Return to 'burn' only to find out you're already in that urn.
(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.
WHAT YOU MEAN WE is a surreal short film by experimental artist Laurie Anderson.
Strings together what's strung together (please use yr tether).
Your raging romp results only in rescinded regret @ the hands of radder cadets.
Still it's really tall. Still it's really floundering/falling/fading.
It's time the times met each other over & over.
Centrist revelations abound among repetitions & revisitings.
Something I know or something I was told? When something scalding translates something to behold.
Pounding backbeats beaten by [(Don't Get)] warm[welcomes]th.
Life drums the playfulness out of a boy as he grows up.
Sistiaga painted directly on 70mm film a circular (planetary?) form, around which dance shifting colours in a psychedelic acceleration matched by the soundtrack’s deep-space roar and howl. - Cinema Scope
Moonwalker is a 1988 American experimental anthology musical film starring Michael Jackson. Rather than featuring one continuous narrative, the film expresses the influence of fandom and innocence through a collection of short films about Jackson, some of which are long-form music videos from Jackson's 1987 album Bad. The film is named after his famous dance, "the moonwalk", which he originally learned as "the backslide" but perfected the dance into something no one had seen before. The movie's introduction is a type of music video for Jackson's "Man in the Mirror" but is not the official video for the song. The film then expresses a montage of Michael's career, which leads into a parody of his Bad video titled "Badder", followed by sections "Speed Demon" and "Leave Me Alone". What follows is the biggest section where Michael plays a hero with magical powers and saves three children from Mr. Big. This section is "Smooth Criminal" which leads into a performance of "Come Together".
Lights flicker & fade as focus shifts from artificial to natural light, ending on a second artificial light speeding through the blackened miasma of the night sky.
A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.
An experimental film from Jirí Lehovec, mixing the sound process with animated rhythms.
The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).