Lists by oOgiandujaOo_and_Eddy_Merckx

a list of 263 titles
Every year the ICM forum runs a poll for obscure films amongst users, the main criterion is that the film have received less than 400 "checks" on the ICheckMovies website, this is my ballot for 2017, in order of preference with Anatahan as #1.
a list of 79 titles
Movies rated less than 6.0 on the IMDb which are wonderful. (<6.0 at the time of writing, lets move them up people!)

Wonder here I use both in the normal sense (some of the films below are simply wonderful) and in the sense that James Ellroy defined it as term in his early novel "Clandestine", and which is found in profusion in his later novels, particularly the famous LA quartet. Wonder which is an ecstatic fascination with the extent of the primal depravity of others.

The adaptation of Ellroy's Black Dahlia is on the list. I found this rather fitting in the sense that, I feel that any real adaptation of an Ellroy novel would be rejected by the public at large and their protestant sensibilities. The success of Curtis Hanson's film adaptation of LA Confidential, is its own repudiation, in my opinion anyway.
a list of 500 titles
This is not a greatest films list, it's a personal favourites list (I don't know how to make a greatest films list). The first 100 movies in the list have my notes by them, I hope to write notes for the rest of the movies that don't have automatic summaries or pictures, so that you can see more than just a title and a date, but it's is an extremely laborious process and so I hope you'll bear with me. Some of the films I last saw a long time ago, and so to write my notes I've had to look at my reviews from the time, or have a real scrabble around in the toolbox to remember exactly what triggers ignited my passion for the film in question so markedly. I hope you'll forgive me if a few of the comments are therefore slim. I've tried to make them as personal and conversational as possible. As a whole document I hope the reviews and this intro make clear why I absolutely adore films, and if you don't already share this passion, why it could be for you. Roberta Flack once sung (and the Fugees later covered) a song called Killing Me Softly, a lyric of which goes, "Strummin' my pain with his fingers. Singing my life with his words. Killing me softly with his song." That's a great deal of the appeal of the movies to me, as well as trying to reach a better understanding of life (of mine and others' emotions in particular), and attaining sensations of grace.

Types of films and aesthetics I have a penchant for.

There's several types of films here, classic auteur films from the likes of control freaks von Sternberg/Lang/Welles/Borzage/Bresson; films that programmers clunkily refer to as artist's film and video/experimental film/avant-garde cinema, by folks like Dorsky/Hutton/Klahr/Jordan/Bokanowski/Fischinger/Deren; films that I'd call Amerarkana (low profile, minimalist, enchanted, anonymous American crime/horror), The Music of Chance/The Kill-Off/Liebestraum/Crawlspace/The Passion of Darkly Noon; dreamlike films, such as La Nuit Fantastique/Dementia/Amer/Judex/Fascination/The Alphabet Murders; film noir; films with unrequited love, particularly The Unsent Letter and Les Enfants du Paradis; films portraying outsider experiences, films about the art of living (these are mainly French); portrayals of ecstatic experiences; westerns; films dealing with the fact of the human body (as opposed to cerebral films) and human lifecycle such as the Cremaster Cycle, False Aging, Stereo, Belly of An Architect, and Seconds; well-handled treatments of Buddhism (Kim Ki-Duk films); films regarding existential folly such as Youth Without Youth and the Shanghai Gesture; films with fairy-light-style diegetic lighting (this means lighting that comes from within the fictional world of the film as opposed to huge lights behind the camera) such as This World, Then The Fireworks; films showcasing great/interesting interior design, like David Lynch films or White of the Eye (not usually felt to be the primary merits of these movies of course!). I was a teenager in the '90s so there are quite a few '90s genre movies in the mix, particularly '90s action movies, that I love, if taken at face value these can be hard to understand, but they're all visually beautiful and generally have something clever going on under the surface, examples being Wes Craven's Shocker, Richard Stanley's Hardware, Albert Pyun's Adrenalin: Fear the Rush and Russell Mulcahy's Silent Trigger. Emotionally-resonant film treatments of metanoia, or the process or realising that you never knew yourself, or that your conception of the world is/was entirely wrong, for example Pasolini's Oedipus Rex, The Shanghai Gesture, Night Sun, and Shutter Island (The Truman Show wouldn't qualify because it's other people fooling Truman rather than himself). Films within the tradition of Bildung, or a film version of the Entwicklungsroman, that is to say stories of hard won personal growth, such as Adam and America America, and perhaps the opposite, "what doesn't kill you makes you weaker" (my little joke treatment of Nietzsche's famous phrase) type stories such as Apartment Zero, or even films where these ends are shown as beginning as a forked path (Franklyn). Escapism is an obvious one that I share in common with everyone! Films that deal with perception or the nature of the mind, such as Memento, The Prestige, La Nuit Des Traquées. Recently highly aesthetic treatments of people discovering their sexuality (not for erotic content) such as Lewis Klahr's Pony Glass, Philip Ridley's The Passion of Darkly Noon or Steven Shainberg's Secretary. All sorts of films really. In another person's words, IMDb User Ear_Poisoner pointed out to me on the List and Recommendations forum, "your interest tends to more visual and tonal experience rather than narrative based.". I also like for films to be intriguing or interesting, I want lots of secondary neural detonations after the movie has ended. Speaking of explosions I think the idea for me has always been that a movie should blow my mind, so I sometimes find the distinction between entertainment and art movies moot in that they're just different ways of achieving the same end.

