Measuring the Distance

Rainbow Dance

Rainbow Dance is a 1936 British animated film released by the GPO Film Unit. This is Lye's second film. It uses the Gasparcolor process.

A Computer Animated Hand

Archive film showing possibly the first example of digital rendering, made by Pixar co-founders Ed Catmull and Fred Parke in 1972, was stumbled upon by the son of Robert B Ingebretsen, who also set up the world-famous U.S. studio. A six minute version shows additional CGI animation of an artificial heart valve, and human heads.

Ghosts Before Breakfast

Hans Richter, noted for his abstract shorts, has everyday objects rebelling against their daily routine.

Musical Poster #1

A British WWII propaganda short warning citizens that Nazi sympathizers could be listening to their everyday conversations to discover important information about the war effort.

Study of the Virgin in School Uniform Stripped Bare by Her Bachelors

A surreal, pop-art depiction of a young girl losing her virginity.

Good-by Marilyn

An erotic pop animation seemingly symbolizing his youth when his soul was taken by the Hollywood actress.

Why

A boxing ring turns into a stage for abstract animation where the punches thrown in the match and the halftone dots in reprographics gradually become indistinguishable. Tanaami shot a boxing match on a Motordrive camera, made two thousand offset prints, and rephotographed each of them. He explains his inspiration for the work being the experience of watching a boxing match on television but finding the newspaper print the next morning better capturing the exhilaration of the sport.

Scrap Diary

The experimental animated short is a collaborative work between Keiichi Tanaami and Nobuhiro Aihara.

GOLDFISH FETISH

10 Nights' Dreams

The experimental animated short is a collaborative work between Keiichi Tanaami and Nobuhiro Aihara.

Aki no Puzzle

A kaleidoscope of painted cartoonish images including an obscene mouse. Born in 1936 in Tokyo, Keiichi Tanaami is one of the leading pop artists of postwar Japan, and has been active as multi-genre artist since the 1960s as a graphic designer, illustrator, video artist and fine artist.

Shunga

Loops

An experimental film in which both sound and visuals were created entirely by McLaren drawing directly upon the film with ordinary pen and ink. The titles are in eight languages. Rereleased with multilingual titles in 1949.

M Phase

Mars, 2035. The daily wearout overtires the space’s station crew. The anger of one of the members arises, there is no other choice but to conceal it, in order to preserve the apparently cohesiveness of the team.

The Room

A small white box. Everything happens in that little world. A woman's face comes out from the side of the room and roars, birds peck at human flesh, trains run through, and a couple quarrel begins. When the billiard ball penetrates the room, the billiard ball changes into various shapes ... Each room is a world, and what happens there is a microcosm of modern times.

Chance Encounters With Oxygen

A psychedelic, avant-garde collage film designed to accompany PRPL PPL's experimental album of the same name.

White Tape

White Tape explores the theme of boundaries: the frame, the space between brushstrokes and the implications of occupation.

Marvo Movie

Four minutes of heavily cut-up sound and vision with collage, animation and multiple exposures throughout.

Neverwhere

A meek office worker finds himself flung into a fantasy world as a naked muscleman. An early version of the Den character, known from the comic magazine Heavy Metal and the movie by the same name.

Sophie's Place

Five years in the making, Lawrence Jordan's feature-length "alchemical autobiography" Sophie's Place takes as its inspiration the story of the Greek goddess of wisdom, Sophia. Writes Jordan, "I must emphasize that I do not know the exact significance of any of the symbols in the film any more than I know the meaning of my dreams... I hope that the symbols and the episodes set off poetic associations in the viewer. I mean them to be entirely open to the viewer's own interpretation."