In 1969 he made, with Sven Nykvist as cinematographer, The Fårö Document, a film that ended with a rather pessimist view of the island’s future. One of the scenes in the film is of a school-bus and its young passengers. To these and to the realities ten years later Bergman returns in the long documentary Fårö Document 1979.
Bonus disc from Kissology II. Kiss live at Capital Center, Landover, MD, July 8, 1979
Bonus disc from Kissology II. Kiss live at Capital Center, Landover, MI, July 8, 1979
Kiss documentary, spanning the years 1973 to 1979
Concerned with processes of assembly, CHOIR brings together disparate bodies of material and archival technologies into dissonant concert. It is a work of several parts. Part one constructs an auditorium in which an action will be staged. Part two assembles the chorus to narrate the action. Part three supplies the action.
Various TV appearance during Dynasty era
The first-ever official live document from brilliant 70s art-punks Wire is finally released on this CD/DVD set, which captures their 1979 performance on then-West Germany's "Rockpalast" show.
On November 20, 1979 at 5:30 AM, hundreds of armed men take over the Grand Mosque of Mecca, transforming the holiest shrine of Islam into a fortress and a trap for almost 100.000 pilgrims inside. This is the beginning of the SIEGE OF MECCA.
SBB Live in 1979
A documentary about the history and reformation of Toronto punk band Death from Above 1979.
This moving film tells the story of Sarah, a little girl who is orphaned by the war. She hides out in the forest and tries to end the war by sabotaging a railway bridge that is used by munitions trains. Slowly and painfully, throughout a freezing winter, she prises bricks from the supporting columns. In a sudden Spring thaw an ice floe crashes into the weakened column of the bridge and it plunges into the river. Sadly, she realizes that the end of the bridge does not mean the end of the war and she rejoins the creatures of the wild, disappearing into the forest forever.
Yes: Live In Philadelphia 1979
In 1979 America (Dewey Bunnell and Gerry Beckley) were at the height of their popularity and had just released "Silent Letter" their first album as a duo following the departure of fellow founding member Dan Peek. Acclaimed Australian filmmaker Peter Clifton captured the band at their concert in New York's Central Park and then followed them across to California where he filmed them in the studio and on location. All of this footage was combined to make America "Live In Central Park".
his video features a live performance of The Cars, made during their only tour of Europe. Filmed in 1979, the concert took place in Germany, and was shot at Radio Bremen Studios for the German television show Musikladen. Music from the band's first two albums are showcased, including signature tunes like "Let the Good Times Roll", and "Don't Cha Stop". Another highlight is the inclusion of "Take What You Want", which was never recorded for album release, but was a favorite on their American concert tours. The DVD version of the video also contains a lengthy interview with all five band members, together for the first time in 13 year.
Greatest hits, video clips from 1975 - 1979
The Great Monkey Rip-Off - 1979 Director: Tom Stobart Star: J. Barde, Judie Brooks.
Manipulation of the Kodak Ektachrome 35mm slide projector reveals cryptic images of Northern Alberta rural youth, featuring music from the Banzai catalogue, which became as much a symbol of prestige and outsider unity as the sign of the horns
Moving Stillness: Mount Rainier 1979, by incorporating a large body of water, with video and sound recordings of nature, was pioneering in its use of mixed media. It is a meditation on the fragility of nature and our perception of its changes over time. A screen is suspended above a large shallow pool of water. A projector with three separate beams (one each for red, green and blue light) sends an image of Mount Rainier to the surface of the water that then bounces up to reach the rear projection screen. At periodic intervals, the water’s surface is manually disturbed causing the three beams of color to separate, until finally becoming an unrecognizable pattern of form and color. Slowly the water settles, to once more form a coherent image after the surface vibrations subside.
“Breaking in. Patrice Kirchhofer’s Anorexie 4 continues on the path of the narrated narrative (a short story by Chandler) and Décembre 79 on the path of photography. At the end of these two journeys, the film becomes the subject and the trace of the same act of breaking in. In Anorexie 4 the voice shapes the images (the play of chess and of light) and in Décembre 79, shot in the same abandoned mining region, the photos shape the film: chemical deposits, fossils instantaneously striped and imprinted by signs of life and haunted by their ghostly presence. A space of dreary grey, of desolation, which is in a never-ending process of dying because the place, even before being filmed, already went through a vampire-like depletion. In accepting the invitation of these tracking shots of abandoned factories, the spectator is summoned to riverbanks similar to those of Dreyer’s Vampyr and Murnau’s Nosferatu.” Charles TESSON. Festival de Digne. Cahiers du Cinéma n° 314 – Juillet–Août 1980.