We are what we eat, and we talk about what we are; so, naturally, we get hungry all the time. Join my friends as we not only hear, but see what they are and taste the essence of each one without the fear of emotional attachment. A leisurely, if somewhat "lazy Susan" of chewable tidbits that can be spit out if so desired (or undesired). A session of chowing down and chewing the fat with an assortment of gobblers that break bread, but no wind, with me.
Storms batter California as 1995 ushers in a world of computerized characters and unplugged souls in search of electrified juice. The images of a naked past haunt the denizens of today as a wet tomorrow threatens to sweep them into oblivion on a tide of technology. Already water-bogged and bloated, the occupants seek the sun and the worshippers who strip in defiance of Divine dehydration.
A friend visits from Canada and we relive the past as the future becomes more and more obscured by a cloud of burning vegetation wrapped in cigarette paper and exhaled by a pair of lungs unable to supply a brain with the necessary oxygen (mercifully) to remember the past.
The Tiny Ventriloquist is an omnibus video subtitled Final Thoughts, Series Two. It traces the movement of a voice from being rooted in a particular body (the artist's) to its dispersal through a variety of dummies.
A trip to a barren landscape of jagged peaks and deep crevasses becomes a playground for an over-dressed hiker and his beefcake buddy as they secrete and imbibe fluids from various containers.
This title is also available on The World of George Kuchar.
This very funny video plays with the identification of the camera as phallus, as an instrument of power and domination intruding upon reality; never an innocent bystander, it is always the organizing locus of events. Over sequences in which the camera/viewer approaches entrances to houses, shops, and other buildings, the soundtrack carries the moans of a man and woman reaching orgasm. The pitch and urgency of their moaning increases as the camera nears and finally penetrates its target.
This weather diary finds me not quite alone on the prairie as Pepe and Poncho pay a visit. They dangle about the motel room and peer into blue tinged moods of explosive angst and laid back lumpiness. The sky above seeths and soothes the sinners below as we plod the sod with shiftless soles. Come join the pageant of tropospheric turmoil as flesh and wood ponder the vortex of violence that threatens manipulated mobility.
The dark and sloppy side of touring college towns with your work. An internal expose of external secretions that unfortunately make it to the boob tube in full color.
This title is also available on The World of George Kuchar.
Lesser Apes tells the story of a love affair between a primatologist, Farrah, and a female bonobo ape, Meema. Bonobos are the species with which humans share the most DNA, but unlike our species, they are matriarchal, live without conflict, and are unabashedly sexual. A paean to perversion, the film combines animation, live action and song to challenge attitudes about sex, language and our relationship to nature.
Primate Cinema: Apes as Family is a drama made expressly for chimpanzees – and the chimps' reaction to its screening at the Edinburgh Zoo. Chimpanzees watch television as a form of enrichment in captivity. But no filmmaker had made a film for a specifically ape audience.
Using footage from the legendary Bruce Lee’s last, unfinished, film, Fulbeck turns the subtitled martial arts movie on itself—levelling criticism and commentary with the genre's own tools, and examining the various representative functions of the late actor.
George is in Tampa, Florida to do a one-day video workshop, so they make a fast-moving trailer for a non-existent UFO abduction movie.
A trip across the bay to Concord yields a harvest of non-fruit-like beings who celebrate a housewarming that simmers with macho machinations and family discord. The mood is upbeat while the company is lowbrow, and coming out of the bushes rather than the woodwork.
In a world of Internet and high technology, there still remains something so arcane, so simple and extraordinary, so absolutely incredible as a circus of educated fleas. Marvel at Maria Fernanda Cardoso's work as the powerful Brutus (The Strongest Flea on Earth) pulls a locomotive that weighs 160,000 times his own weight. See the flea ballerinas dressed in micro-tutus, dance to the rhythms of Tango! Hold your breath as the highwire artists defy gravity on the tightrope and swing precariously on a miniature trapeze.
Habit is an autobiographical documentary that follows the current history of the AIDS epidemic along dual trajectories: the efforts of South Africa’s leading AIDS activist group, the Treatment Action Campaign, struggling to gain access to AIDS drugs and the daily routine of the videomaker, a veteran AIDS activist in the U.S. who has been living with AIDS for more than ten years.
A drama in six episodes involving psychological breakdowns, marital showdowns, and messy obsessions. The characters include a wayward priest, a promiscuous school-teacher and her proctologist husband, teenage thrill killers, and an obsession-driven psychotherapist with an enema bag. Lots of special effects, as it moves quickly from one major crisis to another.
This time, the call of the west sends me packing to Oregon, California and Arizona. You too can experience the dizzy delights of a whirlwind tour and witness wonders seen through the savage eye of a Sony camcorder. Actually, the adventure is rather mellow in mood and should spare the viewer a need for the ever looming and inevitable barf bag. See Phoenix in all its rocky royalty! Relish in the student clogged ivy halls of Portland! Immerse yourself in a technicolor rendering of Irvine, California.
In this wistful tape, Segalove looks at how her childhood vision of the future holds up (or doesn't) in adulthood. Commissioned by the Los Angeles County Museum of Art.
A three-day teleplay done at CalArts takes a sordid behind-the-scenes look at an art school professor’s life.
A video in two parts (Starstruck and MGM: Movie Goddess Machine), focusing on celebrity culture, identity, and the body. “What is Liz Taylor doing in my bed, in the bed of my friend Leland, as he dies of AIDS?” These and related questions are enacted in a series of encounters between the artist/ performer/ spectator and a host of famous people from la Liz to Anita Hill. In Joan Sees Stars, Braderman addresses the subversive potential of masquerade in a parade of video-assisted star sightings.
The five-and-dime store pulsates with the stench of she-who-shops. Follow this ragdoll apparition as she haunts the futuristic landscape of our buried past and rejoice in the resurrection of the cellar celebrity.
A massive video drama made with my students at the San Francisco Art Institute that chronicles a man and wife parting ways amid the clatter of dice in a gambling resort on a painted desert of painted women and panting men. A large cast of digitized divas and international inepts march across this corlorful canvas of romanticized rubbish and low-budget lushness.
The Rudnick family run amok with unleashed talent in San Francisco and display a wide girth of creative curvature for all to admire over a hot cup of java. The fluidity of artistic endeavors spills over the borders of the Pacific Rim to highlight not only aquatic animals, but also desert-bound creatures etched in the thirst-quenching magnificence of kitchenware crystal.
One of the earlier video diaries where George vacations in Colorado, reflects on scenery and animal life and visits people. "
