Other Screenings at Pratt


Curated by Astria Suparak
@ Pratt Institute, Brooklyn, NY
1998 – 2000

The Pratt Film Series was a weekly program dedicated to showing media work not easily accessible to the public, and to forging ties across art disciplines including performance, music, painting, sculpture, technology, animation, theater, and architecture.

Over three years, work from eighteen countries, spanning nearly the history of cinema (1901 to current works in progress and premieres), have exhibited here. The series also featured guest filmmakers and performers, traveling film and music festivals, and collaborations with other New York City venues. All events were free and open to the public.

The Pratt Film Series began with two events per week (on Sundays and Tuesdays at 9pm) and was later moved to Wednesdays at 8:30pm. I ran the series as an undergraduate student at Pratt.

– Astria Suparak, Pratt Film Series Director & BFA student


Solo screenings, feature films, and guest curated programs by:
Alex Bag, Craig Baldwin, Ariella Ben-Dov for MadCat Women’s International Film Festival (San Francisco), Black Maria Film & Video Festival (Jersey City), Stan Brakhage, Jean Cocteau, Bruce Connor, Jean-Luc Godard, Peter Greenaway, Miranda July & Big Miss Moviola (aka Joanie 4 Jackie), Mauricio Kagel, Braden King and Laura Moya, Jeanne Liotta, Guy Maddin, Chris Marker, Trinh T. Minh-ha, Errol Morris, Matthias Müller, Julie Murray, Dennis Nyback, Luther Price, Yvonne Rainer, Luis Recoder, Joost Rekveld, Martin Scorsese, M.M. Serra and the Filmmaker’s Cooperative, Cindy Sherman, Jan Svankmajer, Jim Trainor, and more

Film and video work by:
Vito Acconci, Chantal Akerman, Phyllis Baldino, Vanessa Beecroft, Emily Breer and Joe Gibbons, Chris Burden, Abigail Child, Ximena Cuevas, Charles and Ray Eames, Thomas Edison, Bradley Eros, Valie Export, Bob Flanagan, Sheree Rose & Kirby Dick,  Hollis Frampton, Gilbert & George, Bette Gordon, Barbara Hammer, Geoffrey Hendricks, Lewis Klahr, Kerry Laitala, Arthur Lipsett, Jason Livingston, Gordon Matta-Clark, Paul McCarthy, Jonas Mekas, Linda Montano, Bruce Nauman, Dennis Oppenheim, Kristin Oppenheim, Orlan, Owen O’Toole/Alte Kinder/Schhmelzdahin,  Ulrike Ottinger, Jenny Perlin, Lisl Ponger, 
Jurgen Reble, Barbara Rubin, Carolee Schneemann, Beverly Semmes, Jack Smith, Greta Snider, Tran Anh Hung, Andy Warhol, and many more

Performances and kinetic sculptures by:
Miranda July, Octant, Joost Rekveld, Barry Schwartz

For a full list of featured events, view the “Pratt Film Series” category on this website.



For a full list of featured events, view the”Pratt Film Series” category on this website.



May 3, 2000

Guest: Multi-media and high-voltage artist BARRY SCHWARTZ

First New York appearance! California-based Schwartz incorporates metal, mechanics, computer-controlled hardware, chemically reactive agents, and high-voltage electricity into his work. Creating an auto-electronic environment, he stands in fountains and waterfalls of non-conductive fluid manipulating various mechanical devices. The components generate an audible atmosphere through various types of audio transducers and amplification. Schwartz will present a live event incorporating his videos, slide projection, live video feeds, dry ice, and live electricity!

April 12, 2000

Lost In Translation: MadCat Women’s International Film Festival (San Francisco, CA)

Presented by Ariella Ben-Dov, Festival Director
These films explore the gap between history and memory, between language and communication. MadCat is committed to showcasing film- and videomakers who challenge the use of sound and image and modes of visual story-telling.

1. Dover Street,  Imelda PRICHERIT, 1999, 16mm, 2 min, USA.

2. Passages, Lisl PONGER, 1996, 16mm, 12 min, Austria.
In this layered meditation on travel and the travelogue, Super 8 and 8mm films made by tourists circa 1940-60 are coupled with a meditative soundtrack as each person recounts memories, revealing travel as a post-colonial journey through space and time.

