I. COCHRANE
THE BIG ROOM
Canada, ?, 9 mins, video
Obscure imagery and monologue catch the light in a series of video moments...

CHRISTOPHER COGAN
NURSE VARSITY
USA, 1994, 5 mins, video
A throbbing and delirious video involving a fish fetish. Prepare to dive into an unrefined collage of sound, imagery, and movement that results in a high energy composition of deranged action and video copyright piracy. This is a voyage into the organic and back that will render you incapable of logical thought.

CHRISTOPHER COGAN
FEEDING FRENZY
USA 1994, 3 mins, video

CHRISTOPHER COGAN
SALIVA CIRCUS
USA, 1995, 5 mins, video
A captivating view of the bizarre and chaotic world of digestion involving animals and other beings who inhabit a ridiculous realm of teasing and eating. The fluid unfolding of events takes the viewer from a dense jungle to the secretion of strange micro-organisms in a brain-numbing composition of video samples and warped original images.

ADAM COHEN
BLIND GRACE
USA, 1993, 20 mins, video
Blind Grace is a tense, poetic essay on the marginal people and forgotten, neglected places of New York City, in which chance, fleeting meetings between the filmmaker and passers-by are captured on film. As events of unexpected beauty take place, the artist and the viewer together must walk the fine line between voyeurism and the intense, visual observation of the world around us.

ADAM COHEN
FIRE OF TIME
USA, 2000, 28 mins, video
The end of a historic red-light district and worker's quarter, Barcelona's Barrio Chino; captured on super-8. A film made about a place that had already vanished. As sense of place fragments, only Time remains, and time had cut through here...like a fire. - AC

JEM COHEN
THIS IS A HISTORY OF NEW YORK (THE GOLDEN DARK AGE OF REASON)
USA, 1987, 20 mins, video
A 'history' of New York City from Prehistoric Times through the Space Age, illustrated entirely with documentary street footage.
The film-maker made a wide-ranging study of the radically different worlds within the five boroughs. Divided into seven sections, the film/video concentrates on the interaction between street life and architecture. The Prehistoric Period, for example, was filmed largely around abandoned waterfronts of Brooklyn, The Age of Reason captures a Wall Street perched ominously before the '87 crash.
Occasional commentary is provided by the street people: preachers, homeless persons, various survivors - and integrated into an intricate soundtrack of music (ranging from Gregorian Chant to Gabriel Cohen's original compositions) and ambient sound.
While the film-maker's intent was to make an accessible street document, on a broader level the film inquires if the so-called Great Ages of Man might not co-exist here and now, before our very eyes. - J.C.

JEM COHEN
BURIED IN LIGHT (CENTRAL AND EASTERN EUROPE IN PASSING)
USA, 1994, 60 mins, video
"A meditation on history, memory, and change in Central and Eastern Europe, Buried in Light is a non-narrative journey, a cinematic collage. Cohen’s “search for images” began at a time of extraordinary flux, as the Berlin Wall was dismantled—opening borders yet ushering in a nascent wave of consumer capitalism. What he saw struck him as a profound paradox: the moment Eastern Europe was revealed was simultaneously the moment it was hidden by the blinding light of commercialism. Cohen’s images are neither the tourist’s roster of picturesque vistas and monuments, nor the mass media’s definitive catalog of dramatic moments. Instead, he focuses on details, ordinary objects, and forgotten places—filming daily life as seen on the street."
—Linda Dubler, High Museum of Art

JEM COHEN
LOST BOOK FOUND
USA, 1996, 37 mins, video
Lost Book Found organises documentary street footage into a meditation on city life. Over five years worth of collected images are used to evoke a mysterious notebook filled with obsessive listings of places, objects and incidents. These listings serve as the key to a hidden city. It is a city of unconsidered geographies and layered artifacts - the relics of low-level capitalism and the debris of countless forgotten narratives. The project was influenced by the work of Walter Benjamin as well as Cohen's first job, selling Italian ices on Canal Street.

