DENISE GALLANT
SYNOPSIS
USA, ?, 18 mins, video
Synopsis is a test sample of some visual effects which integrate audio signals as a form of music image.

DENISE GALLANT
ARTS DOCUMENTARY
USA, ?, 45 mins, video
Arts Documentary attempts to be fine art in the video media (the 45 minutes is a condensation of 40 hours of video and nearly 12 hours of audio interviews).

RYAN GANDER
WRITING MY LIFE 
UK, 2005, 8 mins, video
A still from a single Channel video is played on monitor with headphones or speaker. It’s narrative is a monologue read by French artist Aurélien Froment about the impossibility of someone writing there own obituary. This sound piece also includes a clip cut from a live radio broadcast of the radio correspondent Alistair Cooke's self-obituary, where a presenter accidentally leaves the microphone switched on and talks over the top.

DAVID GARCIA & JAAP DE JONGE
CHARISMATIC IMAGES
Netherlands, 1988, 12 mins, video
An accomplished and absorbing work, opening with computer-generated shapes and symbols swarming onto the screen, resembling multiplying cells. A cascade of kaleidoscopic, hypnotic images follows, accompanied by fragments of voice-over from some strange, mystical ideology of media. As the work progresses, it becomes clear that this is a meditation on the alchemies of video and television.

DAVID GARCIA & ANNE WRIGHT
TERRA INCOGNITO
Netherlands, 1985, 12 mins, video
David Garcia uses digital imaging techniques more because of the way they look rather than anything structural about their nature. His interest is in exploring the paradoxical immateriality of our culture. And trying to test Umberto Eco's proposition that we are living through a new 'middle ages'.

DAVID GARCIA & ANNE WRIGHT
SPEAKING IN TONGUES
Netherlands, 1988, 12 mins, video
Speaking in Tongues takes the expression "media landscape" quite literally and shows the events of its histories occuing in a civilization built entirely out of language. The simultaneously morbid and ecstatic relationship with the world is chronicled, showing the swift journey from birth to disintegration.

RICHARD GARDNER
TEMPORISED TAMPERINGS
UK, 1983, 10 mins, video
Temporised Tamperings presents a few choice words on time-wasting.

RICHARD GARDNER
VIDEO/DEVOID
UK, 1983, 6, video
Video/Devoid is about the politics of face-pulling.

MARTIN GARDINER
FORMIGA
UK, 1993, 1 min, video
See ONE MINUTE TELEVISION

CHARLES GARRARD
INSIDE OUT
UK, 1993, 1 min, video
See ONE MINUTE TELEVISION

ROSE GARRARD
BETWEEN THE LINES
UK, 1983, 25 mins, video
'What I really want for a few of the spectators at least, is that they will become aware of the frames which frame their way of thinking, their way of seeing.' - R.G.

ROSE GARRARD
CELTIC IN MIND
UK, 1990, 15 mins, video

CHRIS GARRATT
ROMANTIC ITALY
UK, 1975, sound, colour, 8 mins, 16mm
Made from old travelogue footage including leader numbers, opening titles with swelling overtures, dissolving into panoramas of historic Florence. Four copies of this 50 foot sequence were cut and interwoven as follows:

A B C D A B C D A B C D A B C D A B C D etc...
- - - 1 - - 1 2 - 1 2 3 1 2 3 4 2 3 4 5 3 4 5 6 4 5 6 7

The resulting interplay between traditional editing devices like fades, dissolves, pans, swelling crescendos, and the imposed editing structure sets up partial repetitions, stretched out sound and picture images, and whole new meanings in the relentless commentary. - C.G.

CHRIS GARRATT
VERSAILLES
UK, 1976, sound, B&W, 11 mins, 16mm
For this film I made a contact printing box, with a printing area 16mm x 185 mm which enabled the printing of 24 frames of picture plus optical sound area at one time. The first part is a composition using 7 x one second shots of the statues of Versailles, Palace of 1000 Beauties, with accompanying soundtrack, woven according to a pre-determined sequence. Because sound and picture were printed simultaneously, the minute inconsistencies in exposure times resulted in rhythmic fluctuations of picture density and levels of sound. Two of these shots comprise the second part of the film which is framed by abstract imagery printed across the entire width of the film surface: the visible image is also the sound image. - C.G.
Part of SHOOT SHOOT SHOOT.