3. Egypt, Kathrin RESETARITS, 1997, 16mm, 10 min, Austria.
Winner of an award for best soundtrack, Egypt is almost silent. A film about the sign language of deaf-mutes, a language which, like the ancient Egyptian hieroglyphs, links the symbolic terminology of words with the mimetic and analogous representations of graphic gestures.This film is an introduction to an unfamiliar way of experiencing the world, where one sees the sounds without hearing them.

4. Tito Material, Elke GROEN, 1998, 16mm, 6 min, Austria.

5. The Whole History of That, Jenny PERLIN, 1998, 16mm, 17 min, USA.

6. Fever, Paula FROEHLE, 1998, 16mm, 7 min, USA.

7. Leche, Naomi UMAN, 1998, 16mm, 30 min, USA/Mexico.

March 1, 2000

Sonic Outlaws

Craig BALDWIN’s experimental documentary on audio collage, copyright violation, and culture jamming. 1995, 16mm.

Village Voice:

“Pratt Institute: Underground filmmaker Craig Baldwin revels in the aesthetic and political parallels between his found-footage collages and a decade of sampling-driven music.” – Amy Taubin


March 8, 2000

Guest: MIRANDA JULY + Big Miss Moviola (aka Joanie 4 Jackie)

Multi-media performer and video artist July (Portland, OR) will present her new video and selections from BIG MISS MOVIOLA (the movie distribution network for independent lady moviemakers) in her 2nd visit here.

“Nest of Tens” is comprised of four alternating stories which reveal mundane yet personal methods of control derived from intuitive sources. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies.

Village Voice:

“Wednesday Night Film Series at Pratt. Miranda July in person! Filmmaker, performance artist, video producer and distributor, July is a force to be reckoned with. She presents her latest and best film Nest of Tens as well as selections from the new Big Miss Moviola compilation video.” – Amy Taubin

March 29, 2000

Guest: Jim Trainor

Trainor will present his newest film, “The Moschops”.
This is about a prehistorical animal – “Love, Lust and Betrayal on the plains of Permian South Africa.”

Other animated films include: “The Fetishist”, an animated biography of an adolescent serial killer from the 1940’s; “The Bats”, “A vermivorous neotropical phyllostomid of no extant species narrates this story of a life devoted to carnal pleasures and the avoidance of predators, under the guidance of a prescient but ineffectual God”; “The Bat and the Virgin”; and selections from “31 Found-Footage Exercises”- nature footage and 1950’s educational films reedited (to the “Goldberg Variations” of Bach) to reveal their sinister content.

Trainor teaches animation at Pratt’s Media Arts Dept.


February 9, 2000

Guest: Joost Rekveld

Dutch filmmaker and sculptor Rekveld’s only New York appearance in his North American tour, including three premiers.
Joost Rekveld started making abstract films and kinetic installations out of a fascination for the emotive power of moving color. While studying composition of electronic music he was heavily influenced by the approach used by post-serial composers such as Xenakis. This led him to base his work on what he considers the fundamentals of moving-image technology; the way in which it comes to grips with the flux of the world by dividing time in atoms. His most recent work is entirely based on spatial and temporal interferences, making use of very elementary mechanical scanning principles.

1. Film #3, 1994, 16mm, 4 min, silent
A film with pure light, in which the images were created by recording the movements of a tiny lightsource with extremely long exposures, so that it draws traces on the emulsion. The light is part of a simple mechanical system that exhibits chaotic behavior.

2. IFS-Film, 1991-94, 16mm, 3 min, silent
A computerfilm based on visual pixel noise which in theory contains all possible images.

3. VRFLM, 1994, 16mm, 2 min, silent

4. Beat Time, 2000, video-piece, 9 min. North American premiere.
A meditation on sound and fundamentals of moving image.

5. Film #5, 1994, 3 x 16mm, 6 min, silent
A film for 3 projectors and 3 independent screens next to each other. The images were created by shooting moving reflecting forms with widely varying exposure-times. These images were then printed on the film strip in various ways.

6. Installation #19, 1999, live-piece, approx. 20 min, CD soundtrack.
Installation in which images are produced through interference. The interplay between the time lag of our eye and the fast rotation of a pulsating lightsource results in ever fluctuating ornaments.

7. Film #7, 1996, 1e6mm, 32 min, silent.
A film made by stamping paint onto transparent film and using the result of this as a negative. All movements in the film are caused by the interference of the stamped grid patterns and the perforation of the filmmaterial.

