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GENRE Documentaries (work in progress) Movies (work in progress) Video Art / Misc (work in progress) DOCUMENTARIES The Revolution Will Not be Televised The Revolution Will Not Be Televised (a.k.a. Chavez: Inside the Coup) is a 2002 documentary about the April 2002 Venezuelan coup attempt which briefly deposed Venezuelan President Hugo Chávez. A television crew from Ireland's national broadcaster, RTÉ happened to be recording a documentary about Chávez during the events of April 11, 2002. Shifting focus, they followed the events as they occurred. During their filming, the crew recorded images of the events that they say contradict explanations given by Chávez's opposition, the private media, the US State Department, and then White House Press Secretary Ari Fleischer. The documentary says that the coup was the result of a conspiracy between various old guard and anti-Chávez factions within Venezuela and the United States. Francis Bacon: The South Bank Show Part of The South Bank Show series, David Hinton directs this BBC documentary about British painter Francis Bacon, known for his horrifying portraits of humanity. The program consists of a series of conversations between Bacon and interviewer Melvyn Bragg, starting with commentary during a side-show presentation at the Tate Gallery in London. Later in the evening, Bacon is followed through various bars hanging out, drinking, and gambling. In another segment, Bacon provides a tour of his painting studio and a glimpse at his reference photographs of distorted humans. The artist discusses his theories, influences, and obsessions. This title won an International Emmy Award in 1985. ~ Andrea LeVasseur, All Movie Guide Gilbert and George: No Surrender, 8th May 2007 "All the hidden remarks - 'the curiously besuited couple', 'the tedious twosome' - that's all coded language for 'I'd prefer not to have two poofs exhibiting in this gallery'," Gilbert and George declare over tea with Alan Yentob in their favourite East End café. Their Major Exhibition, at Tate Modern this year, was largely heralded as a must-see. But even though they're the first British artists to have a retrospective at the gallery, Britain's original bad boys of art still see themselves as outsiders. Attacked by the British press they dream of friendly headlines. "We tell more of what we are in our pictures than any other artist living. They always want to say 'where do you stand?' And what would they like to hear? We love the Labour party, we hate Tony Blair, we hate Bush, we think we should get the troops out, we're vegans, we don't like furs, we're not very good in bed, we read Penguin books, we love dinner parties in Hampstead... What do you say to please them? We never were normal, we were always Normal Weird." In Gilbert and George: No Surrender, Alan Yentob is invited into the house where the couple have lived for four decades, taken to their hat-makers to collect Gilbert's specially made beaver hat, and is given an intimate view of their relationship with their work. John Baldessari: Some Stories (1990) Documentary directed by Peter Kirby Presented without commentary, this film reveals the thinking behind his work and provides clues to the understanding of the artist's paintings, photographic work and books. What emerges is a portrait of a thoughtful, quietly rebellious artist who has influenced a large number of younger artists over the last 20 years. 1990, 28 mins. Sociology is a Martial Art A critically acclaimed 2001 documentary about the French sociologist and public intellectual, Pierre Bourdieu. Night and Fog One of the most vivid depictions of the horrors of Nazi Concentration Camps. Filmed in 1955 at several concentration camps in Poland, the film combines new color and black and white footage with black and white newsreels, footage shot by the victorious allies, and stills, to tell the story not only of the camps, but to portray the horror of man's brutal inhumanity. Directed by Alain Resnais. Night Mail Night Mail is a 1936 documentary film about a London, Midland and Scottish Railway (LMS) mail train from London to Scotland, produced by the GPO Film Unit. A poem by English poet W. H. Auden was specially written for it, used in the closing few minutes, as was music by Benjamin Britten. (The two men also collaborated on a rail-documentary on the line from London to Portsmouth, The Way to the Sea, also in 1936.) The film was directed by Harry Watt and Basil Wright, and narrated by John Grierson and Stuart Legg. The Brazilian filmmaker Alberto Cavalcanti was the sound director. It starred Royal Scot 6115 Scots Guardsman. As recited in the film, the poem's rhythm imitates that of the train's wheels as they clatter over the track sections, beginning slowly but picking up speed so that by the time the narration reaches the penultimate verse the narrator is speaking at a breathless pace. As the train slows toward its destination the final verse is taken at a more sedate pace. The famous opening lines of the poem are "This is the Night Mail crossing the border / Bringing the cheque and the postal order". The poem however remains under copyright. Such is the iconic status of the film, that it was used as inspiration for a famous British Rail advertisement of the 1980s, known as the "concerto ad". Nanook of the North Nanook of the North: A Story Of Life and Love In the Actual Arctic (1922) is a silent documentary film by Robert J. Flaherty. In the tradition of what would later be called salvage ethnography, Flaherty captured the struggles of the Inuk Nanook and his family in the Canadian arctic. The film is considered the first feature-length documentary, though Flaherty has been criticized for staging several sequences and thereby distorting the reality of his subjects' lives. In 1989, this film was one of the first 25 films to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Man of Aran Man of Aran (1934) is a documentary film by Robert J. Flaherty, a fictional documentary on life on the Aran Islands off the western coast of Ireland. It portrays characters who live in premodern conditions and their hardships, documenting their daily routines such as fishing off high cliffs, farming potatoes where there is little soil, and hunting for huge basking sharks to win their liver oil for lamps. Some situations are fabricated, such as one scene in which the shark fishermen are almost lost at sea in a sudden gale. Additionally, the family members shown are not actually related, having been chosen from among the islanders for their photogenic qualities. A documentary (1977) about the making of the documentary, which is included in the special features of the DVD, relates that the Aran Islanders had not hunted sharks in this way for over fifty years at the time the film was made. Man of Aran shows us Flaherty's re-creation of culture on the edges of modern society, even though much of the primitive life depicted had been left behind by the 1930s. It is impressive, however, for its drama, for its spectacular cinematography of landscape and seascape, and for its concise editing. The Trap, Part 1: F**k You Buddy The Trap: What Happened to Our Dream of Freedom is a BBC documentary series