JEM COHEN
INSTRUMENT
USA, 1998, 115 mins, video
'Far from a traditional documentary, Instrument is a musical document and portrait of musicians at work made collaboratively between filmmaker Jem Cohen and the Washington DC band. The project covers the ten year period from the band's inception in 1987.'
"Piecing it together over five years, I thought of bringing dub to documentary, unadulterated real-time performances, abstract, rough-hewn Super-8 collages and archival artifacts that would collide and conjoin in a way that honestly represented the musical experience." - J.C.

JEM COHEN
AMBER CITY
USA, 1999, 48 mins, video
A portrait of an unnamed city in Italy. Sidestepping the tourist attractions that make the city famous, the film/video posits an almost-imaginary place that draws closer to the reality of its inhabitants.
Using a voiceover narration that collages direct observation, literary texts, historical fact, local folklore, and a bit of sheer fabrication, the film/video melds documentary and narrative, past and present. Visuals range from verite street footage, to formal portraits of residents, to an unusual type of time lapse cinematography that allows filming in the low-intensity light of night landscapes and museum interiors.
Made in collaboration with local residents and institutions, Amber City reflects on the "in-betweeness" of places whose historical and geographical location renders their reality strangely invisible.
"With its delicately somber tones and meandering pace, [Amber City] not only underscores Cohen's complete self-assurance as a filmmaker who knows his art, but reminds us that fast, cheap, and out of control are not the only components for a contemporary aesthetic."
—Holly Willis, The Independent
Director, script, camera, edit: Jem Cohen
A production of Gravity Hill Films and Ondavideo
Narrator's voice: Kyle de Camp
Music: Blond Redhead, Chan Marshall, Stephen Vitiello, Arnold Dreyblatt, All Scars, Nick Brook, Sacha Pellegrini, Jem Cohen

JEM COHEN
BLOOD ORANGE SKY
USA, 1999, 26 mins, video
A portrait of Catania, Sicily. Includes the ocean at 5 a.m., the fish market, the distributor of pornographic films, the woodworker, the elephant statue, housing projects, and a young girl in an orange sweater.
Catania is a large and remarkable city without many tourists or tourist attractions. Its people live in the shadow of Mt. Aetna, an active volcano.
Original soundtrack music was composed for the project by Mark Linkous of the band Sparklehorse. The project also contains music made by local Catania musicians.
The film/video was made at the invitation of a Sicilian arts group, Officine.

JEM COHEN
EARLY WORKS 1988-92
USA, 1988-92, 75mins , video
Black Hole Radio
Drink Deep
Just Hold Still
This is a History of New York
"The richness of Cohen's vision is found in his haunting imagery and the perception that the thriving city of New York is really the accumulation of humanity's failures, as well as its triumphs."
—Steve Seid, Pacific Film Archive

JEM COHEN
MUSIC WORKS
USA, 1980s-90s, 60 mins, video
Compilation of Jem Cohen’s music films including REM, Elliot Smith and Jonathan Richman, including: Little Flags, Night Swimming, E Bow The Letter, Talk About The Passion, Country Feedback, Between Bars, Angeles, Thirteen.

JEM COHEN
CHAIN
USA, 2002, 99 mins, video
As regional character disappears and corporate culture homogenizes our surroundings, it's increasingly hard to tell where you are. In Chain, malls, theme parks, hotels and corporate centres worldwide are joined into one monolithic contemporary superlandscape that shapes the lives of two women caught within it. One is a corporate businesswoman set adrift by her corporation while she researches the international theme park industry. The other is a young drifter, living and working illegally on the fringes of a shopping mall. Cohen contrives to turn the entire planet into a stretch of New Jersey commercial property – a universe that feels entirely real yet has the distinct smack of JG Ballard otherness.
“Jem Cohen's CHAIN is a hypnotic, highly original piece about what its like to live in the new global corporate landscape” - Daily Telegraph

