*_Chumlum_* _(Director: *Ron Rice* // USA 1964 // color // sound // 16 mm // 23 min.)_ For *_Chumlum_*, Rice found his inspiration as an assistant for Jack Smith’s *_Normal Love_*. The film is based upon records and observations made by Rice in Smith’s apartment during breaks of the shooting. Records of interim periods, fragmentary episodes, fragments of gestures and movements, of human bodies, of garments, jewelry, of blowing curtains, colors and shapes in manifold cross-fades. As a result everything glides ecstatically. _Actors: Beverly Grant, Mario Montez, Jack Smith and others_

*_Allures_* _(Director: *Jordan Belson* // USA 1961 // color // sound // 16 mm // 7 min.)_ Sound and light effects constitute “the space-iest film until then,” according to Jordan Belson. He creates “a feeling moving into the void.”

*_Eisgrub_* [Ice pit] _(Director: *Gunter Deller* // Germany 2004 // b/w // sound // 16mm // 8 min.)_ The film shows the city of Frankfurt from above, as seen in a snow globe.

*_Feuerwerk_* [Fireworks] _(Director: *Helga Fanderl* // Germany 2000 // b/w // no sound // Super 8 on 16mm // 3:25 min.)_ The figures of a big firework display develop behind the column architecture of an aboveground metro bridge and the lamps illuminating it. Trains drawing paths of light traverse the picture of explosions. Through the use of a vigorous rhythm of cuts, the black and white movie condenses the simultaneousness of these luminous patterns of movements and transforms what has been filmed into purely cinematic fireworks.

*_The Color of Love_* _(Director: *Peggy Ahwesh* // USA 1994 // color // sound // 16mm // 10 min.)_ “Essentially it is a found footage film […]. What resulted is one of the most beautiful and provocative artefacts in film history. The use of the tango music seems a clear nod in the direction of Un Chien andalou (Luis Buñuel, 1928). Like its surrealist predecessor, The Color of Love is an assault on the norms of vision. It is explicit; it shows too much. The seductive surface of the film (if ever there were a case for haptic cinema or embodied vision, this is it) draws us into a pas de deux of attraction and repulsion.” (John David Rhodes)

*_Dom_* _(Director: *Bernd Upnmoor* // Federal Republic of Germany 1978 -1980 // color (Eastmancolor) // sound // 35mm // 9 min.)_ _“For ten minutes, an everyday scene of a funfair is to be seen. Starting with a ‘natural’ black-and-white image, the picture becomes ever more natural because the colors become more natural. On the other hand, unnatural effects (ghost images) are added as well. […] Towards the end, the scene of the funfair is rather irrelevant and the color timing exhausting all possibilities of the color film aims for shuddering and fluttering the audience’s senses.”_ (Catalogue Internationale Kurzfilmtage Oberhausen 1980)

*_Dream of a Rarebit Fiend_* _(Director: *Edwin S. Porter* // USA 1906 // tinted // silent // 16 mm from 35 mm // 6 min.)_ Film after the comic of Winsor McCay. Intoxicated nightmares alight from a fondue-addict’s overstuffed belly and shake him up tremendously. Together with his bed they raise him in the air and let him sail over the rooftops of the city. _Actor: John P. Brawn_

*_Happy-End_* _(Director: *Peter Tscherkassky* // Austria 1996 // color // sound // Super 8 on 16mm and 35 mm // 10:56 min.)_ _“In Happy-End a cheerful couple recurs again and again. Each year at Christmas, they raise their glass to themselves and the camera. The stock of alcohols and other supplies changes; their repertoire of gestures remains the same. Before the impression is created that peculiar subjects are presented, Tscherkassky involves his anonymous protagonists in a dance of dissolved and multiple exposures culminating in a beautiful turn: The wife, rejuvenated by years, is sort of cut out of the surface and disbanded from the story of the images.”_ (Isabella Reichert)