Village Voice:

“Film Series at Pratt: Rekveld. His abstract kinetic films, multiple screen projections, and installations have been picking up a buzz on the avant-garde festival circuit. This show includes a decade of work from the 90s plus a brand new year 2000 video.” – Amy Taubin

New York Press:

“Pick: New York Press film critic Ed Halter wants you to know about the abstract films by Dutch artist Joost Rekveld showing at the Pratt Institute Wednesday night. Calling Rekveld ‘a dedicated and truly talented abstract filmmaker like they just don’t make in the States,’ Halter says the young artist’s works are ‘both rigorous theoretical exercises and head-trippy psychoactive excursions.’ The screening also features Rekveld’s kinetic sculptures and the filmmaker will be there in person. So get your player-hating-on-Harmony-Korine asses out to Fort Greene, kids, and see if you can back up your convictions.” – A. Heimlich

February 23, 2000

Black Maria Film & Video Festival – The first New York screening of selected Festival winners

Presented by Alvin Larkins and Astria Suparak.
Since 1980 the BMFVF has honored the creative foresight of Th. Edison who, 100 years ago, along with other pioneers, introduced a potent new, universal mass medium: the motion picture. It is the tradition of lively inquiry, innovation, open artistic exploration, independent vision, and illumination of the human condition which motivates the Festival’s work on behalf of contemporary film and video.

1. Morphology of Desire, Robert Arnold, 5.75 min, 16mm, 1999.
Turgid illustrations from the covers of pulp romance novels typified by Harlequin Romances are digitally morphed into a never-ending dance of unrealized desire.

2. Metronome, Stephanie Barber, 11 min, 16mm, 1998.
Quiet images reveal an achingly hermetic world represented mostly through vintage magazine advertising stills which are cryptically reframed by a deeply melancholy vocal performance.

3. removed, Naomi Uman, 6.5 min, 16mm, 1999.
Operating as a sociopolitical commentary on disempowerment and machismo, ‘removed’ is composed of fragments of a 1970s porn flick which has been altered by the application of nail polish and bleach.

4. Moby Richard, Emily Breer and Joe Gibbons, 6 min, video, 1999.

5. Dormimundo, Ximena Cuevas, 30 min, video, 1999.
A series of biting satirical performances which deconstruct and reframe Latino identity issues, mass culture, and sexual politics.

6. The Two Boys, Jason Livingston, 10 min, video, 1999.


December 8, 1999

Guest: CINE-POVERA: Propositions on film by Luis A. Recoder

Bay Area artist and filmmaker RECODER presents:
A.) Conceptual Films, B.) Process Films, C.) Appropriation Films, D.) Performance Films, E.) Accumulation Films, F.) Ready-Made Films, G.) Films Nouveaux…

Before the curtain unveils the white of the screen our transparency thickens through folds in the fabric. Folding the picture, not unlike the ribbon’s folding onto itself, tightly spooled./Before the end of a reel when surface noise signals the end of a scene, a gaze, a gesture./When two light sources brighten the screen./When sound echo’s the picture, or in a more disturbing encounter, picture echo’s sound./Snags of the apparatus no longer accidental but like so many punctuations rhythming along a temporal register./Cine-Povera: at the limit of cinema’s dream of illusion (illusion of dream), aperture in the screen through which another screen has been erected, bathing our transparency in a different light, subdued and scattered, refracting wildly. /Michel Leiris: “Through this latticework, I would glimpse something flickering, zigzags of lightning inscribed on a screen that was neither night nor day.”

1. 1977 Leader, 1999
2. Pulverulent, 1999, 15-18 min.
3. Variable Density, 1999
4. Bare Strip, 1998
5. Stratum, 1999
6. Moebius Strip, 1998
7. Fulcrum, 1997
8. Pulsus Alternans, 1999


“Wednesday Night FIlm Series at Pratt: Prepositions on Film by Luis Recoder. His bi-packed film projection pieces were the talk of the NYFF’s avant-garde series. He promises several new pieces with live performance elements.” – Amy Taubin

November 17, 1999

Guest: Luther Price

PRICE (Cambridge, Mass.) to present new Super-8 films including a New York Premiere.

“Recently I’ve gone back to my domestic roots and the consumption of flesh. Cancer is taking over my family…In the past year, I’ve lent myself to several short films. They all seem to cling desperately to the moment in the same way. But time is fleeting, tomorrow was yesterday. My past year’s work has been a true work-in-progress, every day another frame.”

