KOCHAB

A conceptual live concert by Diamanda Galás, "Plague Mass" continues the themes of the suffering and misery of the infected found in her "Masque of the Red Death" trilogy.

Sex as dance and comedy: in Progressive Touch Portnoy studies and expands the relationship between sex, choreography and composing music. He introduces complex compositions from progressive rock and math metal during sex, thereby combating the ostensible simplification of rhythm in human movements and gestures. A group of actors perform the new moves in three slapstick-like scenes. Worth trying at home.

Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.

A musical fantasia on religion and the nature of exploitation.

Rock musical adaptation of William Shakespeare's "A Midsummer Night's Dream".

Though best known for his collage films, Lawrence Jordan here makes exquisite study of the different aspects of light lilting through the early morning fog of California winter. Painterly gradations of color and juxtapositions in scale are beautifully arranged to music by Antonio Vivaldi.

Speaking upon the release of ‘Bodyguard’, Black Dahlia said: “Bodyguard is a theatrical exploration of gaining a new body but your soul remains. It is a sonnet to your past physical body in this realm and the new union that will inevitably be formed. A harsh and gentle celebration of your capabilities, your limits, and your destiny.” As well as being the Director for the music video, Black Dahlia was also Producer, Art Director, Choreographer, and Concept creator for the project. Donning various characters, Black Dahlia embodies performance art and its mediums such as contortion, mime, surrealism, Dada, the avant-garde, and body horror. ‘Bodyguard’ follows Black Dahlia in various theatrical forms and her journey to transformation through reanimation that looks reminiscent of a John Waters film. It also features cameos from Melbourne-based artists, Bura Bura as Dr Barget Hower, Manda Wolf as Dr Avanti and Cong Josie as Dr Cong.

Dislocation in time, time signatures, time as a philosophical concept, and slavery to time are some of the themes touched upon in this 9-minute experimental film, which was written, directed, and produced by Jim Henson. Screened for the first time at the Museum of Modern Art in May of 1965, "Time Piece" enjoyed an eighteen-month run at one Manhattan movie theater and was nominated for an Academy Award for Outstanding Short Subject.

In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).

Exploring impressionistic, emotional and sensory environments found within the vast natural and urban landscapes of America. Neither image nor sound takes precedence: the two interact and combine preserving a raw sense of the discovery that field recordings and in-camera edited film rushes often yield.

Idioma

On the liner notes to Freak Out!, the 1967 debut album by Zappa's original band the Mothers of Invention, Zappa listed some seventy-two names on the liner notes and cited them as influences. The Freak Out List intends to explore who these artists are and what influence they had on Zappa's music. This listing encompasses all sorts of music, from classical composer Edgar Varese to R&B star Johnny "Guitar" Watson to jazzman Eric Dolphy to flamenco guitarist Sabicas. You can hear for instance, how the esoteric classical influence of Varese shaped Zappa's long-form epics like "Lumpy Gravy" or how Dolphy's instrumental prowess led Zappa to incorporate jazz-fusion on albums like Weasels Ripped My Flesh! (1970), which even included a song titled "The Eric Dolphy Memorial Barbecue." Interviews with various Zappa biographers and music historians as well as musicians George Duke, Ian Underwood, and Don Preston, all of whom played in the Mothers at one time or another, help add additional context.

Global Groove was a collaborative piece by Nam June Paik and John Godfrey. Paik, amongst other artists who shared the same vision in the 1960s, saw the potential in the television beyond it being a one-sided medium to present programs and commercials. Instead, he saw it more as a place to facilitate a free flow of information exchange. He wanted to strip away the limitations from copyright system and network restrictions and bring in a new TV culture where information could be accessed inexpensively and conveniently. The full length of the piece ran 28 minutes and was first broadcasted in January 30, 1974 on WNET.

In the feature documentary, Summer 82 – When Zappa Came to Sicily, filmmaker and Zappa fan Salvo Cuccia tells the behind-the-scenes story of Frank Zappa's star-crossed concert in Palermo, Sicily, the wrap-up to a European tour that ended in public disturbances and police intervention. Cuccia had a ticket to the concert but never made it. Thirty years later, collaborating with Zappa's family, he re-creates the events through a combination of rare concert and backstage footage; photographs; anecdotes from family, band members, and concertgoers; and insights from Zappa biographer and friend Massimo Bassoli. The story is also a personal one, as Cuccia interweaves the story of Zappa's trip to Sicily with his own memories from that summer.

An anthology of surreal films by Patrick McGuinn featuring Vincent, a puppet who is obsessed with Twinkies and pasta.

Frank Zappa: New York & Elsewhere is an Austrian released TV documentary directed in 1980 by Rudi Dolezal and Hannes Rossacher, aka DoRo productions, who are most popular for their work with Queen.

Songs for Drella is a concept album by Lou Reed and John Cale, both formerly of The Velvet Underground, and is dedicated to the memory of Andy Warhol, their mentor, who had died unexpectedly in 1987. Drella was a nickname for Warhol coined by Warhol Superstar Ondine, a contraction of Dracula and Cinderella, used by Warhol's crowd. The song cycle focuses on Warhol's interpersonal relations and experiences, with songs falling roughly into three categories: Warhol's first-person perspective (which makes up the vast majority of the album), third-person narratives chronicling events and affairs, and first-person commentaries on Warhol by Reed and Cale themselves. The songs on the album are, to some extent, in chronological order.

“For my film portrait of Sasha Grey, I wanted to focus on her expressive and psychological transformation into a cinematic actor, separate from the cues that have associated Sasha with her previous career as a performance artist working within the adult film world.” – Richard Phillips

Produced by Frank Zappa in 1982, The Dub Room Special combines footage from a performance at the KCET studios in Los Angeles on August 27, 1974, a concert performed at The Palladium, NYC on October 31, 1981, some clay animation by Bruce Bickford, and several interviews. Previously only available through mail-order, it was made widely available on DVD on October 17, 2005.

A one-hour documentary on the making of Frank Zappa's bizarre 1971 comic musical. Vintage private footage from Frank's personal archives plus behind-the-scenes of the actual shooting and recording. With Ringo Starr, Theodore Bikel, Keith Moon and such songs as "Sleeping in a Jar," and "Strictly Genteel." The inside history of the first feature-length film to be shot on video in 6 days.