Olympia: the Diving Sequence
The supremacist aesthetic of the human form is achieved through cinematography and editing.
• Directed by Leni Riefenstahl. (1936-38, 6 mins, Print from Kit Parker)

Dance in the Sun
Film and video maker Shirley Clarke studied dancing with Hanya Holm, Doris Humphrey, and Anna Sokolow. Her interests led to this first film where a dancer performs both on stage and on a beach.
• By Shirley Clarke. Dancer: Daniel Nagrin. Music by Ralph Gilbert. (1953, 7 mins, Print from Museum of Modern Art)

Nine Variations on a Dance Theme
An obsessively cubist multiplicity and simultaneity of trackings and tracings.
• By Hilary Harris. Dancer: Betty de Jong. (1966, 13 mins, Print from Film-Makers' Cooperative)

Adebar
The dancers' movements are optically re-choreographed to a measured schema of reason over rhythm.
• By Peter Kubelka. (1956-57, 2 mins, Print from Canyon Cinema)

Totem
Alwin Nikolais' dramatic theatricality and Emshwiller's pictorial design sense seem to have been made for each other.
• By Ed Emshwiller. With the Alwin Nikolais Dance Company. Electronic score by Nikolais. (1963, 16 mins, color, Print from Canyon Cinema)

Flickers
The choreographer puts it to the movies in Charles Wiedman's zany spoof of silent film conventions and cliches, choreographed in 1941.
• Directed by Charles Wiedman. (1972, 19 mins, color, Print from Dance Film Archive)

Light, Part V
Part V of Kei Takei's dramatic theater movement combining senses of ritual and contemporary dance, evolving since 1969.
• Directed by Kai Takei. Music by Marcus Parsons III. (1976, 22 mins, color, Print from Dance Film Archive)

Circles II, Variation II
Artist Doris Chase has been exploring media fusion with dance since 1971. The dancers interact with her circle sculptures as multiple imagery in intense colors.
• By Doris Chase. Opticals by Olvey & Brown. Music by George Kleinsinger. (1973, 8 mins, color, Print from Creative Film Society)