CHRIS GARRATT
EXIT RIGHT
UK, 1976, sound, B&W, 5 mins, 16mm
A one second shot of me walking into the shot wearing a striped jersey was printed repeatedly, this strip of negative was moved laterally across the printer every 10 seconds of film time, so that the image of the piece of film material, containing its figurative image moves into the projected frame from the left, across the frame and out across the optical soundtrack area to the right. Featuring a New Line in musical pullovers. - C.G.

CHRIS GARRATT
FILMUSIC PART ONE
UK, 1976, sound, B&W, 20 mins, 16mm
'Film Music Part One is a systematic film based on a unit of 26 frames. The first section is a composition of picture/sound image (a fragment of cartoon film) and clear spacing, rigorously controlled so that the white spacing gradually fills up with image, which then contracts into a rapid one frame repeat punctuated with the thumping splices. The spectator's attention is shifted from perceptual surface, into the picture/sound illusion and out again. The second section uses an equally hackneyed cinema image, that of a cowboy on horseback. This section is based on the advancing of original footage and print stock across the printer at varying rates, again governed by a system, producing a complex structure of echo repetitions and overlaps.
If the film can be handled in much the same way as a photo-sensative tape, the camera produced image with its restricting frame line is no longer obligatory. If film can be handled in much the same way as photo-gram, images formed by direct contact printing and light projection. Neither is there any need to retain distinctions between separate areas of the photo-sensative surface for sound and picture.
The content is not really the figurative subject matter, (where it occurs), nor some super-imposed concept but the presentness of the raw material, in making and projection, and in the relationship between these two events. The raw material is the photo-sensative strip with a surface like sand which can be pushed around and washed away, leaving configurations of grains which may or may not:
• appear in consecutive frames
• be figurative (photographs)
• be ordered in sequences which, when projected, give the illusion of movement and which may be perceived as sound and/or visual images, depending on the type of projection device.' - C.G

CHRIS GARRATT
FILMUSIC PART 2
UK, 1978, Twin Screen, sound, B&W, 10 mins, 16mm
Filmusic Part 2 uses horizontal stripes, ranging from thick to thin, printed directly onto the film stock of photographic negatives. The stripes are read as both pictures and sound image, producing a 'square wave' tone whose pitch is determined by the frequency of the stripes. Two prints of this film are projected side by side, one of them back to front. - C.G.

CHRIS GARRATT
SHORT ENDS
UK, 1977, sound, colour, 7 mins, 16mm
The second section of Versailles (Dots, stripes and statues) and the second section of Filmmusic Part 1 (Cowboy on horseback) now available on one reel.

CHRIS GARRATT
COMMERCIAL BREAK
UK, 1980, sound, colour, 3 mins, 16mm
"Chris Garratt's films use a 'structuralist' project with wit and humour. In Romantic Italy the material is dense enough to allow a really thorough critique of the 'found material' he uses (in this case, a really boring travelogue) where the result is educative without being condescendingly didactic. Other films maintain the level of hilarity manipulating imagery to produce new ways of seeing the image, illusion and materiality neatly combined. Commercial Break uses a Daz commercial as the base for showing the manipulation of the people acting in the advert by remanipulating them: the ghastly strained smile on the interviewer's face stays with one long after watching the film, and speaks volumes." - Jeanette Iljon.

PAUL GARRIN
FREE SOCIETY
USA, 1988, 4 mins, video
Images of police and military on parade are contrasted with riot footage from all over the world, including South Africa, the West Bank, South Korea, Northern Ireland, Panama and the Civil Rights riots in the US. Free Society is a tough and startling tape, which bears witness to social and political injustice while stretching the limits of electronic image manipulation.