1. Meat Situation 04, 1999, 18fps, color, sound, 4 min. (original)
2. Eruption Erection, 19990, 18 fps, color, sound, (original), 9 min.
3. Meat Blue 03, 1999, 18 fps, color, sound, (original), 12 min.
4. run, 1994, 18 fps, color, sound, (print), 15 min.
5. Home, 1999, 18 fps, color, sound on cassette, (original), 13 min.
6. I’ll Cry Tomorrow, 1999, 18 fps, color, sound on cassette first, then switch to sound on film, (original), 12 min.
7. Home Part 2, 1999, 18 fps, color, sound, (original), 7 min.
8. Dead Ringer, 1999, 18 fps, color, sound, (original) (Work in Progress), 6 min.
9. Ritual 629, 1999, 18 fps, color, sound on cassette, (original), 12 min.

Film still from "A Film About A Woman Who..." by Yvonne Rainer

Film still from “A Film About A Woman Who…” by Yvonne Rainer

October 6, 1999

A Film About a Woman Who…

By Yvonne Rainer, 1974, 105 min, 16mm, b/w, USA.
A meditation on ambivalence. Includes music by Philip Corner. This shaped and structured film mirrors the complexities and difficulties with which we attempt to communicate with one another: “It seems to say,” observed one viewer, “that speaking is like walking on volcanic silence.” The film uses interrupted or stylized action and stills, and re-enactments from movies such as Psycho and Pandora’s Box. Film About a Woman Who… is cinematic syntax that isn’t clothed in narrative continuity, but speaks through naked image and text.

September 29, 1999

Mauricio Kagel

Rare films by the Austrian-based experimental composer. Three early comedies on cultural trash by the multimedia composer Kagel, who founded the Cologne Ensemble for New Music (1959), and the Cinematheque Argentine (1950). Kagel’s early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair’s “Entr’acte,” Bunuel’s “Un Chien Andalou” and “L’Age d’or,” Hans Richter’s “Vormittagsspuk” and abstract films, as well as from E.S. Porter’s “The Great Train Robbery” (1903). Kagel’s films are rebelliously “educated” happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it…

1. Antithèse, 1965, 19 min., 16mm.
2. Solo, 1967, 26 min., 16mm.
3. Duo, 1967/68, 41 min., 16mm.

September 8, 1999


By Guy Maddin, 1990, 83 min, 16mm, b/w, Canada.
A film like no other, this weird, wild and extraordinary photoplay form canada’s Guy Maddin is both melodrama and deadpan parody. With striking black and white cinematography and stylized set design, Maddin tells a tale of obsessive love in the arctic Russian town of Archangel. A Canadian flyer, his memory obliterated by mustard gas, mistakes a beautiful nurse for his long-dead love, and the subsequent complications of character and plot are as earnestly daft as the look of the film. A true original, Archangel has to be seen to be believed. “For those interested in the wilder possibilities of what film can do, this is an absolute must.” – The Seattle Times

May 12, 1999

Three by Martin Scorsese

Three rarely seen films from Kino International:

American Boy, 1978, 55 min., 16mm.
An “interview” of Scorsese’s friend Steven Prince, who played the gun dealer in Taxi Driver and road managed Neil Diamond. One of Prince’s anecdotes in the film was later lifted by Quentin Tarantino for Pulp Fiction.

Italian American, 1974, 48 min., 16mm.
Scorsese invites viewers to the home of his parents (who have appeared in Goodfellas, Mean Streets and Raging Bull.

The Big Shave, 1968, 6 min., 16mm.
A musical bloodletting.

"Untitled (Project for The Andy Warhol Museum)" by Alex Bag

Still from “Untitled (Project for The Andy Warhol Museum)” by Alex Bag

May 5, 1999

Alex Bag

Untitled Fall ’95, 1995, 57 min., video.
A satire on the New York City art school experience. Performance/video artist Bag freebases TV. “Her persona emerges as a mix of Johnny Rotten, Kristen McMenamy, and Patti Smith – as something mediated.” Includes an appearance by Bjork.

April 14, 1999

Guest: Dennis Nyback presents “The Effect of Dada & Surrealism on Hollywood Movies of the 1930s”

Film historian/archivist Dennis Nyback presents films from his personal collection.