by English filmmaker Adam Curtis, well known for other documentaries including The Century of the Self and The Power of Nightmares. It began airing in the United Kingdom on BBC Two on 11 March 2007. The series consists of three one-hour programmes which explore the concept and definition of freedom, specifically, "how a simplistic model of human beings as self-seeking, almost robotic, creatures led to today's idea of freedom." The Trap, Part 2: The Lonely Robot The Trap: What Happened to Our Dream of Freedom is a BBC documentary series by English filmmaker Adam Curtis, well known for other documentaries including The Century of the Self and The Power of Nightmares. It began airing in the United Kingdom on BBC Two on 11 March 2007. The series consists of three one-hour programmes which explore the concept and definition of freedom, specifically, "how a simplistic model of human beings as self-seeking, almost robotic, creatures led to today's idea of freedom." The Trap, Part 3: We Will Force You to be Free The Trap: What Happened to Our Dream of Freedom is a BBC documentary series by English filmmaker Adam Curtis, well known for other documentaries including The Century of the Self and The Power of Nightmares. It began airing in the United Kingdom on BBC Two on 11 March 2007. The series consists of three one-hour programmes which explore the concept and definition of freedom, specifically, "how a simplistic model of human beings as self-seeking, almost robotic, creatures led to today's idea of freedom." The Power of Nightmares - Part 1: Baby It's Cold Outside The Power of Nightmares, subtitled The Rise of the Politics of Fear, is a BBC documentary film series, written and produced by Adam Curtis. Its three one-hour parts consist mostly of a montage of archive footage with Curtis's narration. The series was first broadcast in the United Kingdom in late 2004 and has subsequently been broadcast in multiple countries and shown in several film festivals, including the 2005 Cannes Film Festival. The films compare the rise of the Neo-Conservative movement in the United States and the radical Islamist movement, making comparisons on their origins and claiming similarities between the two. More controversially, it argues that the threat of radical Islamism as a massive, sinister organised force of destruction, specifically in the form of al-Qaeda, is a myth perpetrated by politicians in many countries—and particularly American Neo-Conservatives—in an attempt to unite and inspire their people following the failure of earlier, more utopian ideologies. The Power of Nightmares has been praised by film critics in both Britain and the United States. Its message and content have also been the subject of various critiques and criticisms from conservatives and progressives. The Power of Nightmares - Part 2: The Phantom Victory The Power of Nightmares, subtitled The Rise of the Politics of Fear, is a BBC documentary film series, written and produced by Adam Curtis. Its three one-hour parts consist mostly of a montage of archive footage with Curtis's narration. The series was first broadcast in the United Kingdom in late 2004 and has subsequently been broadcast in multiple countries and shown in several film festivals, including the 2005 Cannes Film Festival. The films compare the rise of the Neo-Conservative movement in the United States and the radical Islamist movement, making comparisons on their origins and claiming similarities between the two. More controversially, it argues that the threat of radical Islamism as a massive, sinister organised force of destruction, specifically in the form of al-Qaeda, is a myth perpetrated by politicians in many countries—and particularly American Neo-Conservatives—in an attempt to unite and inspire their people following the failure of earlier, more utopian ideologies. The Power of Nightmares has been praised by film critics in both Britain and the United States. Its message and content have also been the subject of various critiques and criticisms from conservatives and progressives. The Power of Nightmares - Part 3: The Shadows in the Cave The Power of Nightmares, subtitled The Rise of the Politics of Fear, is a BBC documentary film series, written and produced by Adam Curtis. Its three one-hour parts consist mostly of a montage of archive footage with Curtis's narration. The series was first broadcast in the United Kingdom in late 2004 and has subsequently been broadcast in multiple countries and shown in several film festivals, including the 2005 Cannes Film Festival. The films compare the rise of the Neo-Conservative movement in the United States and the radical Islamist movement, making comparisons on their origins and claiming similarities between the two. More controversially, it argues that the threat of radical Islamism as a massive, sinister organised force of destruction, specifically in the form of al-Qaeda, is a myth perpetrated by politicians in many countries—and particularly American Neo-Conservatives—in an attempt to unite and inspire their people following the failure of earlier, more utopian ideologies. The Power of Nightmares has been praised by film critics in both Britain and the United States. Its message and content have also been the subject of various critiques and criticisms from conservatives and progressives. Elusive Peace: Israel and the Arabs A three part documentary series that examines the last six years (up to 2005) of the Arab-Israeli peace process from the point of view of presidents and prime ministers, their generals and ministers and those behind the suicide bombs and assassinations. The series reveals what happened behind closed doors as the peace process failed and the violence of the intifada exploded. Jeu d'échecs avec Marcel Duchamp (1963) This film records an in-depth interview with Duchamp which took place five years before his death, at the time of his first ever one-man show (at the Pasadena Art Museum). It records for posterity Duchamp talking about his life, his ideas on art, why he chose to continue living in America after fleeing France in 1915, and why he virtually abandoned his work as an artist in 1923. An engaging dialogue takes place between Duchamp and film-maker Jean-Marie Drot as they go around the Pasadena show, with the artist commenting on the exhibits and using them to explain the various stages of the development of his work. This is punctuated by the games of chess, which were for Duchamp a passion and a metaphor for the mental discipline he applied to his art. In this film we gain a rare glimpse of him talking with humour and insight about his ideas, and living up to the myth of the artist-philosopher that has grown up around him. Jeu d'échecs avec Marcel Duchamp was filmed late 1963 in Pasadena and New York for the Radio Télévision Franaise (RTF); first broadcast on 8 June 1964 and then shown at the International Festival of Artistic Films and Films of Art (Bergamo, 19 September 1964). The English version was presented in a television broadcast in September 1964 in the 'Art and Man' Series. "The goal of chess is to mate. We can thus see this picture as the record of a tableau vivant of a word play. Since Freud, vulgar theorists have held that chess and art, to