A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.
"The theme of the film HIDDEN CITIES is personal urban perceptions, which we call 'the city'. The city, as a living organism, reflecting social processes and interactions, economic relations, political conditions and private matters. In the city, human memories, desires and tragedies find expression in the form of designations and marks engraved in house walls and paving slabs. But what the city really is under this thick layer of signs, what it contains or conceals, is what we are researching in the HIDDEN CITIES project. The source material for the film are 9 sequential photo works created by Gusztáv Hámos between 1975 and 2010. Each of these 'city perceptions' depicts essential situations of urban experiences containing human and inhuman acts in a compact form. The cities in which the photo sequences have been made are Berlin, Budapest and New York – places with a traumatised past: Wars, dictatorships, terrorist catastrophes."
Belfast, it's a city that is changing, changing because the people are leaving? But one came back, a 10,000 year old woman who claims that she is the city itself.
Portrait of a waterpark.
An experimental meditation on Times Square's marquees and iconic advertising that captures the concurrently seedy and dazzling aspects of New York's Great White Way.
"The Hart of London" is an endlessly layered tour de force. It explores life and death, the sense of place and personal displacement, and the intricate aesthetics of representation. It is a personal and spiritual film, marked inevitably by Chambers’s knowledge that he had leukemia. The late American avant-garde filmmaker Stan Brakhage said of Hart, "If I named the five greatest films [ever made], this has got to be one of them." Even this high praise falls short of hyperbole. The Hart of London is at the centre of Chambers’s extraordinary achievement.
A short film about Stockholm. Sweden's first Oscar, 1949 Best Short Subject, One-Reel.
Pikk Street is one of the most important thoroughfares of Tallinn’s Old Town. The picture playfully combines hidden camera footage with more observational images, employing shots from unusual angles; these are accompanied by specific sounds and interesting musical themes. The result is a true cinematic adventure.
Gubara was proud of the first color film in African cinema, which attempts to give an African response to the city symphony genre by capturing disparate images of daily life in Khartoum and setting it to music, particularly romantic Arabic songs.
A symphony of raw video clips mined from the depths of YouTube — a feature-length exposition transporting us into the intimate realms of ordinary people from around the globe.
Two friends travel around the city of Reno, Nevada, and go skating at a nearby parking garage.
'Still Lives' comprises a trilogy of films by Patrick Sheard; Lamenta, Libertas and Exitus, anthologized here in their entirety.
The last days of summer captured on 16mm.
Peter Hutton's New York trilogy. An act of urban archaeology, a chronicle of indelible impressions of the city.
A "city symphony" film, produced to encourage Photographic Society of America members to attend their 1963 conference in Chicago, City to See is a surprising film. It combines footage of Chicago with a deadpan commentary that pokes fun commercial travel films: "Chicago is my town," the narrator says wryly, "and no other town will do." Conneely was awarded a special prize by the Photographic Society of America for this film.
Compiled from stock footage, Livestock is a visual poem exploring the digital, physical and metaphysical synergy of the modern workplace.