PAUL GARRIN
BY ANY MEANS NECESSARY
USA, 1989, 30 mins, video

PAUL GARRIN
HOME(LESS) IS WHERE THE REVOLUTION IS
USA, 1990, 3 mins, video
In Homeless, Garrin combines the high tech with the lo-fi to create a hyper-rela landscape of confrontation using the power of technology to drop homeless squatters onto the lawn of the White House in a hard-hitting inversion of the power struggle.

PAUL GARRIN
A PLACE TO HIDEA
USA, 1990, 4 mins, video

PAUL GARRIN
A HUMAN TUBE
USA, 1990, 5 mins, video

PAUL GARRIN
MAN WITH A VIDEO CAMERA
USA, 1990, 6 mins, video

WOODY GARVEY
FORTUNA
USA, 1960s, sound, colour, 7 mins, 16mm
"A psychedelic interpretation of Orff's Carmina Burana in which mundane images from modern life-water pouring, a girl smoking, opening lift doors, etc.- are transmuted into mythic archetypes by use of high contrast saturated colours, loops and other vanguard cinematic devices." - William Moritz

DAMIAN GASCOIGNE
HOW TO GET RID OF INFORMATION
UK, 1998, 6 mins, video
A weery man is drawn into an escalating battle with a recurring nightmare of intrusive images.
An animate! Film

DAMIAN GASCOIGNE
CAREFUL
UK, 2005, 6 mins, video
A series of inter-cut visual postcards, snapshots of ordinary family situations. Caring, anxious but distracted parents are teaching their children to be safe. However they are in a battle with Fate to avoid disasters – and dry cleaning bills.
An animate! Film

ROB GAWTHROP
LITTLEHAMPTONS
UK, 1974-1980, sound, colour and B&W, 33 mins, 16mm
An absurd Super-8 experimental home movie was subjected to various re-filming strategies. It was re-made several years later. The accompanying 'song' was treated the same way.
A sort of structural joke. - R.G.

ROB GAWTHROP
PRESERVATION
UK, 1976-1982, sound, colour, 24 mins, 16mm
In four parts, concerned with image/sound, time, history and duration. It is also a celebration of the steam train. - R.G.

ROB GAWTHROP
PLACE ON THE HILL
UK, 1979, sound, colour, 6 mins, 16mm
Two copies of a film of a man speaking a phrase of single syllable words were mathematically re-cut together to render the words as sounds without meaning. The fragmentation and repetition are made more visible because of the peculiar activity in the background. - R.G.

ROB GAWTHROP
MUSICAL
UK, 1979, sound, colour, 15 mins, 16mm
An improvised musical construction.
Three performers (only two are ever seen) play an array of metal and wooden percussion suspended from trees, wearing fur coats and gloves. They play three times for each 100ft take, superimposed onto itself complete with live fades of image and sound. - R.G.

ROB GAWTHROP
DISTANCING
UK, 1979, silent, colour, 15 mins, 16mm
Transparency, objectivity, focus and illusion are the main concerns of this film. Shot from the interior of a room from which can be seen a plant, a person's head, raindrops on the window, houses, the sea and the horizon. The point of focus and the film's exposure are continually changed and are set into flux with each other while simultaneously the image is superimposed onto itself allowing even the slightest difference between sequences (of time and image) noticeable, bringing into question the very act and accuracy of cinematic depiction. - R.G.

ROB GAWTHROP
COASTAL CALLS
UK, 1982, sound, colour, 12 mins, 16mm
"...is a film which deals with primary filmic elements and produces constantly shifting relationships between them. The film is made up of four 100ft rolls/takes of slow pans of a beach and its surrounding landscape with focus and exposure in constant change. The sound is that of space (sea, wind) alternating with that of a wind instrument (Shawm). Only at specific instances do focus and exposure match to give an image that is readable in illusionistic terms, so that any attempt to 'place' oneself is subverted by the constant perceptual shift applied to the image ... never gathered into representation but only crossing points of unstabilised representation, as if by accident." - Michael Maziere, Undercut.