pick two examples, are sublimations of sex. Given Duchamp's attitude towards wordplay versus theory, it is better to see his life long interest in chess and eroticism as a sublimation of this picture's wordplay! Given that the double meaning of "mate" does not exist in French, at last we have a satisfactory explanation of why Duchamp had to emigrate to America. In other words: in the beginning was the word; in the center the pun." From: A Pun Among Friends by Steven B. Gerrard Dial H-I-S-T-O-R-Y "Dial H-I-S-T-O-R-Y", the acclaimed hijacking documentary that eerily foreshadowed 9-11. We meet the romantic skyjackers who fought their revolutions and won airtime on the passenger planes of the 1960's and 1970's. By the 1990's, such characters were apparently no more, replaced on our TV screens by stories of anonymous bombs in suitcases. Director Johan Grimonprez investigates the politics behind this change, at the same time unwrapping our own complicity in the urge for ultimate disaster. Playing on Don DeLillo's riff in his novel Mao II: "what terrorists gain, novelists lose" and "home is a failed idea", he blends archival footage of hijackings with surreal and banal themes, including fast food, pet statistics, disco, and his quirky home movies. David Shea composed the superb soundtrack to this free fall through history, best described in the words of one hijacked Pepsi executive as "running the gamut of many emotions, from surprise to shock to fear, to joy, to laughter, and then again, fear." "Dial H-I-S-T-O-R-Y" is a video film structured in a single 68-minute projection installation. The guiding visual thread of the piece is the almost exhaustive chronology of airplane highjackings in the world. The soundtrack is constituted of a fictive narrative inspired by two Don DeLillo novels-"White Noise" and "Mao II"-which, for Grimonprez, "highlight the value of the spectacular in our catastrophe culture." (...) "Dial H-I-S-T-O-R-Y" blends photographic, electronic, and digital images, interspersing reportage shots, clips from science fiction films, found footage, and reconstituted scenes filmed by the artist. The work denounces the media spectacle and seeks to detect the impact of images on our feelings, our knowledge, our memory. This film may only be shown for educational and non-commercial purposes. Terror! Robespierre and the French Revolution The watchwords of the French Revolution were liberty, equality and fraternity. Maximilien Robespierre believed in them passionately. He was an idealist and a lover of humanity. But during the 365 days that Robespierre sat on the Committee of Public Safety the French Republic descended into a bloodbath. 'The Terror' only came to end when Robespierre himself was devoured by the repressive machinery he'd created. This drama-documentary tells the story of the Terror and looks at how Robespierre's revolutionary idealism so quickly became an excuse for tyranny and why a lover of liberty was so keen to use the guillotine. Simon Schama and Slavoj Zizek are among the contributors. (from BBC.com) Gursky World In the first programme of a major new arts strand, Ben Lewis's amusing odyssey delves into the world of the planet's most influential photographer, Andreas Gursky. Trying to find out what makes Gursky tick, Lewis's bizarre journey takes him on an adventure from Reading to Dusseldorf. When he meets finally his hero, he gains a fuller understanding of what it means to live in a 'Gursky World'. Terror's Advocate "Terror's Advocate" (L'Avocat de la terreur) is a 2007 French documentary film about Jacques Vergès. Part 1 Part 2 Religulous "Religulous" is a 2008 American comedy/documentary film written by and starring political comedian Bill Maher and directed by Larry Charles. According to Maher, the title of the film is a portmanteau derived from the words "religion" and "ridiculous"; the documentary examines and satirizes organized religion and religious belief. Iran and the West "Iran and the West" is a three part British documentary series shown in February 2009 on BBC Two to mark the 30th anniversary of the 1979 Iranian Revolution. The first episode was shown at 9:00pm on Saturday 7 February with parts two and three shown on consecutive Saturdays. The documentary looks at the relationship between Iran and the countries of the west and features interviews with politicians who have played significant roles in events involving Iran, Europe and the United States since 1979. The series is produced by Norma Percy, whose previous series include The Death of Yugoslavia and Israel and the Arabs: Elusive Peace. The Death of Yugoslavia "The Death of Yugoslavia" (Serbo-Croatian and Slovenian: Smrt Jugoslavije, Macedonian: Смртта на Југославија, Smrtta na Jugoslavija) is a BBC documentary series first broadcast in 1995, and is also the name of a book written by Allan Little and Laura Silber that accompanies the series. It covers the collapse of the former Yugoslavia. It is notable in its combination of never-before-seen archive footage interspersed with interviews of most of the main players in the conflict, including Slobodan Milošević, then President of Serbia. This format, pioneered by the programme's production company, Brian Lapping Associates, was very influential and the company produced many others in similar style. Passages from James Joyce's "Finnegans Wake" (1965-7) Passages from James Joyce's Finnegans Wake Directed by Mary Ellen Bute Screenplay by Mary Manning Cinematography by Ted Nemeth Music by Elliot Kaplan Cast (in alphabetical order) Ray Flanagan . . .Young Shem Peter Haskell . . . Shem Page Johnson . . . Shaun Martin J. Kelley . . . Finnegan Jane Reilly . . . Anna Livia There are currently no copies of this film availabe on VHS or DVD; but a 16 mm print is available for museums, universities, and Joycean institutions. Contact Mrs. Cecile Starr at (802) 863-6904; rental is $180. A half-forgotten, half-legendary pioneer in American abstract and animated filmmaking, Mary Ellen Bute, late in her career as an artist, created this adaptation of James Joyce, her only feature. In the transformation from Joyce's polyglot prose to the necessarily concrete imagery of actors and sets, Passages discovers a truly oneiric film style, a weirdly post-New Wave rediscovery of Surrealism, and in her panoply of allusion - 1950s dance crazes, atomic weaponry, ICBMs, and television all make appearances - she finds a cinematic approximation of the novel's nearly impenetrable vertically compressed structure. With Passages from Finnegans Wake Bute was the first to adapt a work of James Joyce to film and was honored for this project at the Cannes Film Festival in 1965 as best debut. The Wind That Shakes the Barley The Wind That Shakes the Barley is a 2006 Ken Loach film set during the Irish War of Independence (1919–1921) and the Irish Civil War (1922–1923). Written by long-time Loach collaborator Paul Laverty, this drama tells the story of two County Cork brothers, played by Cillian Murphy and Pádraic Delaney, who join the Irish Republican Army to fight for Irish independence from the British Empire. It takes its title from the song "The Wind That Shakes the Barley". Widely praised, the film won the Palme d'Or at the 2006 Cannes Film