Marjorie Keller

Daughters of Chaos

Marjorie Keller

Anne Becker writes, "The film deals simultaneously with girls becoming women, woman looking back on her childhood. It is pervaded with voluptuousness, with longing: the woman, disappointed in love, looking for lost innocence, the girl yearning for the power of her sex."

Misconception

Marjorie Keller

B. Ruby Rich writes, "MISCONCEPTION is composed of six parts that together chronicle the experience of one woman and her husband during the course of her natural childbirth. The film communicates the precision and care with which it has been assembled. [The] structure lends the film a pacing rhythm that has less to do with traditional cinema-verité documentary or film journalism than with the pacing and rhythm of poetry."

Objection

Marjorie Keller

Begun as a document for insurance purposes, OBJECTION catalogues the contents of a house with ever-increasing horror. The soundtrack carries the voices and sounds of the family unseen.

Ancient Parts/Foreign Parts

Marjorie Keller

The first two in a series of in-camera edited films by Marjorie Keller. ANCIENT PARTS portrays the symbolic differentiation and mock conquest of a boy and his mother. FOREIGN PARTS portrays the poetics of family life in an unfamiliar context. Two joined together as one.

The Fallen World

Marjorie Keller

An elegy for a Newfoundland dog named Melville and a portrait of his owner.

Trip to Carolee

Coleen Fitzgibbon

Marjorie Keller, Coleen Fitzgibbon

Super 8mm transfer to digital, color, sound, 5:07 minutes. Still images of things passing; a diary between city and country. Marjorie Keller and Coleen Fitzgibbon drive to Carolee Schneemann’s to feed Kitsch.

The Web

Marjorie Keller

In THE WEB I delved for the first and only time into film as mischief-making; wicked, like a child.

The Outer Circle

Marjorie Keller

“This film doesn’t get anywhere…just like adolescence. The hair comes off, the hair goes on, the hairdresser moves this way and that, the music comes on again and again, Kathy and Steve do and don’t break up, it’s all true, it’s all a lie. I want people to be as free as possible when they watch it…” –Marjorie Keller

By Twos and Threes: Women

Marjorie Keller

Directed by Marjorie Keller.

Is As Is

Saul Levine

Marjorie Keller

A portrait of a mother with her arms full in the backyard bathing her twin babies as the early spring light sings and dances. Later the father cooks a fish. Marjorie Keller is the mother.

Film Notebook: Part 1 (For Saul)

Marjorie Keller

Saul Levine

Film Notebook Part 1 from 1975 is a beautiful collection of daily fragments which Keller shot from her life the way one would write in a journal. She documents the world around her in a spontaneous home movie fashion then employs meticulous editing, making subtly poetic connections between shots and throughout the film.

Untitled

Marjorie Keller

A portrait: of Saul Levine, filmmaker and one-time Italian Ice Vendor./of the film surface & depth/so by the choice of image./ of the inside & outside light in the summer and the shower. –M. K.

As Is Was

Saul Levine

Marjorie Keller, Stan Brakhage

This film was shot the same weekend as Z (Zee Not Zed), when Stan Brakhage was visiting University of Rhode Island, where Marjorie Keller was teaching at the time. They get some coffee, then go for a walk on a beach in an old whaling harbor.

Departure

Saul Levine

Saul Levine, Marylyn Aigen

DEPARTURE is a film that was shot in 1976-77 during a year when I lost my job due to both cutbacks at the campus at which I taught and my involvement in the movement against them. I collected footage and imagined I would edit the film together the night I left. I was unable to do this and it took several years to finish it.

She/Va

Marjorie Keller

A young dancer re-choreographed through film editing. This film was originally made in standard 8mm from a home movie.

Herein

Marjorie Keller

HEREIN charts the movement from political activism to filmmaking through the metaphor of a dwelling. An FBI film obtained under the Freedom of Information Act, Emma Goldman's autobiography, the making of films on the Lower East Side in New York, street prostitution and drug addiction, all inflect the sense of place, space and history.