Featuring W.C. Fields and the Marx Brothers (Dada), Busby Berkeley and Frank Tuttle (Surrealism), Bela Lugosi, Ginger Rogers, Dick Powell, Ruby Keeler. All on 16mm film.

– THE BIG BROADCAST (Paramount 1932): Opening title and credits from.
– INTERNATIONAL HOUSE (Paramount 1933): Excerpt from, W. C. Fields arrives in China.
– DAMES (Warner Brothers 1934): Excerpt from, Busby Berkeley sequence.
– LADY IN THE DARK (Paramount 1944): Excerpt from, Surrealistic interlude.
– EVERYTHING’S RHYTHM (Gaumont British 1937): Excerpt from, Harry Roy performs “Make Some Music.”
– NEVER GIVE A SUCKER AN EVEN BREAK (Paramount 1941): Excerpt from , W. C. Fields fights traffic.
– DAMES (Warner Brothers 1934): Excerpt from, Busby Berkeley sequence.
– DUCK SOUP (MGM 1933): Excerpt from , Battle finale.
– INTERNATIONAL HOUSE (Paramount 1933): Ending scene and credits from.


April 7, 1999

Guest: Jeanne Liotta

Liotta, maker of films and other cultural ephemera, will show and tell classic and contemporary experiments in cinema by herself and others. She taught filmmaking at Pratt last semester.

“Seen and unseen meet in the place between image and emulsion.” – JL

1. The Flamethrowers, a collective film by O’Toole/Alte Kinder/Schhmelzdahin, 1988-90, 9 min.

2. Blue Moon, Jeanne Liotta, Super8, sound, 3 min.

3. garden film, Jurgen Reble, 1993, 16mm blown up from Super8.
Reble documents the exhuming of film from my garden plot, then takes it home and chemically alters it.

4. garden film, Jeanne Liotta, 1999, in-progress, Super8.
What happens when you bury film, or “nature is a sledgehammer.”

5. Trapeze Disrobing Act, Thomas Edison, 1901, 1.20 min.
From the Library of Congress Paper Print Collection.

6. Dervish Machine, Jeanne Liotta/Bradley Eros, 1992, sound, 10 min., 16mm blowup from super8.
Hand-developed meditations on being and movement, as inspired by Gysin’s Dream machine, Sufi mysticism, and early cinema.

7. Retrospectroscope, Kerry Laitala, 1997, 4 min, silent.
Wraith infested spools spark to life. In 1895 Georges Demeny invented the revolving glass disc phonoscope. This apparatus was designed for animating chronophotography and ‘to indulge the curiosity to commit a series of piquant indiscretions.’ Putting a new spin on this paracinematic apparatus, Laitala built a kind of sibling rival to that previous invention, made out of plexiglass transparencies and set in motion-the retrospectroscope.

8. Ceci n’est pas, Jeanne Liotta, 1997, 7 min, silent, 16mm blowup from super8.

9. Flight, Greta Snider, 1996, 5 min, silent. “Flight is my father’s photographic legacy, compiled and transformed into light. I wanted to materialize what spirit ephemera I have remaining from him. His family photographs, his hobbyist pictures of trains and roses, his airplanes, and his obsession with birds circling, this material is shot through his eyes. THe images are imprinted onto the film, like a fingerprint or trace. It’s his movie, really…”

10. Valse Triste, Bruce Conner, 1978, 7 min, sound.

11. What Makes Day and Night, Jeanne Liotta, 1998, 10 min, , sound.

12. Works and Days, Hollis Frampton, 1969, 12 min, silent.


March 17, 1999

“Hot & Heavy: Radical Cinema from the 1960s to the 1990s”

Guest curated by M.M. Serra

A treat from M.M. Serra, Executive Director of the Filmmaker’s Cooperative. All presented on 16mm.

1. Christmas on Earth, Barbara Rubin, 1962, 30 min., 16mmx2, sound on tape. The only existing print!
A double-screen projection of this 1962 “Happening” film originally called “Cocks and Cunts,” it was once projected on the walls of Andy Warhol’s Factory and usually accompanied by the Velvet Underground performing live. “…just what was filmed, uncut, unedited.” – B.R.

2. Dyketactics, Barbara Hammer, 1974, 4 min.
A groundbreaking film: an evocative, sensual montage of erotic lesbian love. The first lesbian lovemaking film to be made by a lesbian filmmaker. Hammer: “I wanted to make a lesbian commercial.”