A note on availability, and how to see more of these should you wish to.

A lot of the films in this list are not available on dvd or blu-ray in your region, or just not available on dvd or blu-ray at all. Here's some suggestions. Hack your DVD/Blu-ray player so that it plays whatever you want it to play, this is usually dead easy with DVD. I drew the short straw and bought a hard-to-hack player, but for a small fee and a remote control in the post, this obstacle was overcome. I still buy and watch VHS tapes all the time where the dvd is out of print; the last batch of VHS players made will play SECAM, PAL, NTSC, anything you want, though you have to buy these off restorers now. Other outlets. There are websites all over the world selling official dvds that you won't find in chain stores or just any store if you don't live in a capital city in an affluent country: the German Filmmuseum website, Re:Voir, FNAC for Spain, the Danish Film Institute, the University of Massachussets (DEFA archive films), Amazon has various branch outs in other countries, even the Japanese Amazon is usable to non-Japanese speakers, with a little patience and thought. You can get Minerva Classics and Raro Video films off of Italian Amazon, and many more! Some directors even sell DVDs on their own websites, like Jon Jost, Ken Jacobs, Frederick Wiseman, Barbara Hammer, and Barney Platts-Mills (and I'm sure many others). Travelling to see films is not an unreasonable thing if you are able. I am happy to travel over 100 miles to see a film that I'm dying to see and can't be seen any other way. If you'd do the same to see the Mona Lisa, why not do it for the film equivalent? Go to a good film festival. All sorts of amazing films play at film festivals and nowhere else, if you complain about the quality of contemporary films, this is the shot in the arm you need! Cannes requires a special effort (you would need press accreditation), however large urban festivals such as London, TIFF, NYFF, are just as good in terms of quality, and will take the cream of the Cannes, Berlin, and Venice crop. All sorts of other amazing niche ones are around such as Pordenone for silents and Oberhausen for shorts. A large majority of the short films mentioned are on Youtube, Vimeo, Google Video, or UbuWeb, don't miss out! Rental/streaming services like Netflix, MUBI, LoveFilm, they're all there for you. Phone a friend for more info on this, but there are also invitation-only websites where members download genuinely unavailable movies, these are a treasure trove. Blind buying. An expensive habit, but can be eye-opening. Making sure you understand your taste is good for blind buying, this means that you will do well more often than not when you buy, get used to knowing what sorts of elements in a film you like, and who is good at recommending them. If you recognise that you've never enjoyed a portmanteau film, don't blind buy one! Local cinemas you don't know about. They are often around, and the folks inside will not bolt the doors and eat your entrails (unless they do). Often they can be a bit grungy and dilapidated, and there's not fifteen different varieties of cokey cola, abbattoir slurry in a bun (hot dogs), and buckets of million percent mark-up popped corn; however these facilities often offer alternatives like absinthe and apple pie (at least mine does), and they show different movies.

Warnings and confusions.