JEM COHEN
BLESSED ARE THE DREAMS OF MEN
USA, 2006, 9.30 min, video
Moving towards an unknown destination, a group of anonymous passengers float through an unidentified landscape. Built from Cohen's archive documenting his travels, the film can be seen as a curious parable. The film's subheading refers to the Old Testament, Daniel chapter 11, verse 40:
"And at the time of the end shall the king of the south push at him: and the king of the north shall come against him like a whirlwind with chariots, and with horsemen, and with many ships; and he shall enter into the countries, and shall overflow and pass over."

JEM COHEN
NYC WEIGHTS AND MEASURES
USA, 2006, 6.15 min, video
"My film is a simple gathering of New York City street footage. It was shot with a spring-wound 16mm Bolex on, above, and below the streets of Manhattan and Brooklyn and includes footage of the ticker tape parade for astronaut John Glenn.
Sometimes I just wander around with my camera -- I like to see what comes around the corner, and sometimes I just like the corner itself. Due to supposed "national security concerns," recent prohibitions are restricting what can be filmed in New York and other locales. While shooting from a train window in 2005, my film was confiscated and turned over to the Joint Terrorism Task Force and the F.B.I. This piece, which once might have been seen as strictly "lyrical," is now also a reflection on these issues."
--Jem Cohen
"Like a floating, drifting piece of ticker tape, the film makes its way across boroughs and time to explore New York City's many moods, from loud and relentless to grave and dreamy."
--WNET (Reel New York)

JEM COHEN
BUILDING A BROKEN MOUSETRAP
2006, USA, 63 min, video
This music document is in many ways a sister project to Instrument, Cohen’s much celebrated long-form portrait of D.C. band Fugazi. Building a Broken Mousetrap, a collaboration with Matt Boyd, features the Dutch band The Ex, another established but still furiously intense punk outfit, here they are vividly captured in concert. Cohen’s delicate touch turns this into the most poetic and unexpectedly political concert film I’ve seen in some time. The first half, shot in stunning 16mm black and white, is occasionally interrupted by degraded landscapes reminiscent of Chain, his 2004 installation and feature film. The second half, shot in DV’s saturated, bright colours, cuts away to longer interactions that concern wealth and power on the streets around the concert hall. The music is wild – sophisticated and primitive, angry but totally under control. This is Cohen advocating for a kind of musician, an idea of what music and its makers could be. That somehow gets to the core of what his filmmaking practice is and what extraordinary results it can yield. Noah Cowan

JONATHAN COHEN
ARTISTS IN CYBERCULTURE
Australia, 1993, 55 mins, video
This documentary presents a fascinating overview of artists manipulating new technologies to create a wide variety of new and extraordinary works. Through a series of interviews, performance and electronic theatre, Artists In Cyberculture look at the ways in which artists challenge the emerging technological realm known as 'cyberculture'.

ERIC COIGNEUX
TRASH DANCE
France, 1990, 2 mins, video
Trashdance is a short, dynamically shocking electro dance piece.

ERIC COIGNEUX
NO SEX
France, 1992, 5 mins, video
'No entry' says the traffic sign in front of the rose of flesh, hidden by fabric. The woman on the beach coos and groans; the collected men watch, frustrated. No sex. Swimming trunks swell and adrenaline flows copiously. Alas, nothing is left for the rugged men in their diving masks but restless, macho behaviour.

JEFF COLE
THE TRUTH GAME
UK, 190, 16 mins, video
Paul, 18, is gay and wants to tell his father the truth. They go on holiday and play the Truth Game. Now they are back they have to live with the results. Winner of The Gay Times Jack Babbuscio Award for outstanding contribution in depicting gay themes in film.

MIKE COLLIER
WATER COLOURS
Canada, 1973, sound, colour, 10 mins, 16mm
colour filterwork on landscape.