3. I Was a Male Yvonne De Carlo, Jack Smith, 1968-70s, sound on tape: Newly Released!
Taking its title from one of his live performances, “I Was a Male Yvonne De Carlo for the Lucky Landlord Underground,” staged in the early 1980s, but shot mostly in the late ’60s and edited a decade later. One of his many film that features the filmmaker as a mock-celebrity, clad in a leopard skin bell-bottomed jumpsuit attended by a nurse as he sits among the debris of his duplex loft at Grand and Green streets.

4. Trickfilm, Peggy Ahwesh, 1996, 6 min.
“The Madame spends an evening home with her favorite pet.” – PA. M.M. Serra stars.

5. Covert Action, Abigail Child, 1984, 8 min.
Found-footage film. “This is very elicit stuff, very sexy material on which to speculate. The first speculation is in film terms, re-reading history, how memories are remembered. There is also a fondness for the captured image, the artifact.” -L. Hirshberg, NYU Forum.

6. L’Amour Fou, M.M. Serra, 1992, 20 min.
“A curious meditation on the pleasure and terrors of S&M in which interviews with enthusiasts collide with choice porn clips, Fleischer cartoons, Hans Bellmer poupees and a couple of sphincter-tightening routines. The results are compelling, this film lingers, never once slipping into hype or deadly cool.” – M. Dargis, Village Voice, 1992.

7. Just For You Girls, M.M. Serra, 1997, 2 min.
A Johnson’s Baby Powder ad.

Program text from the Filmmaker’s Cooperative catalogue, Canyon Cinema catalogue, or as relayed over the phone by Serra or Ahwesh.

Village Voice:

“Radical Cinema from the 1960s to the ’90s: Christmas on Earth: Barbara Rubin outdoes both Jack Smith and Andy Warhol in this mother of all underground movies. It’s as powerful and transgressive as the day it was made, nearly 40 years ago.” – Amy Taubin

March 10, 1999

Dutch Harbor

By Braden King and Laura Moya. 1998, 80 min., 16mm.

Beautiful indie documentary on the Alaskan harbor, with a soundtrack by members of Tortoise, Gastr Del Sol, Palace, Dirty Three, 11th Dream Day.



March 3, 1999

Guest: Julie Murray

Murray will present her films as well as work by other filmmakers.

“The films of Julie Murray are astonishing works of subtle insights and great beauty. Deftly combining her own photographed material and a variety of found footage, Murray creates speculative other worlds which resonate with hidden meaning and tentative connections.” – Patrick Friel, Chicago Filmmakers, 1998

1. Powers of 10, Charles and Ray Eames, 1968, 8 min.

2. Freefall, Arthur Lipsett, 1964, 9 min.
Compressed time and wooden elephants in clouds.

3. Otherwise Unexplained Fires, Hollis Frampton, 1977, 14 min.

4. Conscious, Julie Murray, 1993, 10 min.

5. Anathema, Julie Murray, 1995, 7 min.

6. If you stand with Your Back to the Slowing Speed of Light in Water, Julie Murray, 1997, 19 min.
“This film attempts allusions to the influence of water touching water (and other fractal equivalents) upon the ordinary confounding anxiety of complex relations, mannerisms and exchange between the animate and the inert. Combined with loose ascriptions of flaws in the medium itself to subject and content throughout, it aims to illuminate a vital sense innate to perception where inversion is counterbalance, and focal myopia the articulation of space.” – J.M.

7. Micromoth (work-in-progress), Julie Murray, 1999, 4 min.

8. a surprise!

February 10, 1999

Films by Matthias Müller, 1984-91

– Continental Breakfast, 1984-85, 19 min., S8mm.

– Final Cut, 1986, 12 min., S8mm.
Müller uses rephotography, multiscreen reprojection, dying, hand processing.

– Epilogue, 1986-87, 16 min, S8mm.

– The Memo Book (Aus Der Ferne), 1989, 28 min., S8mm.

Home Stories, 1991, 6 min., 16mm, West Germany.

All on 16mm. 75 min. total.

February 3, 1999

Sans Soleil 

By Chris Marker, 1982, 100 min., 16mm, France.

“Travels between Japan, Africa, and Iceland synthesizing sounds and images fluidly.”


