Film Format: 16mm

  • Rose, The

    An experiment in film collage made without the use of a camera. It utilizes food dye and handscratched animation directly on the film surface, intercut with live action found footage starring Hayley Mills. Hacked-up footage from an amateur monster movie is parallel-cut throughout, creating the appearance of a narrative.

  • Rose Compilation Vol. I

    VHS Compilation Contains: Pressures of the Text (17 min., 1983) Digital Speech (13 min., 1984) “‘Digital Speech’ uses a traveler’s anecdote, a perverse variant of a classic Zen parable, as a vehicle for an exploration of language, thought and gesture. The tape plays with the nature of narrative, with ways of telling, performing and illustrating, and uses nonsense language, scat singing and video rescan for comic comment. For purchase only.

  • Rose Compilation Vol. IV

    VHS Compilation Contains: “Metalogue” (3 min., 1996); “Foit Yet Cleem Triavith” (2 min., 1989); “Babel” (16 min., 1987); “The Gift” (6 min., 1993); “Secondary Currents” (16 min., 1982). For purchase only.

  • Rose Compilation Vol. V

    VHS Compillation Contains: “Understory” (8 min., 1996); “Analogies” (14 min., 1977); “Incantation” (8 min., 1968); “the man who could not see far enough” (33 min., 1981); “Cazotte in Seven Movements” (10 min., 1995). For purchase only.

  • Roses Are Blue

    “Roses Are Blue” is a short dramatic film exploring a woman’s sensual awakening to spiritual and feminist transformation. A blend of sci-fi, mysticism and modern relationship angst, “Roses Are Blue” was broadcast on WTN (Women’s Television Network) and won 2nd Prize at the 1998 Glebe Scenefest in Sydney, Australia. It features music by David Logan, Chip Yarwood and Edie Steiner.

  • Rote Movie

    On the voice over, de Bruyn places himself behind the wheel of a car, an appropriate metaphor for his expatriate driven-reflections on his feelings of exile, distance and loneliness. Necessarily unintelligent memories highlight habitual subjectivity of “walking through a landscape alone,” “gypsy,” “victim.” Images of road signs, cars, billboards, the passing landscape; elegantly simple rotoscope (by rote?) drawings, recopied and texturally manipulated filmic images; the inevitability of the repetition of leader. A tired, yearning, moving film.

  • RSVP

    “RSVP” is a lyrical piece which explores the emotions felt by a group of people, some who knew, and some who did not know, a man who has just died. Its approach, however, is unusual: there is almost no dialogue, but rather a central piece of music – “Le Spectre de la Rose” from Berlioz’ Les Nuits d’Eté, performed by Jessye Norman. This piece was requested by the man several weeks before his death; it plays on the radio, ironically, as his lover, Sid, returns home from the funeral. The music forms a link between various people listening to it…

  • Rue des Teinturiers

    Filmed frame-by-frame in the camera, the focus of each frame is adjusted so that certain graphic features of items in the street are extracted and inscribed onto the film strip in a way which allows their characteristics to be seen, when projected in succession on the screen, as parts of a spatiotemporal image stretching from a position on a balcony over a canalized river to the road. The film is composed of twelve 2 3/4 minute reels, each of which was filmed on a different day throughout a six-month period. No editing was undertaken other than joining the reels together.…

  • Rules of the Road

    “Rules of the Road” tells the story of a love affair and its demise through one of the primary objects shared by the couple: an old beige station wagon with fake wood paneling along the sides. A typical American family car for an atypical American family, it provides them at first with all the familiar comforts. But when their relationship ends, the car becomes the property of one woman and the bane of the other’s existence. Even long after their separation, this tangible reminder of their life together – and thousands of its imitators- continues to prowl the streets of…

  • Barbara’s Blindness

    “There is no one named Barbara to be found; a pair of mysterious blind-person’s hands (looking suspiciously like Wieland’s) make only one cameo appearance to ‘read’ us the title; yet these seemingly incongruous elements provide the perfect introduction to the ironic humour of the film itself. The main source of the film seems to be an old grade-school morality-movie on the appreciation of eyesight, starring golden-haired Mary, who finds herself temporarily blind, and a leaden-voiced narrator, who finds himself our unwitting straight-man. The filmmakers re-edited this curiosity and intercut it with other stock footage of disasters, agricultural techniques, and monster…