The most complete known version of the Fluxfilm Anthology.<\/em><\/p>\nFluxfilm No. 1: Zen For Film, Nam June Paik, 1964, 20 min
\n\u201cClear film, accumulating in time dust and scratches.\u201d<\/p>\n
Fluxfilm No. 2: Invocation of Canyons and Boulders, Dick Higgins, 1966, 3 min version.
\n\u201cMouth, eating motions.\u201d<\/p>\n
Fluxfilm No. 3: End After 9, George Maciunas, 1966, 1 min
\n\u201cWord & number gag, no camera.\u201d<\/p>\n
Fluxfilm No. 4: Disappearing Music For Face, Chieko Shiomi, 1966, 10 min
\n\u201cTransition from smile to no-smile, shot at 2000fr\/sec. Camera shows only a CU of the mouth area.\u201d Camera: Peter Moore<\/p>\n
Fluxfilm No. 5: Blink, John Cavanaugh, 1966, 5 min
\n\u201cFlicker: White and black alternating frames.\u201d<\/p>\n
Fluxfilm No. 6: 9 Minutes, James Riddle, 1966, 9 min
\n\u201cTime counter, in seconds and minutes.\u201d<\/p>\n
Fluxfilm No. 7: 10 Feet, George Maciunas, 1966, 13 sec
\n\u201cPrestype on clear film measuring tape, 10ft. length. No camera. At the end of every foot of film numbers appear, 1, 2, etc to 10.\u201d<\/p>\n
Fluxfilm No. 8: 1000 Frames, George Maciunas, c.1966, 42 sec
\n\u201cNumerals on clear film from 1 to 1000.\u201d<\/p>\n
Fluxfilm No. 9: Eyeblink, Yoko Ono, 1966, 1 min
\n\u201cHigh speed camera, 200fr.\/sec. view of one eyeblink.\u201d Camera: Peter Moore<\/p>\n
Fluxfilm No. 10: ENTRANCE to EXIT, George Brecht, 1966, 7 min
\n\u201cA smooth linear transition from white, through greys to black, produced in developing tank. The \u2018door sign\u2019 ENTRANCE fades in, white letters on the black background, stays for a few seconds, then slowly fades into white. Five-minute fade into black and the title EXIT, which stays for a few seconds then fades into white.\u201d<\/p>\n
Fluxfilm No. 11: Trace No. 22, Robert Watts, 1965, 1 min
\n\u201cX-ray sequence of mouth and throat; eating, salivating, speaking.\u201d<\/p>\n
Fluxfilm No. 12: Trace No. 23, Robert Watts, 1966, 3 min
\n\u201cBegins with a shot of a demarcation line on an asphalt tennis court. A hand points to the distant landscape, then numbers 408 and 409 appear on a female torso. The female then passes different decorated plastic hot dogs, banana shapes suggestively between her legs, through her arm pits, etc. Ends with an egg floating on water.\u201d<\/p>\n
Fluxfilm No. 13: Trace No. 24, Robert Watts, 1966, 3 min
\n\u201cBegins with a picture of Marilyn Monroe, then shifts to a female body, shot from belly button down, which is wriggling under piles of cellophane.\u201d<\/p>\n
Fluxfilm No. 14: One, Yoko Ono, 1966, 5 min
\n\u201cHigh speed camera 2000fr\/sec. match striking fire.\u201d Camera: Peter Moore.<\/p>\n
Fluxfilm No. 15: Eye Blink, Yoko Ono, 1966, 1 min
\n\u201cSame as No. 9, probably.\u201d Camera: Peter Moore.<\/p>\n
Fluxfilm No. 16: Four, Yoko Ono, 1967, 6 min
\n\u201cSequences of buttock movement as various performers walked. Filmed at constant distance.\u201d With Susanna Campbell, Philip Corner, Anthony Cox, Bici Hendricks, Geoffrey Hendricks, Kyoko Ono, Yoko Ono, Ben Patterson, Jeff Perkins, Susan Polang, Jerry Sablo, Carolee Schneemann, James Tenney, Pieter Vanderbiek, Verne Williams. Camera: Jeff Perkins, Anthony Cox.<\/p>\n
Fluxfilm No. 17: 5 O\u2019Clock in the Morning, Pieter Vanderbiek, 1966, 5 min
\n\u201cA handful of rocks and chestnuts falling, filmed with high speed camera.\u201d Camera: Peter Moore.<\/p>\n
Fluxfilm No. 18: Smoking, Joe Jones, 1966, 6 min
\n\u201cSequence of cigarette smoke shot with high speed camera, 2000fr\/sec.\u201d Camera: Peter Moore.<\/p>\n
Fluxfilm No.19: Opus 74, version 2, Eric Andersen, 1966, 1 min
\n\u201cSingle frame exposures, color. Different image each frame, various items in the room, etc.\u201d<\/p>\n
Fluxfilm No. 20: ARTYPE, George Maciunas, 1966, 4 min