Festival. Loach's biggest box office success to date, the film did well around the world and set a record in Ireland as the highest-grossing Irish-made independent film ever. Hunger Hunger is a 2008 film about the 1981 Irish hunger strike. It is written by Enda Walsh and Steve McQueen, who also directed. It was made by Blast! Films and commissioned by Channel 4 and Film4. It premiered at the 2008 Cannes Film Festival, winning the prestigious Caméra d'Or award for first-time filmmakers. It went on to win the Sydney Film Prize at the Sydney Film Festival, best picture by the Evening Standard British Film Awards, and received 2 BAFTA nominations, winning one. The film was also nominated for 8 awards at the 2009 IFTA's winning 6 at the event. Peter Greenaway & Tom Phillips: A TV Dante This ambitious program, produced by the award-winning film director Peter Greenaway and internationally-known artist Tom Phillips, brings to life the first eight cantos of Dante's Inferno. Featuring a cast that includes Sir John Gielgud as Virgil, the cantos are not conventionally dramatized. Instead, the feeling of Dante's poem is conveyed through juxtaposed imagery that conjures up a contemporary vision of hell, and its meaning is deciphered by eminent scholars in visual sidebars who interpret Dante's metaphors and symbolism. This program makes Dante accessible to the MTV generation. Caution to viewers: program contains nudity. (8 segments, 11 minutes each) Berlin: Symphony of a Great City Berlin: Symphony of a Great City (German: Berlin: Die Sinfonie der Großstadt), alternatively translated as Berlin: Symphony of a Metropolis, a 1927 German silent film directed by Walter Ruttmann, and co-written by Carl Mayer and Karl Freund, is a prominent example of the city symphony genre. A musical score to accompany the film was written by Edmund Meisel. As a "city symphony" film, it portrays the life of a city, mainly through visual impressions in a semi-documentary style, without the narrative content of more mainstream films, though the sequencing of events can imply a kind of "narrative" of the city's daily life. The film displays the filmmaker's knowledge of Soviet montage theory. Ruttmann's own description of the film suggests that his motives were predominantly aesthetic: "Since I began in the cinema, I had the idea of making something out of life, of creating a symphonic film out of the millions of energies that comprise the life of a big city." Ivan the Terrible Ivan The Terrible (written Иван Грозный in Russian, pronounced Ivan Groznyy) is a two-part historical epic film about Ivan IV of Russia made by Russian director Sergei Eisenstein. Part 1 was released in 1944 but Part 2 was not released until 1958 due to political censorship. The films were originally planned as part of a trilogy, but Eisenstein died before filming of the third part could be finished. During World War II, with the German army approaching Moscow, Eisenstein was one of many Moscow-based filmmakers who were evacuated to Almaty, in the Kazakh SSR. There, Eisenstein first considered the idea of making a film about Tsar Ivan IV, aka Ivan the Terrible, whom Joseph Stalin admired, seeing him as the same kind of brilliant, decisive, successful leader that Stalin aspired to be. The first film, Ivan The Terrible, Part I, was filmed between 1942 and 1944 and released at the end of that year. The film presented Ivan as a national hero, and won Joseph Stalin's approval (and even a Stalin Prize). The second film, Ivan The Terrible, Part II: The Boyars' Plot, finished filming at Mosfilm in 1946. However, it was not approved by the government, because it depicted Ivan as less of a hero and more of a man divided between the necessity to impose his will to save Russia by committing murders, and his human nature. Stalin did not appreciate the many parallels between him and Ivan. The film was banned, and did not get its first screening until 1958, five years after his death. The third part, which began filming in 1946, was not completed, as Eisenstein died in 1948. After his death, all footage from the film was confiscated, and most of it destroyed (though several filmed scenes still exist today). The score for the films was composed by Sergei Prokofiev. The entire production was shot in Kazakhstan at Mosfilm's substantial production facility in Almaty. Though almost all the film was shot in black and white, one color sequence appears in the second part, making this one of the earliest color films made in the Soviet Union. Part I Part II Salt of the Earth Salt of the Earth (1954) is an American drama film written by Michael Wilson, directed by Herbert J. Biberman (husband of Academy Award-winning actress Gale Sondergaard), and produced by Paul Jarrico. All had been blacklisted by the Hollywood establishment due to their involvement in socialist politics. The movie became a historical phenomenon and has a cult following due to how the United States establishment (politicians, journalists, studio executives, and other trade unions) dealt with the film. Salt of the Earth is one of the first pictures to advance the feminist social and political point of view. The film centers on a long and difficult strike led by Mexican-American and Anglo miners against the Empire Zinc Company. The film shows how the miners, the company, and the police react during the strike. In neorealist style the producers and director used actual miners and their families as actors in the film. The Battle of Algiers The Battle of Algiers (Italian: La battaglia di Algeri) is a war film released in 1966. It is based on occurrences during the Algerian War (1954–62) against French colonial rule in North Africa. It was directed by Gillo Pontecorvo. Triumph des Willens The Triumph of the Will (German: Triumph des Willens) is a propaganda film made by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congress in Nuremberg. The film contains excerpts from speeches given by various Nazi leaders at the Congress, including portions of speeches by Adolf Hitler, interspersed with footage of massed party members. Hitler commissioned the film and served as an unofficial executive producer; his name appears in the opening titles. The overriding theme of the film is the return of Germany as a great power, with Hitler as the True German Leader who will bring glory to the nation. Triumph of the Will was released in 1935 and rapidly became one of the best-known examples of propaganda in film history. Riefenstahl's techniques, such as moving cameras, the use of telephoto lenses to create a distorted perspective, aerial photography, and revolutionary approach to the use of music and cinematography, have earned Triumph recognition as one of the greatest films in history. Riefenstahl won several awards, not only in Germany but also in the United States, France, Sweden, and other countries. The film was popular in the Third Reich and elsewhere, and has continued to influence movies, documentaries, and commercials to this day. Olympia Olympia is a 1938 film by Leni Riefenstahl documenting the 1936 Summer Olympics, held in the Olympic Stadium in Berlin. The movie was produced in two parts: Olympia 1. Teil — Fest der Völker (Festival of the People) and Olympia 2. Teil — Fest der