Allegretto by Oskar Fischinger (1936, 2-1/2 mins), color animation synchronized to jazz music by Ralph Rainger; one of many films experimenting with abstract imagery set to jazz or classical music Fischinger made during his long career. In Synchromy by Norman McLaren (1971, 8 mins, color), calling the film an “op art symphony,” McLaren made visual patterns directly on the optical sound track. Colors thus move and shapes pulsate in images that are themselves creating the sound. Unsere Afrikareise by Peter Kubelka (1961-1966, 12-1/2 mins, color) is a classic of sound and image montage, using natural sounds and music asynchronously to contribute to a vast system of meanings drawn from the “trip to Africa” of a group of European tourists. During Blonde Cobra by Ken Jacobs (1959-63, 25 mins, b&w and color), in addition to the crackling soundtrack, “a live radio, loud and clear, is to play twice,” according to the filmmaker. Featuring Jack Smith, the film mixes American pop culture with melodrama and diary into a powerful statement of personal and public despair. Len Lye's Colour Cry (1952, 3 mins, color) combines “shadowcast,” inspired by those of Man Ray, with dramatic music into a complex sense of abstract movement. Lye's Rhythm (1957, 1 min) shows his remarkable sense of motion applied to the editing of live footage, synchronized to the rhythms of African drum music. Valentin de las Sierras, by Bruce Baillie (1968, 10 mins, color) records the “song of revolutionary hero Valentin, sung by Jose Santollo Nasido en Santa Crus de la Soledad, Chapala, Jalisco, Mexico”; of the images, Baille says only “skin, eyes, knees, horses, hair, sun earth.” Larry Gottheim's Harmonica (1971, 11 mins, color): “...A light in sound, a sound-like power in light,/ Rhythm in all thought, and joyance everywhere... Where the breeze warbles, and the mute still air/ is Music slumbering on her instrument...” (from S. T. Coleridge, “The Eolian Harp”). Wild Night in El Reno, by George Kuchar (1977, 8 mins, color), shot in Oklahoma, is in fact a film of the “weather” which, by virtue of editing of visuals and sounds, provides all the cliches of Hollywood melodrama and film noir; a narrative without actors or dialogue.