The list can be confusing to mainstream fans (I've no beef with people whose dreams are mirrored by the blockbuster makers, but also not much in common). I often get a response from people who have seen the say 20 mainstream movies on the list (and nothing else), where they just tell me the entire list is rubbish because the movies mentioned aren't much kop by mainstream criteria. I tend to enjoy these movies when they become zany and unabandoned, examples being The Spirit and Bad Boys II. The gradual process where I came to really enjoy movies mostly involved realising that I disagreed strongly with the implied values in mainstream film (promiscuous people generally dying first in horror movies would be an example of an implied value, i.e. promiscuity is bad).

To avoid confusion it's worth pointing out that although I enjoy irony in every day conversation, none of the appreciation of films listed below is ironic. There are five Roger Corman movies on the list, but they're there in earnestness, that particular gentleman was fond of subtext, in my opinion he was a bona fide auteur, and a socially comitted filmmaker.

Miscellaneous notes and typically requested statistics.

**The average IMDb rating of these films at the current time is 7.1/10. The highest is 9.0/10 for The Good, The Bad, and The Ugly, the ones under 5.0/10 are:

Eye of the Beholder (1999 - Stephan Elliott) 4.9/10
The Face of an Angel (2014 - Michael Winterbottom) 4.7/10
Ett Hål i mitt hjärta / A Hole in My Heart (2004 - Lukas Moodysson) 4.6/10
Gas! -Or- It Became Necessary to Destroy the World in Order to Save It. (1970 - Roger Corman) 3.9/10
Adrenalin: Fear the Rush (1996 - Albert Pyun) 3.9/10

Always take the IMDb rating with a pinch of salt!

**Whenever publishing something like this before I always get asked about the director count, so here it is to pre-empt the question. It's slightly spurious in the sense that, with only three films extant (and only one available on dvd), no matter how much I like Sadao Yamanaka's work he can't ever get to the top, whereas, Fritz Lang must eventually triumph with such a large filmography.
3 films: Peter Greenaway, Michaelangelo Antonioni, Dario Argento, Oskar Fischinger, Manoel de Oliveira, Alain Robbe-Grillet, Alex Cox, Jean-Luc Godard, Orson Welles, Pier Paolo Pasolini, Jacques Rivette, Matthew Barney (taking Cremaster 3 and 4 as two separate films), Monte Hellman, and Werner Herzog.
4 films: Fritz Lang, Lewis Klahr and René Laloux.
5 films: Marguerite Duras, Lars von Trier and Roman Polanski.

** There are several films here which are particularly subjective personal choices, the main example is The History of Mr Polly, I've feel a very close personal similarity to the character of Mr Polly. This probably bought the film to life for me a lot more than for another viewer. This is as opposed to Les enfants du Paradis where pretty much anyone is going to associate with at least one of the characters.

** A hopefully diminishing list of films that are on my top 500 but not on IMDb is below. Usually I try and get these films added to IMDb and antnield of criterionforum has also helped with this.

94 Art Herstory (1974 - Hermine Freed)
181 Exit (1971 - Denys Irving & Naomi Zack)
319 Wolkenschatten (2014 - Anja Dornieden & Juan David Gonzålez Monroy)
397 Dach / Roof (1994 - Anja Czioska)
429 Schwebebahn (1995 - Darren Almond)

Please don't be afraid to leave me recommendations if you have any, no-one alive has ever watched more than a fraction of the good stuff!
a list of 12 titles
The World Cinema Paradise is a self-described Oasis of Cinema Scholarship and Reviewing. They did a series of articles on The Best Movies You've Never Heard Of, and I thought I'd gather them together in an IMDb list for posterity.
a list of 151 titles
Not all of the films are described by IMDb as 2009 as many voters were voting for films going by release dates in their own territories, or general release dates as opposed to festival release dates. This IMDb list ignores the mentions of revivals and best dvd releases in the Sight & Sound ballots, excepting Thomas Heise's Material, which seems to have been listed as a revival in order to get another name on the submitter's list (stated reason was "My favourite ‘revival release’ of 2009 is actually a new film, but it took 20 years to become what it is."). The Sight & Sound list also contains En Attendant Godard (William Brown), which according to IMDb wasn't released anywhere in the world until 2010, though we will give Jonathan Rosenbaum the benefit of the doubt and assume he saw it in 2009.

