARGER
GRAF
Fra, 1992, super-8

MICHEL AMARGER & FREDERIQUE DEVAUX
FIL(M)AGE
Fra, 1985, Silent, B&W, 3 mins, 16mm.

CLAUDIO AMBROSINI
AUDIOIDENTIKIT
Italy, 1976, video

CLAUDIO AMBROSINI
DE PHOTOGRAPHIA
Italy, 1976, video

CLAUDIO AMBROSINI
HAIR-CUT
Italy, 1976, video

CLAUDIO AMBROSINI
ZOOM 1977
Italy, 1976, video

CLAUDIO AMBROSINI
KISSING
Italy, 1977, video

CLAUDIO AMBROSINI
LIGHT SOLFEGGIO
Italy, 1977, video

CLAUDIO AMBROSINI
TOCCO NO 3
Italy, 1977, video

CLAUDIO AMBROSINI
VIDEO MUSIC
Italy, 1977, video

CLAUDIO AMBROSINI
ARIA 1978
Italy, 1978, video

CLAUDIO AMBROSINI
VIDEO SONATA
Italy, 1978, 8mins, video

RIC AMIS & BRYON AYANAGLU
IMELDA
Canada, 1986, 9mins, video
Imelda Marcos, wife of the deposed Philippines tyrant, Ferdinand, has moved to the corner of Bloor and Bathurst in Toronto. She lives off the charity of passers-by. She had everything, and now she has nothing. But she has no bitterness in her heart.