Film Categories: art & artists

  • Sailboat

    “‘Sailboat’ has the simplicity of a child’s drawing. A toy-like image of a sailboat sails without interruption on the water, to the sound of roaring waves, which seems to underline the image to the point of exaggeration, somewhat in the way a child might draw a picture of water and write word sounds on it to make it as emphatic as possible. The little image is interrupted at one point by a huge shoulder appearing briefly in the left-hand corner.” – Robert Cowan, Take One “This little Sailboat film will sail right through your gate and into your heart.” –…

  • Santa

    Santa gets his picture taken with a typically bizarre assortment of children of all ages – amateur sociology dredged from the Pacific Centre Mall. Gallagher’s deadpan treatment isolates the ritual moment of image making. As each of the mandatory still souvenir photographs is shot, Gallagher rolls off a few feet of movie film. The soundtrack is a persistent laugh track; Santa’s repeated “Ho Ho Ho.”

  • Scenes from Under Childhood #1

    A visualization of the inner world of fetal beginnings, the infant, the baby, the child – a shattering of the “myths of childhood” through revelation of the extremes of violent terror and overwhelming joy of that world darkened to most adults by their sentimental remembering of it… a “tone poem” for the eye – very inspired by the music of Olivier Messiaen. (SB)

  • Scenes from Under Childhood #2

    A visualization of the inner world of fetal beginnings, the infant, the baby, the child – a shattering of the “myths of childhood” through revelation of the extremes of violent terror and overwhelming joy of that world darkened to most adults by their sentimental remembering of it… a “tone poem” for the eye – very inspired by the music of Olivier Messiaen. (SB) (A continuation of “Scenes from Under Childhood #1.”)

  • Scenes from Under Childhood #3

    A visualization of the inner world of fetal beginnings, the infant, the baby, the child – a shattering of the “myths of childhood” through revelation of the extremes of violent terror and overwhelming joy of that world darkened to most adults by their sentimental remembering of it… a “tone poem” for the eye – very inspired by the music of Olivier Messiaen. (SB) (A continuation of “Scenes from Under Childhood #2.”)

  • Scenes from Under Childhood #4

    A visualization of the inner world of fetal beginnings, the infant, the baby, the child – a shattering of the “myths of childhood” through revelation of the extremes of violent terror and overwhelming joy of that world darkened to most adults by their sentimental remembering of it… a “tone poem” for the eye – very inspired by the music of Olivier Messiaen. (SB) (A continuation of “Scenes from Under Childhood #3.”)

  • Scrambles

    Impressions of a day of motorcycle races. Action and fatigue.

  • Seashore

    “The basic image derives from a shot of women in (Edwardian era ) dresses standing along the edge of the ocean. Within this eight-second loop, [Rimmer] cuts shorter ones. For example, the activity of a central group of three women is cut so that the figures repeat certain motions over and over and over again… “Rimmer also chose to use the forms of surface imperfections, the scratches and dirt patterns, as bases for his loops… Although working in a disciplined style of re-structuring cinematic forms, his highly orchestrated creations have inspired great admiration both from cineastes and the more general…

  • Seated Figures

    “Seated Figures” is built with images which are all variations of eight movements on the screen: moving up, down, to the left or to the right, and the four possible diagonal movements. These movements are occasionally interrupted by holds (freeze frames). All the images move parallel to the ‘picture plane’ (the screen). The film could be considered a history of roads. Starting on asphalt the film moves to gravel, then sand, and gradually onto more and more rocky surfaces, occasionally passing through streams. Vegetation appears, roads become paths until finally the images are fields with flowers. The images were all…

  • Second Impressions

    In “Second Impressions” I made a decision to impose on myself, and the film, severe formal limitations in order that I might concentrate on the creation of visual imagery possessing the inherent qualities and natural restrictions of the filmmaking process. The camera was to be fixed for the duration of the film; there was to be no suggestion of direct or implied narrative connections or development. The viewer is locked in the room depicted in the film for a period of nine minutes. The two opening sequences provide autobiographical references to my previous film work. This is followed by the…