NICK COLLINS
THREE SHORT FILMS: ROOM WITH TWO MIRRORS, BY THE WOODYARD, MIDDAY SHADE
UK, 2000, 21 mins, 16mm / video
Three films exploring the qualities of light and the attributes of their locations. Only available as a set of the three films.

NICK COLLINS
ACROSS THE VALLEY
UK, 2006, 20 min, 16mm, col, sd
Across the Valley was shot, and the sound gathered, between July 2004 and January 2006, in the Cevennes, in the south of France. The film is from a single vantage point, a small area of flatness on the side of a steep valley. I filmed the  view of the landscape from this point, through three of the four seasons, as well as elements of the scene closer to the camera. The resulting film draws on, and develops, my existing interests in the time-based representation of simultaneity, and in the temporal and sequencing possibilities inherent to film editing.

NICK COLLINS
THREE SILENT FILMS
UK, 2006, 7 min, 16mm, col, sil
Early Morning, Bathroom Mirror and Cat & Flyscreen were filmed between 2000 and 2004, and printed at the end of 2005. The three films, grouped for screening together, document - and at times develop further - small-scale events within my domestic surroundings; all three are dependent on low-angle winter light and its ability to transfigure surfaces and spaces.

SUSAN COLLINS
COMING ATTRACTIONS
UK, 1991, 2 mins, video
The way I work is designed to be accessible and entertaining, an attempt to raise questions without alienating. In my work in general, I seek to juxtapose the ironies of being a strong, educated woman today, sandwiched between one's own needs and others' expectations. The way I use the computer is as a tool, an ideas processor rather than just an image/word processor. - S.C.

SUSAN COLLINS & JULIE MYERS
GOING FOR GOLDFISH
UK, 1990, 4 mins, video
Comic computer graphics with a sideswipe at the pretensions of athleticism, Going For Goldfish is a stylish spoof.
"Figures are put on pedestals just to be knocked down. Triumphant athletes are presented with victory carrots (yes, carrots) and Doric columns sway in time with the background music" – Steve Bode

PETER COLLIS
IMMEDIATE SPACES
UK, 1995, sound, colour, 10 mins, 16 mm
'Immediate Spaces is a mixture of animation and still & real-time photography. The film consists predominantly of surfaces in the form of grids, (...), and structures composed of organic images - photographic mosaics of constructed views and the product of multi-image camera lenses.
The 'spaces' of the title are the spaces woven through and beyond these textured surfaces. Our affinity with them is, however, confused as distinctions between city and landscape (...) is governed by laws other than those of nature.

PETER COLLIS
BEYOND, OVER, CONCLUDE
UK, 1996, sound, colour, 13 mins, 16 mm/video
'Three images, three artists and a train of thought. A sculptor toys with objects soft, hard and organic, a painter conceives a preliminary sketch and an ex-sign writer extends his craftsmanship into old age. The film shares their contemplation of materials, the immediate environment and possible associations. A film triptych constructed using entirely in-camera masking techniques, where the traditional space of the cinema, the single horizontal, rectangular screen, is rejected in favour of three vertical strips of image.'
• Contract and print in place (mch 99)

PETER COLLIS
STAGGERINGS
UK, 1996, sound, B&W, 6 mins, 35 mm/video
Staggerings uses a mix of traditional photography (black and white collage photographs) & film-making techniques and new computer manipulation technologies, repetition and rythm, change and development as the subject at the heart of the piece. Despite being an architectural construct the evolving collages retain aspects and dynamics of the original sources, so that it is perceived as though one is watching moments that are consistent with natural phenomenon.

PETER COLLIS
[MO]NU[MENT]UM
UK, 2000, sound, colour, 15 mins, 35mm/video
The film travels the two mile distance between the South-East England village of Rye Harbour on the former Life boat house set on the nearby shingle beach. During the journey the film makes connections between the landscape, time, history and the people of the area.

