Shafting the screen: the projector beam maintains its angle as it meets the screen and keeps on going, introducing volume as well as light, just as Paris, Cairo and Venice of a century ago happen to pass. Passing through the tunnel mid-film, a red flash will signal you to switch your single Pulfrich filter before your right you to before your left (keep both eyes open). Centre seating is best: depth deepens viewing further from the screen. Handle filter by edges to preserve clarity. Either side of filter may face screen. Filter can be held at any angle, there’s no ‘up’ or ‘down’ side. Also, two filters before an eye does not work better than one, and a filter in front of each only negates the effects. (Ken Jacobs)

One of the great found footage films, Eureka was made by re-photographing a 1902 film travelogue shot from the front of a San Francisco street car. Extending the original nine and a half minutes to half an hour, Gehr makes the viewer a time traveler passing through a world thick with camera grain and redolent with temps perdu.

A tender ode to the industrial neighborhood of Long Island City, Queens, strung together with Manhattan across the East River by the Queensborough Bridge and the elevated subway line. “The trains and webs of steel enslave and at the same time bring us together. The past haunts me, and at the same time its memories are precious. Much of the film was edited in the camera. About half of what I shot was discarded, and in the editing room I very slowly removed and arranged what remained after several screenings.” (Jim Jennings) 

This film was partly shot in Kinemacolor, a process which was used in 1915 to obtain fairly illusionistic colors from black and white films by filming and projecting them through synchronized red and green filters. 

Perils is a homage to silent film—the clash of ambiguous innocence and unsophisticated villainy—dramatizing the theatrical postures of melodrama to confront and examine our ideas of romance, action, and drama. “I had long conceived of a film composed only of reaction shots in which all causality was erased. What would be left would be the resonant voluptuous suggestions of history and the human face.” (Abigail Child) 

Blonde Cobra is an erratic narrative -- no, not really a narrative, it’s only stretched out in time for convenience of delivery. It’s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950’s, 40’s, 30’s disgust. Silly, self-pitying, guilt-strictured and yet triumphing -- on one level -- over the situation with style, because he’s unapologetically gifted, has a genius for courage, knows that a state of indignity can serve to show his character in sharpest relief. He carries on, states his presence for what it is. Does all he can to draw out our condemnation, testing our love for limits, enticing us into an absurd moral posture the better to dismiss us with a regal ‘screw-off.’ (Ken Jacobs)