The conclusion of the three-part program of rare prints of German experimental films from the Twenties through 1968, introduced with discussion by Ingo Petzke (see Monday, December 7).

A highlight of this program is an early short by Wim Wenders, Same Player Shoots Again, which is described by Wenders as “just one three-minute shot that's repeated five times. It was shot in black and white and it's repeated five times, but always in a slightly different color. I mean, it's not really colored, just a little bit blue and a little bit red and a little bit green and yellow. There was only one shot, of a man running along the street.... For me, it had to do with pinball machines - visually it's as if you had five balls....”
Werner Nekes and Dore O.'s Jüm-jüm uses the simple rhythms and movements of a girl on a swing to explore an abstract world of light, color and movement. “We become detached from the girl and can see only visual rhythms” (Steve Dwoskin). Birgit Hein's films tend to explore the interaction between art and technology; Raw Footage is one of her earliest works.
Included in the program tonight is A Rainy Night in Potsdam by Helmut Herbst, one of West Germany's leading animation/graphics film artists. Also programmed are films by Rolf Wiest, Adolf Winkelmann and Lutz Mommartz.
Spring Guns (Lutz Mommartz, 1967, 7 mins)
Jüm-jüm (Werner Nekes and Dore O., 1967, 10 mins)
Adolf Winkelmann, Kassel, December 9, 1967, 11:54 p.m. (Adolf Winkelmann, 8 mins)
Raw Footage (Birgit Hein, 1968, 20 mins)
Polly (Rolf Wiest, 1968/69, 10 mins)
Same Player Shoots Again (Wim Wenders, 1967, 12 mins)
A Rainy Night in Potsdam (Helmut Herbst, 1970, 22 mins)