Schönheit (Festival of Beauty). It was the first documentary film on the Olympic Games ever made. Many advanced motion picture techniques, which later became industry standards but which were groundbreaking at the time, were employed, including unusual camera angles, smash cuts, extreme close-ups, setting the railway tracks on the stadium to shoot the crowd and the like. The techniques employed are almost universally admired, but the film is controversial due to its political content. Nevertheless, the film appears on many lists of the greatest films of all-time, including Time magazine's "All-Time 100 Movies." There has been much discussion of whether this film should be classified as a Nazi propaganda film like her earlier Triumph of the Will. While the entire 1936 Olympics has been derided as the "Hitler Olympics" and was unquestionably designed primarily to showcase the accomplishments of the Third Reich, and to this extent any film accurately documenting the proceedings would come off as something of a propaganda film, Riefenstahl's defenders have pointed to her close-up shot of the expression on Hitler's face when Jesse Owens, an African-American, won a gold medal, as showing a tacit dissent from Nazi racial supremacy doctrines. Other non-Aryan winners are featured as well. Noted American film critic Richard Corliss observed in Time that "The matter of Riefenstahl 'the Nazi director' is worth raising so it can be dismissed. [I]n the hallucinatory documentary Triumph of the Will... [she] painted Adolf Hitler as a Wagnerian deity... But that was in 1934–35. In [Olympia] Riefenstahl gave the same heroic treatment to Jesse Owens..." Olympia set the precedent for future films documenting and glorifying the Olympic Games, particularly the Summer Games. The "Olympic Torch Run", now revered as a seemingly-ancient tradition, was devised by Riefenstahl for these games and this film in conjunction with the German sports official Dr. Carl Diem. Riefenstahl herself, uncredited, appears briefly in the prologue of the film as the nude dancer. Beckett On Film: Act Without Words I Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Written in French in 1956, Act Without Words I is a mime, as the title suggests. A man sits in a desert and struggles to reach a flask of water and other objects, which remain stubbornly out of reach. Yet despite his continual disappointment, he does not give up. There is no escape from the playing area – he is 'immediately flung back' when he attempts to enter the wings. Beckett On Film: Act Without Words II Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Written in French in 1956, Act Without Words II is a 10-minute mime involving two players, 'A' and 'B', who are in two large sacks on the stage. Beckett specified 'violent' lighting and extended the notion by having the players prodded into action by a 'goad'. A is 'slow, awkward and absent' whereas B is 'brisk, rapid, precise'. A emerges slowly to set about his banal routine. Dishevelled and sulky, he eventually undresses and re-enters the sack. At this point, the goad prods B into action. He embarks on a more complicated routine, checking his watch and moving briskly to relocate the sacks on the stage before retiring back to his own sack. The goad, now on two wheels, awakens A and the cycle continues. Beckett On Film: Breath Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Breath was written in 1969 in response to Kenneth Tynan's request for a piece for his show Oh, Calcutta, which featured a series of risqué sketches. It lasts less than a minute. On a set full of rubbish, a person cries out, then breathes in again. 'Faint brief cry and immediately inspiration and slow increase of light together reaching maximum together in about ten seconds. Silence and hold about five seconds.' – Breath Beckett On Film: Catastrophe Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Written in French in 1982, Catastrophe features a theatre director and his assistant arranging a protagonist, who stands on a black block submitting to their direction. 'D', the director, wears a fur coat and matching toque (a kind of hat) and smokes a fat cigar. He has only a short amount of time to devote to the rehearsal, as he must go to a caucus meeting. 'A', the assistant, behaves with humility and alacrity, though she carefully wipes D's armchair before she can relax in it. She has frequent recourse to her pad and pencil. Luke, the offstage lighting man, remains invisible throughout. 'D' gets a 'storm of applause' for his creation but the brief existence of the protagonist ('P') ends as a skull: '… raises his head, fixes the audience. The applause falters, dies.' 'Terrific. He'll have them on their feet. I can hear it from here.' – 'Director', Catastrophe Beckett On Film: Come and Go Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Written in English in 1965, this piece has only 121 words in all. Beckett's note to the text is almost twice as long. Three women meet in a softly lit place. Seated on a bench facing the audience, they reminisce about old school days. Each woman leaves the stage briefly, and during each absence an appalling secret is whispered about the third – which the audience doesn't hear. At the end the three hold hands with the cryptic comment 'I can feel the rings', though Beckett specifies that none are apparent. 'May we not speak of the old days? [Silence.] Of what came after? [Silence.] Shall we hold hands in the old way?' – Vi, Come and Go Beckett On Film: Endgame Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Endgame was written in French in 1957. Hamm, who is blind and unable to walk, and Clov, Hamm's servant, occupy 'a bare interior'. Nagg and Nell, Hamm's parents, are in dustbins in a corner, and sometimes pop up to talk. Clov looks out of the two small windows with a telescope. The world outside seems dead and grey. Daily rituals are performed ad nauseam. 'Why this farce, day after day?' asks Nell. Hamm and Clov have both 'had enough'. They repeatedly discuss whether or not Clov will leave, and why he stays. Hamm asks Clov to kill him, but he won't. However, Nell dies. Finally, Clov says he's leaving once again and returns 'dressed for the road', but he stands watching Hamm until the curtain falls. You prayed … [Pause. He corrects himself.] You CRIED for night; it comes… [Pause. He corrects himself.] It FALLS: now cry in darkness. [ He repeats, chanting.] You cried for night; it falls: now cry in darkness. [Pause.] Nicely put, that. – Hamm, Endgame Beckett On Film: Footfalls Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Footfalls was written in English between March and December 1975. May, wrapped in tatters, paces back and forth engaging in conversation with the disembodied voice of her mother. In the second scene, May's voice becomes subsumed into her mother's. She paces ever more slowly as the play progresses, and the light dims, so that by the fourth and final scene there is no trace of her. 