Elétrico Magnético

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.

Dissonant selves dancing around opposition and harmony.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Shifting Margin Part 1 (1991) Produced, Directed, Photographed, and Edited by Albert Gabriel Nigrin Special Thanks: Brodsky and Treadway and DAK Productions Length: 3 minutes A statue of a horse [located in the Luxembourg Gardens in Paris, France] shot at 18fps on Kodachrome color super 8mm film transferred to high quality video. The film camera was shaken at various intensities to simulate the various forms of horse locomotion -- walk, trot, gallop, etc. The film is silent yet one hears the rhythm of hooves. The green color of the statue's faded bronze was amplified, as was the blue sky in post-production. A homage to Pegasus, Le Magnifique in Cocteau's Beauty and the Beast, and Eadweard Muybridge.---AGN

Pictures taken between France and Mexico running at 8 frames per second.

A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.

A mathematical play on one repeated movement. It imparts a sense of possibilities: that something simple can produce complex and unexpected patterns. As with an atom, the variety of possibilities from a base movement is potentially infinite.

A journey to the origins of cinema, starting with its forgotten fathers: the pioneers who achieved moving images before 1895, the official year of the Lumière cinematograph. Through five studies by Frédéric Chopin, 'Impromptu' is also a tribute to the end of the 19th century, to its immortal muses, and to the fascination with movement itself.

An exploration of entering and leaving consciousness from the perspective of non-human bodies trapped in everlasting cycles of abuse.

A film unmade-- That is, Survage's film was never realized in the traditional sense-- At the time, such a project was beyond technological possibility. His pioneering efforts to combine luminous, expressive painting and the moving picture were further curtailed by the outbreak of WWI. Some have taken it upon themselves to 'animate' his watercolor plates in attempts to set his dream into motion.

Experimental documentary focusing on the design of the buildings of the Technical High School in Eindhoven. Through the visual means of film and the technical possibilities of camera and photography, reality becomes pure abstraction.

Light Pharmacy: 4.1 is part of a series of 'film haiku' concerned primarily with the reflection and refraction of sunlight, and dream representation.---AGN "A surreal fantasy - almost a homage to Maya Deren. Nigrin has a fine feeling for imagery and pacing."---William Sloan, Museum of Modern Art, New York City, 1988.

a life size stop motion child puppet races through memories and daydreams reflecting on the cyclical nature of life.

A Documentary film, following a group of friends going through their college life. with 3 months of filming starting in August 25th to November 1st 2024. most of everything was filmed in Boston. the purpose of the movie isn't to look amazing and have great story telling, but instead its meant to stamp a period in time. so that in 50 years we can look back and notice the human growth in a movie format. I hope you like the movie and thank you for watching :)

Experimental video art set to the track "Place I Know/Kid Like You" by Arthur Russell.

A closeted transgender woman is comforted by dancing to confront her sexual demons.

Scratched lines and shapes bloat around this footage of an unknown businessman, sometimes forming hats, clown noses, arrows, etc. He becomes a kind of pawn in my cruel little game. Sound is a musicbox which helps lift this once painfully boring footage to the level of high art. –H. M.

Experimental short film by Rainer Kohlberger