The Ferroni Brigade voted for Contact High and in their description also praised Das Vaterspiel in their blurb about Contact High, "A stoner comedy cum Glawoggerian magnum opus. One of the richest films of the decade, and even more astonishing as the yang to Glawogger’s great yin, Der Vaterspiel (Kill Daddy Good Night)." I have taken the liberty of considering them a pair and given the Ferronis six movies given both were released in 2009.

The Sight & Sound poll for the year 2010 also contained some films listed by IMDb as 2009, and not on this list including:

The Red Riding Trilogy (2009 - Julian Jarrold, James Marsh & Anand Tucker)
1 (2009 - Pater Sparrow)
Amer (2009 - Hélène Cattet & Bruno Forzani)
Compline (2009 - Nathaniel Dorsky)
La bocca del lupo / The Mouth of the Wolf (2009 - Pietro Marcello)
Man on a Motorcycle (2009 - John Maclean)
Tetro (2009 - Francis Ford Coppola)
Down Terrace (2009 - Ben Wheatley)
Panique au village / A Town Called Panic (2009 - Stéphane Aubier, Vincent Patar)
Final Flesh (2009 - Ike Sanders)
The Pickers (2009 - Adam Chodzko)
Wei wen / Condolences (2009 - Liang Ying)
La vie au ranch / Chicks (2009 - Sophie Letourneur)
Gentlemen Broncos (2009 - Jared Hess)
My Son, My Son, What Have Ye Done (2009 - Werner Herzog)
Trash Humpers (2009 - Harmony Korine)
Pouta / Walking Too Fast (2009 - Radim Spacek)
Oil City Confidential (2009 - Julien Temple)
Capitalism: A Love Story (2009 - Michael Moore)
Agora (2009 - Alejandro Amenábar)
The Secret of Kells (2009 - Tomm Moore, Nora Twomey)
Medeni mesec / Honeymoons (2009 - Goran Paskaljevic)
My Queen Karo (2009 - Dorothée Van Den Berghe)
Ajami (2009 - Scandar Copti, Yaron Shani)
Budrus (2009 - Julia Bacha)
Double Tide (2009 - Sharon Lockhart)
Kawasakiho ruze / Kawasaki's Rose (2009 - Jan Hrebejk)
El secreto de sus ojos / The Secret in Their Eyes (2009 - Juan José Campanella)
Shed Your Tears and Walk Away (2009 - Jez Lewis)
Mavro livadi / Black Field (2009 - Vardis Marinakis)
Whatever Works (2009 - Woody Allen)
9:06 (2009 - Igor Sterk)
Voodoo Science Park (2009 - Steve Beard, Victoria Halford)
Napoli, Napoli, Napoli (2009 - Abel Ferrara)
Persécution (2009 - Patrice Chéreau)
Videocracy (2009 - Erik Gandini)
Mother and Child (2009 - Rodrigo García)
Ivul (2009 - Andrew Kotting)
Ruhr (2009 - James Benning)
Alamar (2009 - Pedro González-Rubio)
a list of 36 titles
FIPRESCI is an international association of film critics, they award their own prizes at many of the prestigious film festivals which are generally different picks from the main prize winners. There is an emphasis on humanism in the picks. These were the winners in 2009.
a list of 100 titles
According to me, still lots to see!
a list of 141 titles
Over a few threads (and years!) on the Film General message board on IMDb I asked for examples of "Amerarkana".

What is a film from the body of Amerarkana? It is an arcane American movie, it is the type of movie I grew up watching, catching haphazardly on late night tv, as a 90s British teen.

