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PennSound Cinema

Robert Ashley

Music with Roots in the Aether (Opera for Television Series in seven parts)
David Behrman
Landscape with David Behrman (57:40)
The Music of David Behrman (57:40)
Music with Melody-Driven Electronics

Music with Roots in the Aether (Opera for Television Series in seven parts)
Philip Glass
Landscape with Philip Glass (57:40)
With the Fourth Grade Class, P.S. 41, New York City
The Music of Philip Glass (50:57)
Music in 12 Parts: Part 2
Act I, Scene 1, Einstein on the Beach

Music with Roots in the Aether (Opera for Television Series in seven parts)
Alvin Lucier
Landscape with Alvin Lucier (57:40)
...including the performance of Outlines of Persons and Things (1975)
The Music of Alvin Lucier (57:40)
Bird and Person Dyning (1975)
Music for Solo Performer (1965)

Music with Roots in the Aether (Opera for Television Series in seven parts)
Gordon Mumma
Landscape with Gordon Mumma (57:40)
The Music of Gordon Mumma (57:40)
Some Voltage Drop (1974): Simulcast, Schoolwork, Telepos/Foxbat

Music with Roots in the Aether (Opera for Television Series in seven parts)
Pauline Oliveros
Landscape with Pauline Oliveros (57:40)
Including Unnatural Acts Between Consenting Adults, with Carol Vencius
Landscape with Pauline Oliveros (continued) & The Music of Pauline Oliveros (57:40)
Rose Mountain Slow Runner

Music with Roots in the Aether (Opera for Television Series in seven parts)
Terry Riley
Landscape with Terry Riley (57:40)
The Music of Terry Riley (46:03)
Shri Camel: Morning Corona

Music with Roots in the Aether (Opera for Television Series in seven parts)
Robert Ashley
Landscape with Robert Ashley (57:40)
What She Thinks (It's History)The Music of Robert Ashley (45:00)
Title Withdrawn

Oana Avasilichioaei

"Prologue" from feria: a poempark
3 minutes, 11 seconds
Text/narration Oana Avasilichioaei,
Film by Thierry Collins
Montreal, 2008

Jacob Burckhardt

Yaknetuma From the Lower East
a collaboration with Laleen Jayamanne
8 minutes, 19 seconds
sound, color
New York City, 1974

Rudy Burckhardt

The Automotive Story
a Cittadura Documentary
14 minutes, 34 seconds
sound, b/w

Central Park in the Dark
a collaboration with Charles Ives, Christopher Sweet and Yoshiko Chuma and the School of Hard Knocks
7 minutes, 8 seconds
sound, color
New York City, 1985

Abigail Child

Mirror World, 2006
12 min, sound, color

Is This What You Were Born For?
Part IV: Perils, 1986
Film. (16 mm, b/w, sound, 5 min.)

Is This What You Were Born For?
Part VI: Mayhem, 1987
Film. (16 mm, b/w, sound, 20 min.)

Is This What You Were Born For?
Part VII: Mercy, 1989
Film. (l6mm, color, sound, 10 min.)

Nathaniel Dorsky

Footage of Carl Rakosi shot by Nathaniel Dorsky at the Arboretum of Golden Gate Park, a few blocks from where the poet lived in the Sunset District of San Francisco. It is shot on 16mm Kodachrome. With Rakosi is his companion, Marilyn Kane.

Arkadii Dragomoshchenko

Film on Sergei Kurekhin
Part One
38 minutes, 16 seconds

Film on Sergei Kurekhin
Part Two
24 minutes, 5 seconds

Ted Greenwald

A video by Les Levine with Greenwald / Museum of Mott Art Inc., 1991
16 minutes, 25 seconds

Mimi Gross and Red Grooms

A Yellow Ball / Ruckus Films Production, 1965-66
18 minutes, 45 seconds

Henry Hills

LITTLE LIEUTENANT, collaboration with Sally Silvers, 1994
6 minutes, 17 seconds

A NEW LIFE, 1988-1998
17 minutes, 50 seconds
In 1988, under the inspiration of George Kuchar, I bought an 8mm camcorder. The single-system 16mm camera on which I had shot PLAGIARISM, RADIO ADIOS, & MONEY had died of stress and I thought this would allow me to pursue synch ideas. Unfortunately video editing at that time involved bumping the footage up to 3/4" U-matic and paying $12.50/hour to work on 2 decks with a controller; it was cheaper to shoot 16mm and get a workprint. The conceit of the abandoned project was to create artist couples (people that had never before met) and have them discuss relationship issues and love. Participating artists include Joe Gibbons, Lee Katz, Emily Breer, Robert Hilferty, Eve Heller, and Roberto Juarez. Alongside this footage was an ongoing discussion with Charles Bernstein on the implications of working in video as opposed to film. Plus, one cold morning when nothing was working out, I addressed the camera directly in a (what seemed at the time desperate and harrowing but now seems Woody-Allen-ish) scene that is central to the final edit.

