Genres: experimental

  • Spring

    This brightly hued cine-poem is a walk through the natural world, its slowly gathered rounds of superimposition conjuring a season of renewal and re-awakening.

  • Square Inch Field

    “‘Square Inch Field’ surveys the micro-macro universe as contained in the mind of man. In that square inch field between the eyes… Rimmer projects a vision of the great mandala of humanity’s all-time experience in space/time… powerful aesthetic integrity.” – Gene Youngblood

  • Square Root of Negative Three, The

    “A barrage of intense optical printing …the cinematic equivalent of a psychotropic drug trip.” – John Griffen, The Montreal Gazette “… makes a bold effort to actually blow your mind ….” – San Francisco Bay Guardian

  • Staccato

    Love, sex and death in Paris. The films were built frame-by-frame in-camera, each being a 100 foot roll. No cuts were made. Number 1-Esmeralda: A rampage through cathédrale Notre-Dame, with thanks to Victor H. Always nice when Esmeralda asks Quasimodo “Pourquoi m’avez-vous sauvé?” isn’t it… Number 2-Jezebel: Not a rampage but a secret run through rue st-Denis and Montmartre, le Moulin Rouge, Place Pigalle. The sex trade in Paris as seen from a dark and bright night. Number 3-Shiva: Not a secret run but a flight through the sprawling, centuries-old cemetery, Père Lachaise. A landscape of old glass, old iron…

  • Standard Time

    “In Snow’s ‘Standard Time’ a waist-high camera shuttles back and forth, goes up and down, picking up small, elegantly-lighted square effects around a living room very much like its owner: ordered but not prissy. A joyously spiritual little film, it contains both his singular stoicism and the germinal ideas of his other films, each one like a thesis, proposing a particular relationship between image, time and space.” – Manny Farber, Art Forum

  • Standing on Fishes

    Love, life, and loss ….

  • Star Garden

    The “STAR,” as it is singular, is the sun; and it is metaphored, at the beginning of this film, by the projector anyone uses to show it forth. Then the imaginary sun begins its course throughout whatever darkened room this film is seen within. At “high noon” (of the narrative) it can be imagined as if in back of the screen. Then it can be seen to shift its thought-light gradually back thru aftertones and imaginings of the “stars” of the film until it achieves a one-to-one relationship with moon again. This “sun” of the mind’s eye of every viewer…

  • Stellar

    This is a hand-painted film which has been photographically step-printed to achieve various effects of brief fades and fluidity-of-motion, and makes partial use of painted frames in repetition (for “close-up” of textures). The tone of the film is primarily dark blue, and the paint is composed (and rephotographed microscopically) to suggest galactic forms in a space of stars.

  • still life #1: cherries

    A meditation piece. Close-up of cherries being pitted. Action seen again. Itself seen. “… (this film) utilizes the static camera, but the effect of the exact and consecutive repetitions of the same gesture – a cherry being pitted by a knife-wielding hand – proves here to be an astonishing performance and not just the constrained repeating of the same act.” – Michel Larouche, Parachute #28, 1982

  • Still Point

    “‘Still Point’ serves as Barbara Hammer’s definitive reassessment of 70’s cultural feminism. She literally places side-by-side the romantic image of her companion walking and stretching under the sun in a landscape and the gritty realism of a methodical garbage picker on the street of New York city, pushing a shopping cart and moving on to the next waste container. Our world view must encompass both realities, the film indicates. Privilege can’t obscure vision.” – Chick Kleinhans, The Film/Video Showcase Presents the Films of Barbara Hammer