PETER COLLIS
EXPOSURE
UK, 2003, sound, colour, 6 mins, 35mm & video
A curious coastal research site becomes a vibrantly graphic testament to impermanence. The film weaves two kinds of exposure – physical exposure to weather and photographic exposure to light and processing chemicals.
Documented on 35mm still and cine film, then digitally combined with markings on raw film and re-photographed back to 35mm negative on a home-built optical printer/rostrum.
An animate! film

COLORADO VIDEO ARTS CENTRE
LYDIA LUNCH INTERVIEW
USA, 1988, 11 mins, video
This interview covers such subjects as death, suicide, daddy America, psychiatry, pornography and social work. The New York Times has written of Lydia Lunch: 'Both a musician and a writer, Ms. Lunch carries brutally sarcastic, obscene misanthropy to its theatrical limits short of actual physical violence.'

JO COMINO
THE MISSING
1980, sound mag stripe, colour, 6 mins, Super-8
A trial-run for an idea which plays on the obvious fact that shots follow one another and in sequence, so that as the film unfolds it reveals a level of intelligibility or coherence or else 'confounds' us by refusing to do so. I felt like approaching a film blindly, from a given soundtrack, translating the text freely, often with crass literalness, into a series of images to see how and if they would hang together. A lot of the soundtrack is taken, at random, from a dramatisation of a Raymond Chandler story (with various arbitrary interpretations) which I chose because of the highly coloured slang he uses. The thriller genre also seemed appropriate: suspense-when you're perplexed as to what exactly is going on but have a strong anticipation of what is to come next.
'I guess, too, that I am most interested in those films which are more explicitly concerned - whose political concern is with -well,let us say-the strategies of the institutional film. When people go into an auditorium and sit down, just as they do in the West End, and they see something which speaks to them, something about their experience as film goers, not just in terms of their life and its typical structure but with reference to their symbolic experience of cinema, their deep experience, their language experience of cinema, their deep experience of film, those are the films I find most gripping.' - Noel Burch: A dialogue with Stuart Hood, Undercut 1.

JO COMINO
AUTOMATONA FILM
UK, 1981, sound mag stripe, colour, 25 mins, 16mm
Made after allegations that I walked like an 'alien from outer space' were confirmed by seeing myself move on film. If the jerky, spasmodic way in which I conducted myself was traditionally characteristic of robots and other humanoid replicas a spoof dilemma arose, namely how to presume on the human identity of others, with only surfaces to go by, when I was unsure of my own with all the depths of self awareness to rely on. To act instinctively, by means of triggers set off by various stimuli, is to behave, in some sense, mechanically, and to halt self-consciously in the middle of some natural but automatic process might provide justification for regarding oneself as a machine. Otherwise given your limbs etc., how could you use them without a manual?

CECILIA CONDIT
POSSIBLY IN MICHIGAN
USA, 1983, 12 mins, video
Cecilia Condit's work is deinted by her interest in creating heroines whose lives sway between safety and terror, beauty and the grotesque, humour and the macabre. Condit's stories are about the dark side of female politics, weaving mythological imagery into a suburban reality.

CECILIA CONDIT
NOT A JEALOUS BONE
USA, 1987, 11 mins, video
An experimental narrative which bears the hallmarks of Condit – humour, the macabre, fantasy and fairytale mixed with reality – in a disquieting tale about an older woman’s loss of her mother and the questions this prompts about her own mortality.

CECILIA CONDIT
SUBURBS OF EDEN
USA, 1992, 16 mins, video

CECILIA CONDIT
OH RAPUNZEL
USA, 1996, 34 mins, video
OH, RAPUNZEL is a fairy tale wrapped around a documentary. Set on the grounds of a decaying estate in Philadelphia, the video documents the life of 80 year old Annie Lloyd Condit, a descendant of what was once one of the great families of Pennsylvania and the mother of the video artist. Revising the classic tale and dumping the prince, Cecilia Condit and her collaborator Dick Blau restage the old woman's life, giving it a happy ending which comes true.