GOTHAM, 1990
2 minutes, 13 seconds
a music video for John Zorn's Naked City. "120 Minutes", MTV, June 1990; ALIVE TV (Alive From Off Center), PBS, summer 1992.

MONEY, 1985
14 minutes, 27 seconds
Money is a manic collage film from the mid-80s when it still seemed that Reaganism of the soul could be defeated. Filmed primarily on the streets of Manhattan for the ambient sounds and movements and occasional pedestrian interaction to create a rich tapestry of swirling colors and juxtaposed architectural spaces in deep focus and present the intense urban overflowing energy that is experience living here. MONEY is thematically centered around a discussion of economic problems facing avant-garde artists. Discussion, however, is fragmented into words and phrases and reassembled into writing. Musical and movement phrases are woven through this conversation to create an almost operatic composition. Give me money! Starring: John Zorn, Diane Ward, Carmen Vigil, Susie Timmons, Sally Silvers, Ron Silliman, James Sherry, Peter Hall, David Moss, Mark Miller, Christian Marclay, Arto Lindsay, Pooh Kaye, Fred Frith, Alan Davies, Tom Cora, Jack Collom, Yoshiko Chuma, Abigail Child, Charles Bernstein, Derek Bailey, and Bruce Andrews.

10 minutes, 28 seconds
RADIO ADIOS is a monologue in 12 plaited strands; an extremely precise, condensed and intensely rhythmic Busby Berkeleyish spectacle of an examination of conversational and literary language over a fair range of vocal timbre, microphones, volume settings and single-system sync peculiarities and its dissolution into music to the accompaniment of simultaneous Manhattan ambiances punctuated by fragments of jazz, personalized handheld camera movement, movement from cut to cut--juxtapositions of scale, pulsating changes in light intensity, a varying pallette of various filmstocks, generations, etc., at an appropriately furious pace and in strict one-track sync,.offering simultaneously several levels of apprehension or interpretation to encourage multiple viewings. Starring Hannah Weiner, Diane Ward, Sally Silvers, Jemeel Moondoc & Muntu, Aline Mayer, Jackson MacLow, Abigail Child, Charles Bernstein, Bruce Andrews and Rashied Ali on drums, with George Kuchar as a Maoist revolutionary.

KINO DA!, 1981
1 minute, 42 seconds
KINO DA! (ah, key, key) KINO DA!/The Dead die die dada low king quanto zhong/MOVE! (ur, ur)/Grey todays it-a clear to the quick ear, quicker z'heels/The Poe (pay, po, pee, pick-pick), nuf of "D" yet/Call Vertov/(beep, beep)/Eisenstein even/& viterulably cheeness of a ram innerwear/(airs; when)/Time, Time, Money/d-d-d/ junk rock did travel & falls/(spring)/Fall/Spring is the simplest inflationary dime.///Be in everything Joy, in experimental & proletarian & wwea air of airs/at this school of poetry-painting/CUT! "To know/toe/no! no! MONTAGE (nadazha), in any instant (instant) of the writing of Stein & the facts of that (tle) kind./FEEL (the steak)/yes, ache, in trends & whatevers./Mmmm-pah-ah, Cops, man, in case (nnn), man (nnn)./(KO) be-a mayu po pony; (KO) be-a what?) o-long kind.//GO! (be what) OM, prose, Pentacost; be what this there the (pause) & (serious pause) the neb with a gram of ire illia-it's still justs Jah.//Viparko r-rrr re ad adici, yes!/YES!//ssssssssssane! /mmmm vidda pot re-a-uschious of a ship. Viparko Roma Schoma Schlav keybo z'Krushchev. (wink)

Emma's Dilemma, 1997-2004
In NERVOUS KEN, experimental film legend Ken Jacobs is "interviewed" by my urbane 12-year old M.C., Emma Bernstein. Envisioning an exploration of the nature of listening (of apprehending or not, remembering or not, and creating meaning) and of the repetitions & variations of verbal expression and its accompanying often-emphatic physical gesturing as a basis for making visual music, I, as filmmaker turned "media artist", employ the full range of temporal manipulation available within my concurrent digital set-up, exploiting unique corners which differentiate DV from 16mm, though including frequent references to themes & techniques from Jacobs' own work within the arcanum of film. The "musical score" is derived through permutations of the sync track. This was the first released section from the ongoing series, premiering March 2004 at the Museum of Modern Art. (duration 20min)

Emma's Dilemma, 1997-2004
KING RICHARD is a portrait of New York avant-garde playwright Richard Foreman in his Ontological-Hysteric Theatre. A charming yet revealing interview on the set by pre-teen protagonist Emma Bee Bernstein is interwoven with footage focusing on the periphery of a recent production--the elaborate set design and lighting, the non-speaking supporting cast (the so-called "stage crew") with their frantic movement patterns, typical props and recurrent imagery, all shot & edited in a disruptive manner to mimetically compensate for the loss of actual presence. (duration 20min)

Emma's Dilemma, 1997-2004
Maybe (or, In Pursuit of Parker Posey)
2 minutes, 26 seconds