'Will you never have done revolving it all' – May, Footfalls Beckett On Film: Happy Days Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Written in English and considered Beckett's most cheerful piece, Happy Days features a woman buried up to her waist in a mound of sand. Winnie's husband, Willie, appears only occasionally from his tunnel behind the mound. Winnie's opening words, 'Another heavenly day', set the tone for a long monologue which lasts until she can no longer busy herself with the contents of her enormous handbag. She follows the routine of the day – praying, brushing her teeth, reminiscing about the past and endlessly trying to recall 'unforgettable lines' that she has once read. By the end of the second act she is buried up to her neck, but she carries on chattering cheerfully. 'Ah well, what matter, that's what I always say, it will have been a happy day after all, another happy day.' – Winnie, Happy Days Not I Not I, written in English in 1972, features an actress seated on stage with just her mouth spot-lit. The mouth then delivers a long stream of consciousness. Evasion is the principle theme, as is highlighted by Beckett's note to the text in which the mouth's chief endeavour throughout the play is a 'vehement refusal to relinquish the third person'. The mouth undergoes a desperate struggle to avoid saying 'I', marked by four moments of crisis in which her monologue becomes a question and answer with an inner voice not heard by the audience. Starring and Introduced by Billie Whitelaw '… out … into this world … this world … tiny little thing … before its time …' – Not I Beckett On Film: Ohio Impromptu Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Ohio Impromptu, written in 1980, opens with a figure clad in black with long white hair hiding his face and sitting on a white chair at a white table. There are two characters, the Reader and the Listener. The Reader, it emerges, is a mysterious messenger from someone now dead and once loved by the Listener. The book the Reader reads from tells the story of the Listener mourning right up until the last moment, when the story is told for the last time and 'there is nothing left to tell'. Throughout, the Listener not only listens but also regulates his companion's reading by knocking on the table with his hand in an attempt to ensure that this will not be the final telling of the tale. 'With never a word exchanged they grew to be as one.' – Ohio Impromptu Beckett On Film: A Piece of Monologue Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. In A Piece Of Monologue, written in English in 1979, a speaker tells a fragment of a story about birth and death, in which the narrative details almost match those visible to us as the theatre set. The play dramatises a successive loss of company: firstly in an account of the destruction of photographs and secondly in the memories of a funeral in the rain. 'Birth was the death of him.' – A Piece of Monologue Beckett On Film: Play Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Play was written in English in December 1963. Three urns stand on the stage. From each, a head protrudes – a man and two women. The play tells the story of a love triangle, and each character narrates a bitter history and their role in it. On the stage, each head is provoked into speech by an spotlight. In the film, the camera takes the role of the spotlight. 'Adulterers, take warning, never admit.' – 'M', Play Beckett On Film: Rockaby Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. In Rockaby, which was written in English in 1980, an old woman dressed in a black evening dress rocks herself in a rocking chair while listening to her own recorded voice. The story tells of the character's seeking for another 'a little like' herself, in the outside world. The search ends as all the blinds are drawn and complete darkness descends. 'so in the end close of a long day went down in the end went down' – Rockaby Beckett On Film: Rough for Theatre I Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Written in French in the 1950s, Rough for Theatre I features a blind man ('A') and a physically disabled man ('B') who meet by chance and consider the possibility of joining forces to unite sight and mobility in the interests of survival. Each once had a woman and now has no one to help him. B is the pragmatist while A keeps asking questions. B is reticent, never seeming to have noticed these things. B becomes cranky, going as far as to strike A, but being crippled he also needs him. The play ends in uneasiness and latent violence. '... It seems to me sometimes the earth must have got stuck, one sunless day, in the heart of winter, in the grey of evening ...' – 'A', Rough for Theatre I Beckett On Film: Waiting for Godot Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Waiting for Godot was written in French in 1949. In the first scene, two men, Vladimir and Estragon, wait on a lonely country road for an appointment with Godot. After a while Pozzo enters, leading Lucky on a rope. They talk. Godot fails to arrive. The second scene is a mirror image of the first. The Irish critic Vivian Mercier called Waiting for Godot a play in which 'nothing happens, twice'. 'Astride of a grave in a difficult birth. Down in the hole, lingeringly, the grave-digger puts on the forceps. We have time to grow old. The air is full of our cries. [He listens.] But habit is a great deadener.' – Vladimir, Waiting for Godot Cindy Sherman: Doll Clothes Super-8 black and white film transferred to video, silent 2min, 22sec installation One of the First Cindy Sherman's super-8 film,"Doll Clothes" has not been viewed since 1975, the year it was made. It comically crosses Duchamp's Nude Descending a Staircase with animated paper dolls in a sly, funny and clever precursor to the concerns that became signature elements in Sherman's remarkable body of photographic work. Purchased with assistance from the American Patrons of Tate, using funds raised by a group of private collectors including Kathy and Richard S Fuld Jr, Monica Kalpakian, and Steve and Lisa Tananbaum 2008 "Sherman's 1975 animated short Doll Clothes, is among the pieces that bring Sherman's early exploration of gender and identity into focus." -- Paul Ha and Catherine Morris Philippe Parreno: The Boy from Mars (2005) The Boy From Paris By Bruce Sterling Philippe Parreno's The Boy From Mars is "science fiction." Better yet, it's "architecture fiction." There is no Martian boy in this film. It does feature a rather weird building, however. In some solemn, rural, Southeast Asian retreat, the dark, marshy earth is infiltrated by unearthly lights. A constellation of UFOs wanders the zenith, a pack of gentle flame-beings from beyond. The wind-tattered storm clouds are some how frozen stiff against the sky. We see no human beings, but some intelligent entity has an agenda in this place. A strange orange glow infests an alien structure. This ragged, rambling creation looks comfortably at home in an Asian rice paddy, but, after a closer look, it makes no sense. Could it be a broken greenhouse? A geodesic aircraft hangar? It is multi-legged like a caterpillar, it has flapping, tattered plastic walls, and rigid stalks for rafters. Plus, it radiates a thick, warm light. This place is clearly unfit for any merely human habitation. Inside this place, some entity has harnessed a patient water buffalo to an electrical generator. It's a bizarrely ingenious device of weights, light bulbs and pulleys straight off the set of