Below are some typical characteristics of the type of movie in question, it should include many/most of these with the more non-negotiable ones nearer the top:

- released into cinemas (or indeed on TV or straight to video) between 1981 - 2007 (this period is bookmarked by the discovery of the HIV/AIDS pandemic and the last new release on VHS in America, the theory is that the prevalent sex being dangerous element coincided with the former issue, and the releases of this type of film died with its main commercial medium for distribution)
- set entirely in the USA (or partially in Mexico where Mexico is a metaphor, e.g. substitutes for the American unconscious or id)
- not recognisably set in the big coastal cities of America (although New Orleans gets a special permission and the big cities are often a starting point, before the leap into the unknown/primal, "Something Wild" and "The Last Seduction" being examples). This is the most broken rule. Generally if you think the movie has elements of civic purpose, civic pride, civic progress, civic responsibility or even civic destiny, then you're on the wrong track.
- related to the above, elements of "unplacedness", particularly the feeling of having no idea where the movie was set in recollection. Double points if a forensic examination of the movie finds no references to real places on a map.
- atmospheric (ingredients such as darkness, resignation, hopelessness, delinquency)
- sleazy female characters, schizophrenic male characters, drifters (physically or metaphysically). Lives lived on the margins
- an element of crime
- magical real atmosphere (parallel to the oneirism of the classical 40s and 50s noir cycle)
- B-movie, if created by a recognised auteur, generally ignored by critics when talking about their body of work (for example "Fear X" by Nicolas Winding Refn, "In the Cut" by Jane Campion and "Palmetto" by Volker Schlöndorff)
- elements of fatalism
- could be futuristic dystopian, if elements of polemic absent
- (with the above exception) set contemporaneously, that is, not made in 1990 with a story from the 1920s
- perhaps an affluent, discreet, individualist world, elements of traditional power structures absent
- should have been available on VHS, the stereotypical box cover would show at least two of these objects: woman (preferably scantily clad), gun, cigarette, highway, car (sports, red), cactus and/or tumbleweeds, neon sign

Important note: some of these films will have been described as "film soleil", in DK Holm's book of the same name, though by no means all. Amerarkana is intended to include most of those films but be a wider definition. Film Soleil as per Holm includes films not located in the US, such as René Clément's "Plein Soleil".

Thanks to: individual posters who made recommendations are recognised in the comments by each film in the list. Thanks to the unofficial historian of IMDb's Film General board, Perception_de_Ambiguity, for keeping the details of many of the historical threads.
a list of 58 titles
#32 not on IMDb:
Wolkenschatten (2014 - Anja Dornieden & Juan David Gonzålez Monroy)
a list of 51 titles
This list is almost the same as one produced by mcm1071989 here but has the additions of The Indian Runner (Sean Penn) and Sid and Nancy (Alex Cox). I have also specifically pointed out that the movies are from MGM's label. If anyone knows of any others that were on the label please feel free to message me and I will amend the list.

In terms of flavour, MGM over this period of time (the movies are mostly from the 80s and 90s) didn't fund the likes of James Benning, Michael Snow or Hermine Freed. "Avant Garde" here means that they have used this label to publish films at the more whimsical, quirky, expressive and challenging end of the spectrum as regards their catalogue
a list of 164 titles
Sphinx on the Seine by Paul Clipson, K-CoreaINC.K (section a) by Ryan Trecartin and Plato’s Atlantis by Alexander McQueen are not currently listed on IMDb. All three are currently freely available online to view.

The films mentioned here are from the "Editors' Choice" lists, these were mostly top 10s but some naughty people snuck some more in. There were 4 movies in the "20 Best Unreleased Films of 2009" list that weren't in any of the Editors' Choice list, I have appended these at the end of the list.

The individul ballots that made up the "20 Best Films of 2009" and "20 Best Unreleased Films of 2009" were unpublished. All those 40 movies are in this list. They were chosen by "100 North American colleagues" each asked for a top 20.
a list of 100 titles
The first movie in the list The Girl Spy Before Vicksburg is listed as being directed as Sidney Olcott, a man. Jane Gaines who suggested the title wrote, "Although Sidney Olcott is traditionally listed as the sole director, we need to remember that when the film was made, moving picture work was highly collaborative and secreen credits did not yet appear, so advancing Gene Gauntier under the categoy of 'director' of any of her Kalem Company films is intended to challenge asusmptions about early cinema 'job' descriptions.
a list of 100 titles
This was a list published in July 2015 by Little White Lies magazine. It was followed up with a riposte/rejoinder/amplification/complement (whichever takes your fancy) when Sight & Sound published in their October 2015 issue a list of 100 female-directed hidden gems (listed here: S&S 100). The Sight & Sound one has done a considerable amount of archive spelunking and cinematic archaeology compared with this list which is very fresh by comparison, each to their own.