Emma's Dilemma, 1997-2004
"A Lee Ann-thology of Concrete Poetry" with Lee Ann Brown
4 minutes

Emma's Dilemma, 1997-2004
Julie Patton
4 minutes, 10 seconds

Emma's Dilemma, 1997-2004
"Printed Matter" with Kenny Goldsmith
3 minutes, 13 seconds

Emma's Dilemma, 1997-2004
"Susan Howe"
3 minutes 35 seconds

George Kuchar

The Sins of the Fleshapoids, 1966
Mike Kuchar
43 minutes, 14 seconds

The Secret of Wendel Samson, 1966
Mike Kuchar
33 minutes, 24 seconds

Hold Me While I'm Naked, 1966
14 minutes, 12 seconds

The Craven Sluck, 1967
Mike Kuchar
20 minutes, 53 seconds

Eclipse of the Sun Virgin, 1967
12 minutes, 38 seconds

Pagan Rhapsody, 1970
22 minutes, 14 seconds

I, an Actress, 1977
8 minutes, 35 seconds

Wild Night in El Reno, 1977
5 minutes, 45 seconds

Forever and Always, 1978
19 minutes, 51 seconds

The Mongreloid, 1978
8 minutes, 54 seconds

The Kiss of Frankenstein, 2003
36 minutes, 11 seconds

Meet the Kuchar Brothers, 2005
The Party
15 minutes, 16 seconds

Meet the Kuchar Brothers, 2005
The Interview
1 hour, 10 minutes, 5 seconds

I, of the Cyclops, 2006
16 minutes, 58 seconds

Temple of Torment, 2006
23 minutes, 9 seconds

Garden of Goodiest, 2006
18 minutes, 15 seconds

Coven of the Heathenites, 2008
26 minutes, 1 second

Nibbles, 2009
7 minutes, 3 seconds

Zealots of the Zinc Zone, 2010
27 minutes, 41 seconds

Webtide, 2010
23 minutes, 37 seconds

Frank Kuenstler

"El Atlantis,"1973
from footage from the early or mid-1950s; soundtrack -- a toy piano, played by Kuenstler, "tape slowed, edited, adjusted to fit the images" [Michael O'Brien]21 minutes

Date unknown, probably after 1976
7 minutes

"Country Su Casa"
Date Unknown
3 minutes

"Color Idioms," 1968
18 minutes

Two plays by Serge Gavronsky, 1968
"A Gentleman's Friend" and "A Play"
25 minutes

Andrew Lampert

"Verse for Drunks"
Bowery Poetry Club, New York, January 9, 2011
16 minutes, 51 seconds

"SF/LA Diary," 2006
11 minutes, 11 seconds

Tom Leonard

"nor shall death brag", 1970's
4 minutes, 43 seconds

"kierkegaard either/or", 1970's
5 minutes, 27 seconds

Anya Lewin

How to be European
37 minutes, 48 seconds

Phill Niblock

Armand Schwerner: A Film by Phill Niblock
11 minutes, 35 seconds

Hannah Weiner: A Film by Phill Niblock
10 minutes, 28 seconds

Erica Hunt, Evidence: A Video by Phill Niblock
18 minutes, 15 seconds

Laura Odell

Incident at Wal-Mart, or Where's My Daughter, 1999
8 minutes, 2 seconds
with Charles Bernstein

Unmaking Whoopee, or the Text is Thus a Gas, 2006
15 minutes, 11 seconds
with Logan Esdale & Graham Foust
also with Brent Cunningham, Barbara Cole, and Charles Bernstein

Dan Orchiva

Jack & Kate, 1982/2005
with Jack Smith and Kate Manheim
Used with the permission of Dan Orchiva.
The film was shot around 1982, after Richard Forman had finished [RIchard Foreman's] Strong Medicine, where Kate wore the wedding dress she wore in the film. I didn't edit the two reels together until around 2005, adding found sound and the blue overlay. I was told that Kate and Jack had never met before, and with no script or plan, they began interacting. The film is exactly as shot in camera, without any editing. I used two rolls of Kodak 16mm Tri-X B/W film. It was never exhibited as a film, existing only in this version.

Rochelle Owens

Black Chalk, 1994
"Black Chalk," a dynamically paced series of images and language, is a narrative and poetic meditation about the European conquest of the Americas, the life and work of Leonardo DaVinci, and contemporary society's issues.

How Much Paint Does The Painting Need, 1992
"How Much Paint Does The Painting Need" presents multiple perspectives on the process of making art from the point of view of actors as well as critics and the artists themselves. A fusion of the present, past, mythology, religious imagery and innovative art forms.

Amy Sillman

Triscuits, 2011
17 minutes, 10 seconds
silent film

Pinky's Rule, 2011
7 minutes, 38 seconds
an animated drawing by Amy Sillman & Charles Bernstein

Cecilia Vicuña

Kon Kon, a documentary poem
Screening and Discussion
Kelly Writers House, February 3, 2011
1 hour, 25 minutes, 12 seconds