ROB GAWTHROP
PROJECTIONS FOR... SHAWM, TAPE-TREATMENT AND IMPROVISATION.
UK, 1986, sound, colour and B&W, 16mm, tape & U-Matic, 15-20 mins
two 16mm projectors, two 1/4'' (3 headed) tape decks, two mikes and stands, stereo amp and speakers, necessary leads, one hour set up.
A projection/music performance that uses shadow and flicker to create the illusion of movement and prepared tape loops to fracture and 'sample' the live sound. The live and recorded are set into flux.
Loud and physical. - R.G.

ROB GAWTHROP
PROJECTIONS FOR... IMPROVISATION, PERCUSSION, WHISTLES, SHAWMS, TOYS AND OTHER STUFF (VERSION 1)
UK, 1989, sound, B&W, Twin screen twin speaker, 14 mins, 16mm
Four sequences in four sections of a variety of sound/noise/music instruments being played in the light beam of a projector, including their own shadows and the previous section of the same sequence being projected (B&W alternating positive and negative). This material having then been edited into shots of between one and six seconds in length, randomly, but without repetition, reconstructed, printed and cut onto two reels.
The (twin screen/speaker) projection is effectively a cinematic improvised music concert. - R.G

ROB GAWTHROP
PROJECTIONS FOR... IMPROVISATION, PERCUSSION, WHISTLES, SHAWMS, TOYS AND OTHER STUFF (VERSION 2)
UK, 1990, sound, B&W, 3 mins, 16mm
Using the same material as Version 1 but cut together very quickly and sequentially to reveal the structure of its making. (Can also be used as a trailer for Version 1.) - R.G

ROB GAWTHROP & JOANNA MILLET
A COMPLETELY NOVEL SERIES OF FILMS ... THE MILLER AND THE SWEEP
UK, 1984, silent, B&W, 5 mins.
Dust, grain, flour. Negative/positive; film 'history' re/presentation, figure antics and play.
(After George Albert Smith

BRAM GEERLINGS
THE CHANCE OF MEETING JOHN CAGE
UK, 1978, 11 mins, video

BRAM GEERLINGS
HAND ART
UK, 1978, 12 mins, video

BRAM GEERLINGS
THE BOTTLE IS USELESS WITHOUT THE EMPTINESS WITHIN,
UK, 1978, 12 mins, video

BRAM GEERLINGS
FAMOUS IMPERSONATIONS OF A BLIND SNAIL
UK, 1978, 14 mins, video

JANIE GEISER
LOST MOTION
USA, 1999, 11mins, 16mm
Lost Motion uses small cast metal figures, toy trains, decayed skyscrapers, and other found objects to follow a man's search for a mysterious woman. From an illegible note found on a dollhouse bed, through impossible landscapes, the man waits for her train which never arrives. His wanderings lead him to the other side of the tracks, a forgotten landscape of derelict erector- set buildings populated by lost souls. Dream merges with nightmare in this post-industrial land of vivid night.
'Lost Motion is the sumptuously told tale of a failed search...In her most visually lush film to date, Geiser superimposes images and drapes her scenes in moving shadow patterns. She depicts the train’s arrival by superimposing images of dolls exiting model trains over the searching man’s figure... Ultimately the film's fragmentary constructions become more than modernist denials of illusion and assertions of materiality.: essential to the film’s tone, Geiser's obviously illusory images evoke strong feelings as the mundane drama of a failed meeting' - Fred Camper, Chicago Reader (May 25, 2000)

JANIE GEISER
THE FOURTH WATCH
USA, 2000, sound, colour, 10 mins, 16mm
Music: Tom Recchion
The ancient Greeks divided the night into four sections; the last section before morning was called the fourth watch. In these hours before dawn, an endless succession of rooms is inhabited by silent film figures occupying flickering space in a midcentury house made of printed tin. Their presence is at once inevitable and uncanny. A boy turns his head in dread, a woman’s eyes look askance, a sleepwalker reaches into a cabinet which dissolves with her touch, and hands write letters behind disappearing windows. The rooms reveal themselves and fill with impossible, shadowed light. It is not clear who is watching and who is trespassing in this nocturnal drama of lost souls.
'A small masterpiece of the uncanny brought about through beautifully controlled use of superimposition and scale and a cross breeding of ‘incompatible’ species of texture and (cathode - solar) light. Glacial blue poltergeist -somnabulists, melodramatic stars and damaged children from silent films - emerge at night into a tin dollhouse opening up invisible envelopes of space, comingling with hypnoticic chiaroscura cast by trembling sunlight.' - Mark McElhatten
     