Some of the listings appear a mite nerdish, i.e. iconic but not particularly good movies that you probably didn't know were directed by women. However there is something about the list that is very refreshing, e.g. an entry like Sharon Lockhart's Double Tide, a personal favourite of mine, but as a feature film with just two shots, both of which are static and showing a lady picking clams in an estuary, is not the type of film you would expect to see in a list of 100 great male directed films (although someone like James Benning would cheerfully make a film of this ilk). Similarly Double Agent 73, a sexploitation movie starring Chesty Morgan, would probably not be in a male list, although Radley Metzger would have been fine to make this movie (as cheerfully as James Benning no doubt). The list compilers appear to have broken free from the type of canonical "anchoring" that goes on when you see unisex lists, i.e. back in the 50s movies like Kane and Bicycle Thieves were on top, and it's very hard to move away from that conceptual anchoring of this is what a great movie looks like.

A personal quibble for me is that Josephine Decker's second feature film Thou Wast Mild and Lovely comes off as more accomplished than the rather raw piece Butter On The Latch, listed here. In general I had a bit of a feeling that some of the movies were not necessarily the director's best. It seems disappointing for example to list Penelope Spheeris for Wayne's World when she has made a wonderful socially responsible film like I Don't Know.

It is a Solveig-less list, no Solveig Anspach, no Solveig Nordlund. They have obviously had to leave out many great female directors given only 100 slots (the highest profile filmmakers I can think of who are out of the picture are Naomi Kawase, Camera d'Or and Jury Prize winner at Cannes, Mai Zetterling, Golden Lion winner for short film at Venice with several other Cannes and Venice nominations and Liliana Cavani, 3 wins at Venice).

There is a contemporary bias to the listing, which is I guess fair enough as the magazine itself it very contemporary in its focus and I guess is trying to support living filmmakers. If this were not the case, doubtless you would be seeing Mädchen in Uniform (1931) in the mix. Given that the list is fine with experimental cinema it seems a real gap that Marie Menken doesn't gets a mention.

Everyone has their own take on this subject, and I believe it to be a useful and important list, hence taking the time to cc it on IMDb.
a list of 1,000 titles
Notes: Che is one film on TSPDT, on IMDb it's two, I have only entered the first part here to avoid the confusion of people seeing more than 1000 movies on the list.

Similarly Miguel Gomes' Arabian Nights is one film on TSPDT, on IMDb it's three. I have only entered part one here.

La vallée close (Jean-Claude Rousseau) is listed by IMDb as 1995 but is on the TSPDT as 2000. According to IMDb there was a limited release in 1995 followed by a wider release in France in 2000.
a list of 16 titles
Here is a list of shorts as selected for the FG Film Festival that started in January 2016 (an informal online festival on the Film General forum of IMDb), the idea was to bring together some highlight of the last few years both in the area of experimental/avant-garde shorts and more traditionally narrative shorts. All of the films were publically accessible on the internet (vimeo and youtube mostly) at the time of writing.
a list of 100 titles
Mostly avant-garde short films, with not that many narrative based ones. All under 60 minutes, though a few are a little featurey in flavour! All wondrous and close to my heart. Wolkenschatten (2014 - Anja Dornieden & Juan David Gonzålez Monroy) would have been on the below list as well except that it is not yet listed on IMDb.
a list of 9 titles
Most of the titles are not listed on the IMDb, I am watching these at the moment and I will add the ones I like where possible.

