Fluxfilms 120 min.

Fluxfilms 120 min.

This is the most complete version of the Fluxfilms. It took several months of research and detective work to locate some of the films. Four films, however, are still missing: Fluxfilm No. 32: Intermission, Milan Knizak; Fluxfilm No. 34: Rainbow Movie, Ay-O; and Fluxfilm No. 35: Moon Landing, Geoffrey Hendricks.

Fluxfilm No. 1: Zen For Film (1964), Nam June Paik. 20 min. Entry by Maciunas:
Clear film, accumulating in time dust and scratches.”

Fluxfilm No. 2: Invocation of Canyons and Boulders (1966), Dick Higgins. 3 min.
version. Entry by Maiunas: “Mouth, eating motions.”

Fluxfilm No. 3: End After 9 (1966), George Maciunas. 1:20 minn. Silent. B&W.
Entry by Maciunas: “Word & number gag, no camera.”

Fluxfilm No. 4: Disappearing Music For Face (1966), Chieko Shiomi. 10 min.
Silent. B&W. Entry by Maciunas: “Transition from smile to no-smile, shot at
2000fr/sec. Camera: Peter Moore.” Camera shows only a CU of the mouth area.

Fluxfilm No. 5: Blink (1966), John Cavanaugh. 2:30 min. Silent. B&W Entry by
Maciunas: “Flicker: White and black alternating frames.”

Fluxfilm No. 6: 9 Minutes (1966), James Riddle. 9 min. Silent. B&W. Entry by
Maciunas: “Time counter, in seconds and minutes.”

Fluxfilm No. 7: 10 Feet (1966), George Maciunas. 12-2/3 sec. Silent. B&W Entry
by Maciunas: “Prestype on clear film measuring tape, 10ft. length. No camera.”
At the end of every foot of film numbers appear, 1, 2, etc to 10.

Fluxfilm No.8: 1000 Frames (c.1966), George Maciunas. 41-2/3 sec. Silent.
B&W. Numerals on clear film from 1 to 1000.

Fluxfilm No. 9: Eyeblink (1966), Yoko Ono. 1 min. Silent. B&W. Camera: Peter
Moore Entry by Maciunas: “High speed camera, 200fr./sec. view of one eyeblink.”

Fluxfilm No. 10: ENTRANCE to EXIT (1966), George Brecht. 6:30 min. Sound
B&W. Entry by Maciunas: “A smooth linear transition from white, through greys
to black, produced in developing tank. The “door sign” ENTRANCE fades in,
white letters on the black background, stays for a few seconds, then slowly fades
into white. Five-minute fade into black and the title EXIT, which stays for a few
seconds then fades into white.

Fluxfilm No. 11: Trace #22, Robert Watts. 1:15 min. Silent. B&W. Entry by
Maciunas: “X-ray sequence of mouth and throat; eating, salivating, speaking.”

Fluxfilm No. 12: Trace No. 23 (1966), Robert Watts. 3 min. Entry by Jon
Hendricks: “Begins with a shot of a demarcation line on an asphalt tennis court. A
hand points to the distant landscape, then numbers 408 and 409 appear on a
female torso. The female then passes different decorated plastic hot dogs, banana
shapes suggestively between her legs, through her arm pits, etc. Ends with an egg
floating on water.”

Fluxfilm No. 13: Trace No. 24 (1966), Robert Watts. 3 min. Silent. B&W. Entry by
Jon Hendricks: “Begins with a picture of Marilyn Monroe, then shifts to a female
body, shot from belly button down, which is wriggling under piles of cellophane.”

Fluxfilm No. 14: One (1966), Yoko Ono. 4:30 min. Silent. B&W Camera: Peter
Moore. Entry by Maciunas: High speed camera 2000fr/sec. match striking fire.”

Fluxfilm No. 15: Eye Blink (1966), Yoko Ono. 1 min. Camera: Peter Moore. Same
as No.9, probably.

Fluxfilm No. 16: Four, Yoko Ono. 5:30 min. Silent. B&W. With Susanna Campbell,
Philip Corner, Anthony Cox, Bici Hendricks, Geoffrey Hendricks, Kyoko Ono,
Yoko Ono, Ben Patterson, Jeff Perkins, Susan Polang, Jerry Sablo, Carolee
Schneemann, James Tenney, Pieter Vanderbiek, Verne Williams. Camera: Jeff
Perkins, Anthony Cox. Entry by Maciunas: “Sequences of buttock movement as
various performers walked. Filmed at constant distance.”

Fluxfilm No. 17: 5 O’Clock in the Morning (1966), Pieter Vanderbiek. 4:30 min.
Silent. B&W. Camera: Peter Moore. A handful of rocks and chestnuts falling,
filmed with high speed camera.