December 13+16, 1998

Guy Maddin

1. Odilon Redon or The Eye Like a Strange Balloon Mounts Toward Infinity, 1995, 5 min, 16mm, Canada / UK.
2. Careful, 1992, 100 min, 16mm, Canada.


December 6+9, 1998

Bruce Conner: Films from 1958-1982

Ten Second Film, 1965, 10 sec.
Mongoloid, 1978, 4 min. Music by Devo.
America Is Waiting, 1982, 3.5 min. Music by David Byrne and Brian Eno.
A Movie, 1958, 12 min.
Report, 1963-67, 13 min.
Take the 5:10 to Dreamland, 1977, 5.5 min.
Valse Triste, 1979, 5 min.

All on 16mm.


November 22+24, 1998

The early films of Peter Greenaway

1. Intervals, 1973, 7 min, b&w.
2. Windows, 1974, 4 min, color.
3. H is for House, 1976, 7 min., color.
4. Dear Phone, 1976, 17 min., color.
5. Water Wrackets, 1978, 12 min., color.
6. Vertical Features Remake, 1978, 45 min., color.

All on 16mm.


November 15 + 18, 1998

Stan Brakhage: Films from 1954-1959

1. Desistfilm, 1954, 7 min, b/w, sound
2. The Way to the Shadow Garden, 1954, 10 min, b/w, sound
3. Reflections on Black, 1955, 12 min, b/w, sound
4. The Wonder Ring, 1955, 4 min, color, silent
5. Nightcats, 1956, 8 min, color, silent
6. Loving, 1957, 6 min, color, silent
7. Window Water Baby Moving, 1959, 12 min, color, silent

All on 16mm.



November 3, 1998

Guests: Miranda July + Octant + Big Miss Moviola (aka Joanie 4 Jackie)

Miranda July: Performs live movies with slide projection, video, and music.

Octant: Matt Steinke’s (mocket, satisfact) robotically performed music compositions.

Big Miss Moviola: Selections from the lady movie-makers distribution.


October 18+20, 1998

Chris Burden + “Young & Restless”

Chris Burden: Documentation of Selected Works 1971-74, 1975, 34 min., video.
An influential and controversial figure in the West Coast body art, performance, and Conceptual Art movements, this historical document reveals the major themes of Burden’s work – the psychological experience of danger, pain and physical risk, the aggressive abuse of the body as an art object, and the psychology of the artist/spectator relationship.

Young & Restless
A selection from the exhibition at the MoMA, NY, curated by Stephen Vitiello and co-organized by Barbara London and Sally Berger. Recent performance-based works by women artists. These energetic, often ironic pieces, made between 1993 and 1997, showcased artists who engage in dynamic explorations of female identity.

1. Life Lines, by Tatiana Parcero, 1995, 6 min., silent.
Parcero paints her body from feet to head, tracing the veins and organs that represent the lines of her life, the cells of her memory.

2. Shore, by Linda Post, 1996, 6:15.
A video camera caught in the surf acts as a surrogate performer and witness to unpredictable forces.

3. Sally, by Kristin Oppenheim, 1995, 10 min. (excerpt), b&w.

4. In and Around the Garden, by Beverly Semmes, 1993, 7 min.
Semmes creates a surrealistic series of still-lifes – motionless, timeless scenes filled with Alice in Wonderland-like costumes.

5. Piano Americano, by Vanessa Beecroft, 1996, 10 min. (excerpt), silent.
Beecroft performs at the Deitch Projects gallery, using women models as images.

6. In the Present, by Phyllis Baldino, 1996, 12 min.
Baldino constructs scenes that explore the idea that the brain can grasp only 3-12 seconds as “the present,” unimpeded by memory.


October 4+6, 1998

Guest: Lewis Klahr

Klahr, the master collagist/filmmaker/animator will present two separate programs of his films.

Calendar the Siamese, 1997, 30 min.
Lulu, 1996, 3 min., 16mm.
Her Fragrant Emulsion,1987, 10.5 min., 16mm.
Altair, 1994, 8 min., 16mm.
Downs Are Feminine, 1994, 9 min., 16mm.
Pony Glass, 1997, 14.5 min., 16mm.
Green ’62, 1996, 6 min., 16mm.
The Pharaoh’s Belt, 1993, 43 min., 16mm.
Whirligigs in the Late Afternoon, 1995, 16mm.