Spielberg's E.T. the Extraterrestrial. The gentle soundtrack cannot distinguish between the sighing of the wind and the calm grinding of this alien machinery. Exotic plants dance on the windy slopes of the hills. A healing rain comes, eventually. The foggy sky resumes its motion, the sun peeps in, glares at the invaded Earth, and quietly retreats. Everything seems in good order. The placid water buffalo our hero, if this piece has one calmly endures a close encounter with a swaying alien light beam. Friends from far away show up: a set of blurry, two-legged tourists, invading the spidery building. They move slowly and meditatively behind their steamy walls of glowing film. Although they're not human, one gets the impression that they've earned the right to visit. Maybe they'll settle down. The Boy From Mars is about the joys of being alien. Philippe Parreno (playing the intriguing role of "The Boy from Paris") was able to vent his customary ingenuity on the Thai artist's retreat of his friend and collaborator, Rirkrit Tiravanija. This locale was anonymous, off the electrical grid, basically a fertile patch of mud in the middle of nowhere. Anything and nothing was possible there. So, Parreno and architect Francois Roche invaded this timeless Asian farm and boldly created an architectural freak. It's the hybrid of a science fiction film-set, a green design showpiece, an assembly hall, and an international artists' squat. Plus, it's literally powered by a water buffalo. It must be well nigh perfect if Martians happen to drop by. Furthermore, this construction, whose artsy French origin couldn't be any more alien to Thai rurality, suits its locale remarkably well. Perched in a Chiang Mai rice field, it looks as imperturbable as a pig in mud. This work is especially apt for a period in which machines from Earth are invading Mars. As I write this, Spirit and Opportunity, those twin American hot-rods, are vigorously filming the unresisting Martian landscape. As video performances go, that scientific stream of images from that alien planet: those dull, eroded Martian hills, smears of ancient salt, spinning mechanical drills, ferocious close-ups of Martian pebbles and sand...that is hard for artists to match, but The Boy From Mars makes an attempt In our epoch, Mars finally became banal. Now we humans are importing all its strangeness. Thanks to this Parreno piece, I can appreciate that simple truth. Bruce Nauman: Stamping in the Studio (excerpt, 1968) From an inverted position, high above the floor, the camera records Nauman's trek back and forth and across the studio; his stamping creates a generative rhythm reminiscent of native drum beats or primitive dance rituals. However, Nauman is not participating in a social rite or communal ritualÑhe is icompletely individualized. Isolated in his studio, his actions have no apparent reason or cause beyond his aesthetic practice. Hermann Nitsch: Maria - Conception - Action Directed by Irm & Ed Sommer, Duration: 7 minutes Since 1963, the Austrian avant-gardist Hermann Nitsch has created a series of live happening, which (like Otto Muehl's Sodoma) combine cruelty, sexuality, defilement, and visual shock for purposes of purification, and "ab-reaction" of sado- masochist impulses. This is a film record of his most controversial creation: the crucifixion of a young woman, the disembowelling of a lamb carcass, and her defilement with it. "By the act of crucifixion, disembowelment, defilement, and dismemberment of a lamb carcass the sadistic urge to kill and masochistic wish for self-sacrifice are substituted. Historically, these drives have found no outlet in culture and religion, the potentialities of the sado-masochist instinct being guarded by secret and prohibition. The substitute act of the lamb crucifixion is a brief, forbidden, lustful glance into this potential and serves as partial resolution of that connection with displacement which Nitsch also calls ab-reaction." In the Maria-Conception-Action, the eroticisation and desublimation of the idea of redemption is intensified into pornography ... it complements the flesh of the lamb carcass with that of the female nude and is crucified allegorically like the lamb and together with it. The slitting open and evisceration of the lamb carcass corresponds visually to the opening and pushing apart of the vagina; the defilement and dismemberment of the lamb corresponds to the pouring over or covering of the nude female body with blood and entrails, and finally, to the sex act itself, which Nitsch -- again in an allegorically obscene substitute act -- completes with a godemiche." - Peter Gorsen, Sexualaesthetik, 1972 Hotel Palenque Bootleg film / documentation / artwork by Alex Hubbard YUCATAN IS ELSEWHERE On Robert Smithson's HOTEL PALENQUE by Neville Wakefield In 1969 Robert Smithson, his wife Nancy Holt, and art dealer friend Virginia Dwan left the New York College of Cartography-better known as the art-world-for the "western deserts" and lush jungles of Mexico. There, within the abstracted dilapidation of the Hotel Palenque, and some mirror fragments placed around the northern Yucatan, Smithson unearthed the shards of a map, surviving remnants of a Golden Age. Combed from the further shores of a logos already weathered and worn, their crumbled metaphysic took on the aspect of an archeological ruin. Lurking within the tattered vestiges of Western thought, he found not beasts or beggars, but hypothetical continents and fierce avatars of the Mexican Gods - Tezcatlipoca, demiurge of the "smoking mirror," Coatlicue, serpent lady of the Mayans-guardians and inquisitors of a system so utterly decayed as to have itself become a new sort of territory. Three years on, in 1972, the allegorical form of this new territory took shape in a presentation to the architectural faculty of the University of Utah. More stoned than stentorian in form, delivery and content, it appears navigationally errant and subject to drift. Cheating gravity, Smithson gently mocks the flat-earth school of exegesis. The architectural mass of the ancient Mayan ruins for which Palenque is famous is all but ignored: its pull just another weak signal from a past already muffled by the alluvion of time. Instead we are led into back-waters and fringe areas; the emptied pool, evacuated dance-hall and mean-ingless passage that together made up the Hotel where Smithson, his wife and friend stayed. The guide books are of no use, says Tezcatlipoca, "You must travel at random, like the first Mayans, you risk getting lost in the thickets, but that is the only way to make art."1) The ancient ruins are not to be found out there in the jungle, but here in the Hotel Palenque, crumbled, instamatic and nondescript. Connected to the early Mayan site by the shared lineage of ruination and restoration, Hotel Palenque takes the form of a Nonsite, a discursive and ramshackle web of imagery, conjecture, analysis and recollection, which-like the Hotel itself-lacks either focus or direction. Perambulatory and meandering, the horizon lines of thought unfold as a series of impossible boundaries, elusive limits that recede as they are approached. Anecdotes, like hotel passages, lead nowhere. Spatial and architectural certainties are left to dissolve in the heat of the afternoon sun. Temporal and historical boundaries, denied the assurances of geometry, slump. "So," as Smithson remarks, "you get this kind of really sensuous sense of something extending both in and out of time, something that doesn't belong to the earth and really something that is rooted very much in the earth." 