Poland:
In Text-Door (1974, 2 mins), Tea-Spoon (1976, 2 mins) and Match-Box (1975, 5 mins), Wojciech Bruszewski “sets traps” based on our conception of “what exists"--i.e., the borderline of “what we know and think of” and “what there is.” Ryszard Wasko shot 30 Sound Situations (1975, 10 mins) in one day in Lodz; passing from one “sound situation” to another--the “same” sound re-created in 30 settings--he presents the viewer with alternate ways of constructing film.

Yugoslavia:
Tomislav Gotovac's Straight Line/Stevens-Duke (1964, 8 mins), shot with a camera fixed on a tripod at the head of a tram, is a journey through Belgrade, repeated numerous times and set to Duke Ellington's “Creole Love Call.” Gotovac uses music to increase the enigmatic effect of the visuals in The Morning of a Faun (1963, 8 mins). Three scenes--a long shot onto the terrace of a hospital's surgical ward, a zoom past a plaster wall in need of repair, and a constantly zooming vision of a town intersection--are set to music by Glen Miller as well as to the soundtracks of Vivre Sa Vie and The Time Machine.

Forwards-Backwards Piano (1977, 18 mins, Color) by Ivan Ladislav Galeta, is a delightful experiment in sound, using classical music. Galeta iconoclastically subverts the romantic score of a Chopin waltz by manipulating three out of four performances by pianist Fred Dosek. In Two Times in One Space (1976-79, 12 mins) Galeta creates a domestic comedy by playing with film space, superimposing two prints of the 1969 film In the Kitchen with a 10-second time delay.

In The House (1977, 8 mins, Color), Radoslav Vladich films the protective spaces of his own house, with parents, wife and child, filming each room according to its own character and ultimately presenting a comforting place, full of love. (Based on film notes by Regina Cornwell in the program catalogue)