Ones not on IMDb:

Performer/Audience/Mirror (23 min., b&w, 1975) / Dan Graham
Undertone [Excerpt] (9 min., b&w, 1972) / Vito Acconci
Vertical roll (20 min., b&w, 1972) / Joan Jonas
Baldessari sings LeWitt [Excerpt] (4 min., b&w, 1972) / John Baldessari
Exchange (36 min., b&w, 1973) / Robert Morris
Black and white tapes [Excerpt] (7 min., b&w, 1970-75) / Paul McCarthy
Stamping in the studio [Excerpt] (5 min., b&w, 1968) / Bruce Nauman
Double vision (14 min., b&w, 1971) / Peter Campus
Boomerang (10 min., col., 1974) / Richard Serra with Nancy Holt
Island Song (16 min., b&w, 1976) / Charlemagne Palestine
Cycles of 3s and 7s [Excerpt] (3 min., b&w, 1976) / Tony Conrad
The children's tapes (30 min., b&w, 1974) / Terry Fox
Soundings (18 min., col., 1979) / Gary Hill
The red tapes, part II (58 min., b&w, 1976) / Vito Acconci
Art herstory [Excerpt] (15 min., col., 1974) / Hermine Freed
Female sensibility (13 min., col., 1973) / Lynda Benglis
Ama l'uomo tuo (Always love your man) (19 min., b&w, 1975) / Cara DeVito
The Mom tapes [Excerpt] (4 min., b&w and col., 1974-78) / Ilene Segalove
Primal scenes (10 min., b&w, 1980) / Linda Montano
Nun and deviant [Excerpt] (14 min., b&w, 1976) / Nancy Angelo and Candance Compton
Vital statistics of a citizen, simply obtained (39 min., col., 1977) / Martha Rosler
Calligrams [Excerpt] (4 min., b&w, 1970) / Steina and Woody Vasulka
Illuminatin' Sweeney (5 min., col., 1975) [Excerpt] / Skip Sweeney
Video weavings [Excerpt] (4 min., col., 1976) / Stephen Beck
Five-minute romp through the IP (7 min., b&w and col., 1973)
Triangle in front of square in front of circle in front of triangle (2 min., b&w, 1973) / Dan Sandin
Video-taping (3 min., b&w, 1974)
Exquisite corpse (8 min., b&w and col., 1978) / Ernest Gusella
Einstine (5 min., col., 1968) / Eric Siegel
General Motors [Excerpt] (10 min., b&w and col., 1976) / Phil Morton
Crossings and meetings [Excerpt] (4 min., col., 1974) / Ed Emshwiller
Complex wave forms [Excerpt] (4 min., col., 1977) / Ralph Hocking
Pictures of the lost [Excerpt] (8 min., col., 1978) / Barbara Buckner
Video locomotion (Man performing forward hand leap) (5 min., b&w, 1978)
Music on triggering surfaces (3 min., b&w, 1978) / Peer Bode
C-trend [Excerpt] (7 min., col., 1974) / Woody Vasulka
Switch! Monitor! Drift! (4 min., b&w, 1976) / Steina Vasulka
Mayday realtime (10 min., b&w, 1971) / David Cort and Curtis Ratcliff
People's Video Theatre (Women's Liberation March NYC, Gay Pride March NYC, Young Lords occupy Manhattan church, Native American action at Plymouth Rock) [Excerpts] (28 min., b&w, 1970-72) / Elliot Glass and Ken Marsh
Participation [Excerpt] (5 min., b&w, 1969-71) / Steina and Woody Vasulka
First transmission of ACTV [Excerpt] (5 min., b&w, 1972) / George Stoney and Austin Community Television
Jonesboro Storytelling Festival : Kathryn Windham telling ghost stories (The jumbo light) (5 min., b&w, 1974) / Broadside TV
The politics of intimacy [Excerpt] (9 min., b&w, 1974) / Julie Gustafson
Attica interviews [Excerpt] (9 min., b&w, 1971) / Portable Channel
Queen Mother Moore speech at Greenhaven Prison [Excerpt] (18 min., b&w, 1973) / People's Communication Network
The laughing alligator (27 min., col., 1979) / Juan Downey
The eternal frame (22 min., col., 1976) / Ant Farm and T.R. Uthco
Television delivers people (6 min., col., 1973) / Richard Serra and Carlotta Fay Schoolman
The business of local news [Excerpt] (17 min., b&w and col., 1974) / University Community Video, Minneapolis
Proto media primer (15 min., b&w, 1970) / Paul Ryan and Raindance Corporation
About media [Excerpt] (16 min., col., 1977) / Anthony Ramos
Fifty wonderful years (26 min., b&w, 1973) / Optic Nerve
Healthcare : your money or your life (57 min., col., 1977) / Downtown Community Television