2) And so we too might surmise that the mortar of some unbuilt future is also the dust of an equally distant past, but in the end, and perhaps most satisfyingly, it is just a pile of cement-there to be dug for its cementness. Almost exactly a year prior to the trip to Mexico. Smithson made one of the first of a series of sculptural Non-sites. A visit in June 1968 to the slate quarries of Bangor-Pen Argyle in Pennsylvania had left Smithson impressed by the oceanic and de-differentiated nature of a site within which all nations of gestalt seemed to have collapsed. Drawn to the slate of mind-slate being the metamorphic or ossified form of gytta, a dark and sedimented sludge-and to the fact that the form of the site had been determined by extraction rather than addition, chips of material picked up from the quarry were returned to the gallery and dumped haphazardly in a trapezoidal bin placed on the floor. Accompanied by cartographic and geological information in the form of texts, maps or photographs, the "Nonsite," as it became known, relayed what was to become a skewed an incomplete dialectic-between inside and outside, visible and invisible, form and formlessness, determinacy and indeterminacy, centre and periphery-between Site and Nonsite. "A course of hazards, double path maps that belong to both sides of the dialectic at once," 3) the Nonsite dissolves the sculptural logic of the discrete object within the now unstable vectors of space and time. Like the fragmented map of the Empire, the Nonsites confound the synthetic resolutions of dialectical thought. Extracted as well as abstracted from the material substance of the site, they refer to it at the cost of altering it, and what is represented by the Nonsite is not the site itself, but rather its condition of depletion. This is Heisenberg's principle of sculptural uncertainly: it is the irony of protons fleeing the instruments of the physicist and so confounding his aim; it is the fact that the Nonsite leads nowhere, except the place from which it came, a place now irrevocably changed. The dialectics of presence and absence, forced to face itself within this carefully constructed hall of mirrors, is like Medusa facing Perseus's shield, slowly turned to stone. Thus petrified it becomes geology, another stratum in the pre-history of thought. Physical substance and representational logic collapse into a single rubble. In place of the old axes of spatial cartography we find a metaphorical geography inhabited by beasts and beggars, abandoned hopes and discarded systems. "Between the site and the Nonsite one may lapse into places of little organization and no direction."4) Clearly such a place was to be found in the Hotle Palenque, a contemporary ruin that mirrored the architecture of thought in its rise to ruination. Caught between the equilibrial forces of reconstruction and decay, the Hotel also allegorizes another collapse, that of vision. "If you visit the sites (a doubtful probability)." Smithson said of the mirror displacements made during the same trip, "you find nothing but memory trace... The fictive voices of the totems have exhausted their arguments. Yucatan is elsewhere."5) And so its becomes apparent that the Site/Nonsite relationship is also that of its punned double, of vision and its counterpart, blindness. The Mayan ruins for which Palenque is famous are recorded only as the distant possibility of a view from one of the hotel windows, now permanently obscured by the smoke screen of time and defoliation. The wonders of the observatories and temples built by the Mayans remain shrouded, hazy and outshone by the archeology of the present located in the Hotel. The past, which, like astronomical bodies, occurs long before crossing the horizon of appearances, belongs not to the pre-Spanish Indian monuments but to the "geologic man-made wonder" of the Hotel. Here Smithson finds a more compelling and indeterminate horizon where the impress of the future is received by the past, where meaninglessness and disintegration cohabitat with the old Mayan necessities of convolution and terror. Wryly scrutinizing these strange intersections, where architectures of mind and hotel meet, Smithson mines them for their aesthetic and narcotic ore. This, after is the place where nothing happens, the zero panorama of the present, a serpentine entropy where the passage of ruined signifiers only serves to suck us further into the centripetal vortex, an immobile cyclone. Here the present becomes the conjugation of near future and distant past, the actuality described by Kubler as the "instance between the ticks of the watchá the interchronic pause when nothing is happening. It is the void between events."6) Skewered on the torpor of those long Mexican afternoons. Smithson's reflections on the de-architecturalising spirit of the Hotel begin to collapse entropically upon themselves. As the old horizons of time and space subside, new diagonals of meaning appear: fluid atlases made up of unlocatable points and indeterminate meanings. And so the joke perhaps is on us. The Yucatan we should remember was never here but somewhere else-a somewhere captured forever in 1517 by the Spaniards landing on the peninsula, misapprehending the words uttered by the Mayana Mac'ubah than (We do not understand) and deciding that this was the name of the province.7) The ruins of Palenque become, like the protracted pauses that laconically punctuate each call for the next slide, fault-lines in the continent of thought. Here the glacial drift of perception and cognition causes ideas to buckle or be pulled to extremes of uselessness, the space of sculpture of alternately compressed by attenuated. In the Hotel Palenque the traction of empirical truths and steadfast geographies is lost. Taken in by the rock hound's promise of scientism and the traveler's claims to passage it is easy to forget that it is the journey that describes a space in itself, a domain of pure metaphor, a surd area - "a region where logic is suspended - an irrational area" - where the avatars of past and future chew on the wreckage of our imagination. ¡ ¡ ¡ 1) "Incident of Mirror-Travel in the Yucatan," reprinted in Holt, ed., The Writings of Roberi Smithson, 94-95. 2) Ibid., "The Spiral Jetty," 115. 3) Quoted from text accompanying Non-site (Palisades, Edgewater, New Jersey), 1968, reprinted in Hobbs, ed., Robert Smithson; Sculpture (Ithaca, NY: Cornell University Press, 1981), 110. 4) See Robert Smithson, "Entropy and the New Monuments," first published in Art-forum, June 1966, reprinted in The Writings of Robert, Smithson, 9. 5) "Incidents of Mirror-Travel in the Yucatan," 103. 6) George Kubler, The Shape of Time (New Haven: Yale University Press, 1962), 17. 7) "Four Conversations between Dennis Wheeler and Robert Smithson, 1969-70," in Eugenie Tsai, Robert Smithson: Unearthed (New York: Columbia University Press, 1991), 97. |