\n\u201cArtype patterns, intended for loops.\u201d Benday dot patterns. Dots, lines. \u201cScreens, wavy lines, parallel lines, etc. on clear film. No camera.\u201d<\/p>\n
Fluxfilm No. 22: Shout, Jeff Perkins, 1966, 3 min
\n\u201cClose-ups of two faces, shouting at each other.\u201d Starring Jeff Perkins and Anthony Cox. Camera: Yoko Ono.<\/p>\n
Fluxfilm No. 23: Sun in Your Head, Wolf Vostell, 1963, 6 min
\n\u201cSingle Frame sequences of TV or film images, with periodic distortions of the image. The images are airplanes, women men interspersed with pictures of texts like: \u2018silence, genius at work\u2019 and \u2018ich liebe dich.\u2019 The end credit is \u2018Television d\u00e9collage, Cologne, 1963\u2019.\u201d Camera: Edo Jansen.<\/p>\n
Fluxfilm No. 24: Readymade, Albert Fine, 1966, 45 sec
\n\u201cColor test strip from developing tank.\u201d<\/p>\n
Fluxfilm No. 25: The Evil Faerie, George Landow, 1966, 30 sec
\n\u201cA man on the roof making flying gestures with his hands. Film is preceded by a picture of an object of \u2018L\u2019 shape shakingly moving. At the end of the film, image of \u2018Kodak girl\u2019 briefly appears.\u201d With Steven M. Zinc.<\/p>\n
Fluxfilm No. 26: Sears Catalogue 1-3, Paul Sharits, 1965, 28 sec
\n\u201cPages from Sears catalogue, single frame exp.\u201d<\/p>\n
Fluxfilm No. 27: Dots 1 & 2, Paul Sharits, 1965, 46 sec
\n\u201cSingle frame exposures of dot-screens.\u201d<\/p>\n
Fluxfilm No. 28: Wrist Trick, Paul Sharits, 1965, 28 sec
\n\u201cVarious gestures of hand held razorblade, single frame exposures.\u201d<\/p>\n
Fluxfilm No Number: Unrolling Event, Paul Sharits, 1965, 5 sec
\n\u201cToilet paper event, single frame exposures.\u201d<\/p>\n
Fluxfilm No. 29: Word Movie, Paul Sharits, 1965, 4 min
\n\u201cSingle frame exposures of words, color.\u201d<\/p>\n
Fluxfilm No. 30: Dance, Albert Fine, 1966, 2 min
\n\u201cFace Smiling. Hammering a brick. CU of an ear (moving?). Face twitching. Dancing on one leg. Rolls, twitches on the floor. Boxes the wall.\u201d<\/p>\n
Fluxfilm No. 31: Police Car, John Cale, 1966, 1 min
\n\u201cUnderexposed sequence of blinking lights on a police car.\u201d<\/p>\n
Fluxfilm No. 36: Fluxfilm No. 36, Peter Kennedy & Mike Parr, 1970, 3 min
\n\u201cTips of feet walking at the edge of frame, all around the frame.\u201d<\/p>\n
Fluxfilm No. 37: Fluxfilm No. 37, Peter Kennedy & Mike Parr, 1970, 2 min
\n\u201cFace going out of focus by layering sheets of plastic between camera and subject.\u201d<\/p>\n
Fluxfilm No. 38: Jen e vois rien Je n\u2019entends rien Jen e dis rien, Ben Vautier, 1965, 5 min
\n\u201cSeeing, Hearing, Saying Nothing. Ben stands with ears, eyes, mouth bandaged.\u201d<\/p>\n
Fluxfilm No. 39: La traverse du port de Nice \u00e1 la nage, Ben Vautier, 1963, 2 min
\n\u201cSwimming across Nice harbour fully clothed. Ben swims across a bay in Nice.\u201d<\/p>\n
Fluxfilm No. 40: Fair un effort, Ben Vautier, 1969, 2 min
\n\u201cLifting and holding up a chest of drawers.\u201d<\/p>\n
Fluxfilm No. 41: Regardez moi cela suffit, Ben Vautier. 1962, 3 min
\n\u201cSitting on a promenade in nice with a sign: Watch me, that\u2019s all.<\/p>\n
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\n<\/div>\n","protected":false},"excerpt":{"rendered":"Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[142,1],"tags":[29,30],"class_list":["post-783","post","type-post","status-publish","format-standard","hentry","category-jonas-mekas","category-miscellaneous","tag-fluxus","tag-jonas-mekas"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/783","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=783"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/783\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=783"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=783"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=783"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}