America Is Waiting, 1982

Assembled from found film culled from propaganda reels, public service announcements, and movie westerns and set against a percussive, industrial soundtrack by David Byrne and Brian Eno, Bruce Connor’s America Is Waiting is a terse, but potent statement on the Reagan-era reactionary culture of moral righteousness, military aggression, and Cold War paranoia. Juxtaposing images depicting […]

Nathaniel Dorsky: Winter and Sarabande (2008)

Bookending with representations of twilight – an opening shot of light transmitted through a foregrounding grating, and a closing shot of the sun setting below a line of trees – Nathaniel Dorsky’s Winter and Sarabande convey forms of progression: a movement from dawn to dusk, shadow to light, grey tones to color, emptiness to space. […]

Ritual in Transfigured Time, 1946

A silent, textural, and hypnotic composition in movement and expression, the opening sequence of Ritual in Transfigured Time posits the innate duality of human nature as an animated, approachable female figure (Maya Deren) alternately framed in high contrast against a pair of interchangeable doorways, beckons a seemingly na├»ve young dancer (Rita Christiani) into a large […]

Meshes of the Afternoon, 1943

A large flower, the silhouette of a figure briskly walking away, a house key, a bread knife, a telephone receiver resting off the hook, and a spinning phonographic turntable define the shifting functional elements in Meshes of the Afternoon from which the film’s evolving, malleable construct – the fragile and tenuously interconnected mesh of actual […]