 
JANIE GEISER
ULTIMA THULE
USA, 2002, 10mins, 16mm
In her recent films, Geiser has been exploring the possibilities found in merging video texture with film, creating a kind of deep, ambiguous space, a suggestion of "the floating world". In Ultima Thule, gravity fails, land and sky lose their historical meaning. A small silver plane navigates an ultramarine storm, flying over barely-glimpsed hills, an unlikely ferry to 'ultima Thule': the farthest point north, the limit of any journey. The seduction of immersion in blue is too strong to avoid, the land fills with water, and time loses its line.

MATTHEW GELLER
STUCTION
USA, 1979, 3 mins, video
Ini an investigation of narrative forms that has ranged from experimental fictions to feature-length theatrical dramas, Matthew Geller redefines the structure and style of television storytelling. His artfully constructed, often comic narratives play off conventional genres - documentary, fairy tale, melodrama.

MATTHEW GELLER
CON/STRUCTS
USA, 1979, 5 mins, video

MATTHEW GELLER
PROBABILITIES (TENDENCIES)
USA, 1979, 5 mins, video

LOL GELLOR
DRUMBEAT
UK, 1991, 7 mins, video
A post-psychedelic study of a drumbeat which splices together monologue music and dance to produce an experimental and challenging mix of image and noise.

JEAN GENET
UN CHANT D'AMOUR
France, 1950, silent, B&W, 23 mins, 16mm
"A huge influence on modern gay filmmakers, Un Chant d'amour was made in 1950 by Jean Genet - his only film. It's a silent, sensual and poetic fantasy set in a French prison. Genet's troubling and erotic images steered the film into a history of controversy and censorship...
Henri Langlois gave Un Chant d'amour its public premiere at the Cinematheque Francais in 1954, screening a version cut of its sexually explicit material. But as its producer Nico Papatakis points out, even if the film did not contain erotic sex scenes, it was in every way a gay love story, and therefore scandalous and subject to censorship. Un Chant d'amour was generally unavailable for public viewing in France for the following twenty years...
A screening in New York in March 1964 was raided by the police, who brutalised the organiser, Jonas Mekas, imprisoning him and informing him that he deserved to be shot in front of the cinema screen for 'dirtying America'. The New York case against Un Chant d'amour was eventually dismissed, but not before it had drained its defendants of thousands of dollars...
Un Chant d'amour was premiered in London in February 1971, and has since been shown regularly and widely without issue or censorship on the experimental, art and repertory circuits throughout the UK. However, in early 1989 Hull Town Council refused its Film Theatre permission for a screening. The counsellors' chairman felt that it would be equally offensive to both homosexuals and heterosexuals, and stated, 'If any ordinary member of the public came to see it I think they would be shocked and offended, The Film Theatre leaflet says it is poetic, but I didn't see anything poetic about it.'" - Extracted from Jane Giles, The Cinema of Jean Genet.
"A beautiful film, a lonely film, a hard film."-Peter Gidal.

ALISTAIR GENTRY & JOE MAGEE
HYPNOMART
UK, 2001, 4 mins, video
It's a digital day out and the mall just got madder. Repeat to fade and trance away the heartache in a mirror world of mass production. I'm not a human being, I'm a number. Whitewashed? Absolutely. (Colour) saturated? Sure. See you tomorrow.
An animate! film

CARL GEORGE
DHPG MON AMOUR
USA, 1989, sound, colour, 10 mins, 16mm
Love and survival in the age of AIDS. David Conover goes through the demanding daily process of injecting the drug DHPG (garcyclovir) supported by his lover Joe Walsh.