DEPARTURE is a film that was shot in 1976-77 during a year when I lost my job due to both cutbacks at the campus at which I taught and my involvement in the movement against them. I collected footage and imagined I would edit the film together the night I left. I was unable to do this and it took...
As editor of "New Left Notes", the newspaper of Students for a Democratic Society (SDS), Saul Levine was at the center of multiple radical political movements. Filming from 1968-1982, he employs a rapid fire editing style to create a frenetic, kaleidoscopic portrait of the antiwar movement, women's...
Light Licks: By the Waters of Babylon: This May Be The Last Time
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LIGHT LICKS are a series of films, which are made frame by frame often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice.
ALL THAT'S SOLID (and) MELTS INTO AIR are each separate films shot at an exhibition of the urban landscape artist Tyree Suyton in Cambridge at Harvard. I was struck by the redemptive critical and visionary character of his work which struck me as similar to G.M. Hopkins or Clarence Smith....
LIGHT LICKS are a series of films, which are made frame by frame often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice.
I am just a rambling guy - here today, gone tomorrow. Sitting in the back of Dan's french car. French woman going to NYC for the first time. Reflections of the car - now static. Chicago as seen from Gunnar Juhansson's and Ruby Rich's apartment. N.B. Project at 18fps
LIGHT LICKS are a series of films, which are made frame by frame often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice.
Film Notebook Part 1 from 1975 is a beautiful collection of daily fragments which Keller shot from her life the way one would write in a journal. She documents the world around her in a spontaneous home movie fashion then employs meticulous editing, making subtly poetic connections between shots...