STEPHEN CONNOLLY
KINDERSPIEL
UK, 1996, sound, colour, 7 mins, 16mm
'Produced as a commision from Sonic Arts Network, Kinderspel marries saccharine animation to an obtuse sonic assault to uncover connections beween an infant's perception of a domestic world and an abultionist's heaven.' - S.C.

STEPHEN CONNOLLY
ANIMAL, VEGETABLE, MINERAL
UK, 1997, sound, colour, 14 mins, 16mm
'Animal, Vegetable, Mineral is a film concerned with communication across social, spatial and temporal divides. It overlays a mass domestic phenomena of the late victorian era - attempts at communication with the dead in seances - with contemporary habits of watching the media.
Central to the work are problematic images of a domestic space, manipulated with textures of contrasting temporal reference. The depiction of an implied context to this material is also reflexive, refusing completion. 'Otherwordly' and material sound interventions complicate the apparentness of the image.
Animal, Vegetable, Mineral is a fictional assemblage of documentary material, aiming to reflect on growing prophetic currents in the contemnporary zeitgeist.' - S.C.

STEPHEN CONNOLLY
THE READING ROOM
UK, 2003, 2 mins, video
The reading room traces the movement of visitors to the British Museum reading room through an entire working day in under three minutes and in silence. The work is a short reflection on the changing nature of archives. The film notes that future access to them is not guaranteed and the physical location of an archive may still hold a fascination, even as a museum.

STEPHEN CONNOLLY
THE WHALE
UK, 2003, sound, colour, 9 mins, 16mm
The Whale is a reflection on the micro-politics of contemporary events as viewed through black screen, images of quotidian life and off-screen, death-defying commentary. The late Ulrike Meinhof interrupts through simultaneous translation to offer some historical perspective.

STEPHEN CONNOLLY
FILM FOR TOM
UK, 2005, 12 mins, video
A lyrical homage to a friend and formative influence. Tom is eloquent and effusive, yet finds no resolutions to the issues that haunt him.
Yet to whom is he speaking and how - is his speech a lecture or a conversation? How do we understand the domestic space shown - is it home or the scene of a crime?

JOHN CONOMOS
AUTUMN SONG
Australia, 1997, 23 mins, video
Surrealistic, ironic, poetic, Autumn Song is an exploration of an autobiographical landscape which exists between two cultures. Quoting Man Ray, Buster Keaton, Max Ernst and others, John Conomos tries to convey how a 'post-colonial alien' feels trapped in post-war Australia. This video consists essentially of simple yet highly expressive images, a carefully measured narrative style and a clearly pronounced idiom almost musical in its effect.

BEVERLY & TONY CONRAD
STRAIGHT AND NARROW
USA, 1970, sound mag stripe, B&W, (with subjective colour), 10 mins, 16mm
'A stroboscopic film of unusual intensity, by the maker of the classic strobe film The Flicker. - Whitney Museum of America Art Announcement.
Straight and Narrow is a study of subjective colour and visual rhythm, although it is printed on black and white film, the hypnotic pacing of the images will cause most viewers to experience a programmed gamut of hallucinatory colour effects. Through the intermediary of rhythm, the maximal impact is drawn from the simplest of universal human images: straight horizontal and vertical lines.
'Set to a strong percussive musical background, rapidly alternating images of black and white straight lines are juxtaposed in precise rhythmic patterns to create specific colours... if you can watch without becoming hypnotised...' - NY Daily News.
'...I love 'Straight and Narrow'... as a pure abstraction of feeling, in a Mondrian-mood structured hypnotically mind-changing, at the same time attacking our visual sensibilities and our optic nerves. And we see colours of the MIND exploding and dissolving in straight and narrow fleeting pictures, cubes, lines, rectangles, overcuttings, dissolves, pannings, flickering happenings...'Lil Picard, 'Inter-VIEW'.

