Unavailable on home video for many years (except perhaps as a grainy, nth-generation VHS bootleg), Penelope Spheeris' seminal document of the young 1979-1980 Los Angeles punk scene includes chaotic live performances by now-legendary groups like Black Flag (with short-lived lead singer Ron "Chavo Pederast" Reyes), X (giving themselves stick-and-poke tattoos) and the Germs (whose unpredictable lead singer Darby Crash would commit suicide before the film's release) interwoven with talking-head interviews with teenage punks and, most entertainingly, older club owners trying very hard to describe a growing form of music they were clearly unprepared for. The footage of Fear's confrontational set would later grab the attention of John Belushi, who snagged the band a 1981 appearance on Saturday Night Live (and resulted in $20,000 in damage to the studio). - Tom Fritsche

这是一场作家和演员的文学之旅。5位顶级作家和5位资深演员共同开启10次奇妙的文学旅行，穿过课本中的文学城市，作家完成文学创作后由演员进行沉浸式舞台演绎，共同创造全新实景文学舞台作品。

这是一场作家和演员的文学之旅。5位顶级作家和5位资深演员共同开启10次奇妙的文学旅行，穿过课本中的文学城市，作家完成文学创作后由演员进行沉浸式舞台演绎，共同创造全新实景文学舞台作品。

The third (and seemingly final) installment in Penelope Spheeris' Los Angeles music trilogy, THE DECLINE OF WESTERN CIVILIZATION III follows not the punk acts of Los Angeles from 1996-1997 but their homeless teenaged fans. Musician interviews in this DECLINE are fewer but include interesting musings from Keith Morris from the Circle Jerks and Flea (credited as the "ex-bass player of Fear"). DECLINE III lives up to its title as Spheeris explores every facet of the gutter-punk life, from their damaged upbringings (nearly all were abused or neglected as children) to the self-destructive lives they lead on society's fringe (alcoholism, homelessness and run-ins with skinheads, among others). - Tom Fritsche

The Decline of Western Civilization Part II: The Metal Years is a documentary film directed by Penelope Spheeris about the Los Angeles heavy metal scene from 1986 to 1988.

一部实体光电影。它处理的是投射光束本身，当光束照射到平面（银幕）时才会被解码。它以普通方式在16毫米胶片放映机上放映。虽然不可避免地会有一堵墙限制光束的长度，但不需要银幕。观众观看影片时，背对着通常的银幕站立，沿着光束看向放映机本身。影片开始时是一条像激光束一样的连贯光线，经过 30 分钟的放映，逐渐发展成一个完整的空心光锥。在这个真实的时间之外，它没有任何所指。空间是真实的，而非指涉的；时间是真实的，而非指涉的... 　　安东尼·麦考尔 Anthony McCall，英国艺术家，在曼哈顿生活工作。他的作品介于雕塑、电影和绘画之间，其历史意义已在以下展览中得到认可：“走进光明：1964-77美国艺术中的投影图像”，惠特尼美国艺术博物馆（2001-2）；"扩大的屏幕：60和70年代的行为和装置”，维也纳现代艺术博物馆（2003-4）；“超越电影：投影艺术”，汉堡火车站，柏林（2006-7）；“电影效果：幻觉、现实和投影图像”，赫什霍恩博物馆，华盛顿特区（2008）；“在线”，现代艺术博物馆（2010-11）。

An ecology of signs lurking amid seductive 16mm travel footage echoes with post-colonial reverberations in Ana Vaz's deceptively corrosive, award-winning Occidente

Chott el-Djerid (A Portrait in Light and Heat) almost magically captures the optical and acoustic distortions of nature. Focused on landscape, the video work dwells briefly on the snowy plains of midwestern America and Saskatchewan, then abruptly switches to the arid Tunisian desert. Viola investigates the world of illusion and how it is made. He works by slowly discovering the distinctive character of a place, probing its power and energy, drawing upon the associations it evokes, and searching instinctively for its archetypal symbols. In Tunisia, he was fascinated by the pastel-colored desert mirages floating mysteriously near the horizon.

A film that looks at the genius of JMW Turner in a new light. There is more to Turner than his sublime landscapes - he also painted machines, science, technology and industry. Turner's life spans the Industrial Revolution, he witnessed it as it unfolded and he painted it. In the process he created a whole new kind of art. The programme examines nine key Turner paintings and shows how we should re-think them in the light of the scientific and Industrial Revolution. Includes interviews with historian Simon Schama and artist Tracey Emin.