PERIPETEIA II
Extending from Peripeteia I, navigation by light, contrasting the camera’s fixed sight with “in site” movement. A sculpture of glass, mirrors, and film vies with the choreography of the cardinal points: dense shelter, rain, red emulsion. Filmed in the Oregon Coastal forest, June. Award SF Art Institute Film Festival First prize, 1979.
DAYLIGHT TEST SECTION
Recurring emergence narrative. The “loaded” image becomes the determinant feature for reading otherwise unemotional footage.
PERIPETEIA I
Navigation spiraling sunwards. Exploring the movement of forest and body. A landscape film, composed intuitively and linearly — a digressive attendance contrasting the camera’s fixed sight with in-site movement. seeking the larger pattern of my digressive attendance. Filmed in the Oregon coastal rain forest, fall. A landscape film, composed intuitively and linearly — a digressive attendance contrasting the camera’s fixed sight with in-site movement. Filmed in the Oregon Coastal rain forest.
SOME EXTERIOR PRESENCE
Structured on the 4-handed nature of film: original footage (outtakes from a television documentary I was directing in the Spring of 1975 in South Bronx and Brownsville boroughs of New York City) manipulated, then, optically printed, then manipulated again. 4x4x4.
TAR GARDEN
Child's attempt at fiction, with actors, a romantic fantasy filmed on the roof where she lived in downtown NYC. Funded by AFI.
MOTHER MARRIES
A home movie of Child's mom re-marrying at their house on the Jersey Shore, four years after Child's dad died.
GAME
An intimate study of a prostitute and her pimp in the East Village, down and out but with exceptional courage and outstanding verbal play. Comedy mixed with tragedy. Premiered at The Whitney Museum. Screened Women’s Film Festival NY; Tampere Film Festival. Reviewed in the NY Post, NY Times.
EXCEPT THE PEOPLE
Child's first film, a documentary about the East Village where she lived at the time.