Fluxfilm No. 18: Smoking (1966), Joe Jones. 6 min. Silent. B&W Camera: Peter
Moore. Entry by Maciunas: “Sequence of cigarette smoke shot with high speed
camera, 2000fr/sec.”

Fluxfilm No.19: Opus 74, version 2 (1966), Eric Andersen. 1:20 min. Silent. Color.
Entry by Maciunas: “Single frame exposures, color. Different image each frame,
various items in the room, etc.”

Fluxfilm No. 20: ARTYPE (1966), George Maciunas. 4:20 min. Silent. B&W. Entry
by Maciunas: Artype patterns, intended for loops.” Benday dot patterns. Dots,
lines. Entry by Maciunas: “screens, wavy lines, parallel lines, etc. on clear film.
No camera.”

Fluxfilm No. 21: (untitled) (1966), Alyson Knowles. Baby footage. 30 sec.

Fluxfilm No. 22: Shout (1966), Jeff Perkins. 2:30 min. Camera: Yoko Ono. Starring
Jeff Perkins and Anthony Cox. Close-ups of two faces, shouting at each other.

Fluxfilm No. 23: Sun in Your Head (1963), Wolf Vostell. 6 min. Silent. B&W.
Camera: Edo Jansen. Entry by John Hendricks: “Single Frame sequences of TV
or film images, with periodic distoritions of the image. The images are aiplaces,
women men interspersed with pictures of texts like: ‘silence, genius at work’ and ‘
ich liebe dich.’ The end credit is ‘Television decollage, Cologne, 1963.’”

Fluxfilm No. 24: Readymade (1966), Albert Fine. 45 sec. Silent. Color. Entry by
Maciunas: “Color test strip from developing tank.”

Fluxfilm No. 25: The Evil Faerie (1966), George Landow. 30 sec. Silent. B&W.
With Steven M. Zinc. A man on the roof making flying gestures with his hands.
Film is preceded by a picture of an object of “L” shape shakingly moving. At the
end of the film, image of “Kodak girl” briefly appears.

Fluxfilm No. 26-28: Four films by Paul Sharits: Sears Catalogue 1-3—“pages from
Sears catalogue, single frame exp.”; Dots 1 & 3—“single frame exposures of dot-
screens”; Wrist Trick—“various gestures of hand held razorblade, single frame
exposures”; Unrolling Event—“toilet paper event, single frame exposures.” 2
min. Silent. B&W.

Fluxfilm No. 29: Word Movie (1966), Paul Sharits. 4 min. Color. Entry by
Maciunas: “Single frame exposures of words, color.”

Fluxfilm No. 30: Dance (1966), Albert Fine. 2 min. Face Smiling. Hammering
a brick. CU of an ear (moving?). Face twitching. Dancing on one leg. Rolls,
twitches on the floor. Boxes the wall.

Fluxfilm No. 31: Police Car (1966?), John Cale. 1 min. Silent. Color. Entry by
Maciunas: “Underexposed sequence of blinking lights on a police car.”

Fluxfilm No. 36: Fluxfilm No. 36 (1970), Peter Kennedy and Mike Parr. 2:30 min.
Sound. B&W. Entry by Maciunas: Tips of feet walking at the edge of frame,” all
around the frame.

Fluxfilm No. 37: Fluxfilm No. 37 (1970), Peter Kennedy and Mike Parr. 2 min.
Sound. Entry by Maciunas: “Face going out of focus by layering sheets of plastic
between camera and subject.”

Fluxfilm No. 38: Jen e vois rien Je n’entends rien Jen e dis rien (1966), Ben
Vautier. C. 5. Min. 8 mm. Ben stands with ears, eyes, mouth bandaged. Entry by
Maciunas: “Seeing, Hearing, Saying Nothing.”

Fluxfilm No. 39: La traverse du port de Nice á la nage (1963), Ben Vautier. C. 2
minn. 8 mm. Ben(?) swims across a bay in Nice. Entry by Maciunas: “swimming
across Nice harbour fully clothed.”

Fluxfilm No. 40: Fair un effort (1969), Ben Vautier. C. 2 minn. 8 mm. Entry by
Maciunas: “Lifting and holding up a chest of drawers.”

Fluxfilm No. 41: Regardez moi cela suffit (1962), Ben Vautier. c. 3 min. 8 mm.
Entry by Maciunas: “sitting on a promenade in nice with a sign: Watch me, that’s all.”

Scenes From the Life of George Maciunas
Jonas Mekas, 1992. 30 min.

Footage of George Maciunas taken between 1952 and 1978. Includes footage of his parents. Footage of various Fluxus events and scenes from Maciunas’ private life (Yoko Ono, John Lennon, Andy Warhol,, Almus, etc.)