September 13+15, 1998

Scenes from the life of Andy Warhol

Scenes from the life of Andy Warhol by Jonas Mekas, 1965-1982, 38 min., 16mm.
Velvet Underground and Nico’s first public performance. The Factory, George Maciunas’ dumpling party. Cast includes Lou Reed, Edie Sedgwick, Allen Ginsberg, John Lennon, Yoko Ono, Paul Morrissey, Peter Beard, Caroline Kennedy, Mick Jagger, Barbara Rubin.

Restaurant by Andy Warhol, 1965, 35 min., 16mm.
Starring Edie Sedgwick and Ondine as her bodyguard.

September 6+8, 1998

Conspirators of Pleasure

By Jan Svankmajer, 1996, 85 min, Czech Republic / Switzerland / UK.

“Spiklenci slasti.” A live action surrealist sex comedy from the great Czech filmmaker who credits Freud, de Sade, Luis Bunuel, and Max Ernst.


May 3, 5, 10, 12, 1998


An international survey of contemporary video and performance artists whose works test the physical, mental, and spiritual endurance of the body. Series programmed by Video Data Bank.

Revolving Upside Down, Bruce Nauman, 1968, 10 min. excerpt of 60 min., b/w
Waterways: 4 Saliva Studies, Vito Acconci, 1971, 22:24, b/w
The Singing Sculpture a film by Philip Haas, Gilbert & George, 1968/88, 23:00
Material Interchange and Nail Sharpening, Dennis Oppenheim, 1970, 6 min.
Body/Hair, Geoffrey Hendricks, 1971, 10 min (edited excerpts)
Public Parks 1-3, Bonnie Sherk, 1970-71, 14 min. excerpt
Up to and Including Her Limits, Carolee Schneemann, 1973-76, 10 min. excerpt
Black & White Tapes, Paul McCarthy, 1970-75, 33 min.
San Francisco Walk, Kim Jones, 1979, 6 min. excerpt
Mitchell’s Death, Linda Montano, 1978, 22 min., b/w
Becoming Bald; Full Jar, Empty Jar; The Perpetual Napkin, Barbara Smith, 1974-84, total time 4:09
Clock Shower, Gordon Matta-Clark, 1976, 13:50, silent
Punch, 1992, 10 sec.; Marks, 1984, 13:23. Skip Arnold
AxVapor, Sherman Fleming, 1989, 10 min.
Autopsy, Bob Flanagan, Sheree Rose & Kirby Dick, 1994, 15:40
Seven Years of Living Art, Linda Montano, 1994, 13:13
Operation Reussie (Successful Operation), Orlan, 1994, 8 min.


March 8+10, 1998

Seven Women, Seven Sins

An omnibus project by seven of the most respected, award-winning women directors from around the world.
1986. 109 min. France / Austria / Belgium / USA / West Germany.

Anger, Maxi Cohen
Maxi put an ad in the Village Voice looking for angry people to interview. Among others: a four time murderer who had never been caught, a Wall Street sadist, a cop framed by the police department, a hermaphrodite angry at herself for choosing to become a woman.

Sloth, Chantal Akerman
Godard-ian in its intellectual, personal point of view.

Lust, Valie Export
rock video style, about sex and consumerism.

Envy, Laurence Gavron
a jealous opera lover assumes the identity of his hero.

Pride, Ulrike Ottinger
Avant-garde play juxtaposed with archival footage.

Gluttony, Helke Sander: Studio-bound cartoon style.

Greed, Bette Gordon
“Twilight Zone” in a bathroom in the Palladium.



Curator Astria Suparak rounded out the week with Wednesday avant-garde film screenings at Pratt, spun with a superlative curatorial taste that combined a savvy political consciousness and sexy indie-rock-style showmanship without ever losing crucial nerd cred.
– Ed Halter


With skyrocketing film prices all over the city, we are more and more fortunate to have Pratt Filmz here on campus. Run by Astria Suparak, this free in-house film festival is the recipient of last year’s Campus Cultural award…

She hosted a particularly memorable Erotica week… This semester the Filmz focus will be international films and performance work. Pratt Filmz will run, as usual, Sunday and Tuesday nights at 9pm, with a new film each week… Five countries already in the lineup this season. In additional to the international focus, Suparak is planning several performance art documentations, and corresponding live performances by these artists… Each week at Pratt Filmz, Suparak posts a list of film events in the city. The list is comprehensive and well researched…” – 1998, Vol. 67, No.1