TONY CONRAD
THE FLICKER
USA, 1966, B&W, sound on tape*, 30 mins, 16mm
(*When ordering, please specify either half track mono version or quarter track stereo version of the 7.5 ips magnetic tape soundtrack.)
'The ultimate to date in the nonobjective film is Tony Conrad's The Flicker. It has only black and white frames... and the resulting strobe effect can cause the illusion of colour, of a spreading of light, and of lacy patterns. Seeing The Flicker will cause one person in every fifteen thousand to have an epileptic seizure.' - Sheldon Reynon, An Introduction To The American Underground Film.
'Right from the top a warning appears on the screen. The spectator is advised that he views what is coming at his own risk. that certain 'hypnotic' and 'psychotic' symptoms may appear...the shocker from producer Tony Conrad is called The Flicker. And then it flickers endlessly. Now black, now white...'-Der Kurier, Vienna.
'The Flicker has been called a sort of visual LSD, including hallucinations...You know a man can be called a bald faced liar simply by being an honest reporter. Some of these cats were sitting staring...as if watching and hearing Beethoven himself play his fifth piano concerto.'- The Evening Star, Washington.

TONY CONRAD
FILM FEEDBACK
USA, 1974, silent, colour, 14 mins, 16mm
The cybernetics of video applied to film production. Film Feedback was produced in 'real time' by processing and projecting the film while it was being shot.

CAVAN CONVERY
A MERE SIMULATION
UK, 1987, 3 mins, video
COOPER
See TRIPLE VISION

DANIEL COPLEY
SHOTS (TAKES ON)
UK, 1997, silent, colour, 27 mins, 16mm
lestness not the fallacy of somethingness
but the assertion of (a) nothingness (through)
the irrevocable impossible arrestation
the perception of construction (vice versa)

ANTOINE CORDINO
BETRAYAL
USA, 1982, 2 mins, video

ANTOINE CORDINO
HOMMAGE TO A WOMAN WRAY
USA, 1982, 6 mins, video

ANTOINE CORDINO
MAKE ME FUNKY
USA, 1982, 6 mins, video
Make Me Funky is a quasi-documentary about the scratch/rap/break 'phenomenon' and a white New Yorker's desperate search for street credibility.

ANTOINE CORDINO
CONFESSION
USA, 1983, 2 mins, video
Confession is a short narrative on the tenuous, insecure nature of relationships and their ridiculous consequences.

ANTOINE CORDINO
COKE ADDS LIFE
USA, 1983, 6 mins, video

ANTOINE CORDINO
THEME FOR GREAT CITIES
USA, 1983, 8 mins, video

JOSEPH CORNELL & LAWRENCE JORDAN
THE MIDNIGHT PARTY, THE CHILDREN'S PARTY & COTILLION
USA, 1940s-1969, silent, B&W and colour-tinted, 19 mins, 16mm
Two films given to Larry Jordan to finish by Joseph Cornell before he died.
‘I have not changed the editing structure. I have made the films printable. They are the first known fully collaged films, i.e., films made from found footage, and were done sometime in the '40s. Cornell combines Vaudeville jugglers, animal acts, circus performers, children eating and dancing, science demonstrations, mythical excerpts, and crucial freeze-frames of faces into a timeless structure, totally unconcerned with our usual expectations of "montage" or cinematic progression. He collects images and preserves them in some kind of cinematic suspension that is hard - impossible - to describe. But it's a delight to anyone whose soul has not been squashed by the heavy dictates of Art.’ - L.J

BILL COTE
GREY BUTTERFAT RAINBOW
USA, 1967, sound, B&W, 16 mins, 16mm.
He cannot find the girl of his dreams because she exists only in advertisements and television commercials. Finally he successfully propositions a beautiful girl under the condition that she does not speak. It attempts to be a liberated male 'fanti consumer'.