Facts About Projection (1950), 10m, dir. Robert Edmonds. An old-timey set-up & projection techniques film, set in a school classroom. This film teaches the young projectionist how to put on a good show, while not tripping over the cord while doing so.

Wholly Communion (1965), 35 m, dir. Peter Whitehead. The best poetry film we've ever seen... let's take the wayback machine to London's Royal Albert Hall in 1965, for a poetry convention featuring Allen Ginsberg, Gregory Corso, Lawrence Ferlinghetti, Adrian Mitchell, and our personal favorite, Ernst Jandl, whose wordless poetry causes a near-riot, with the poets heckling and fighting each other. A lovely film, and a great document of the short era between "beat" and "hip".

Kienholz on Exhibit (1969), 21m, dir. June Steel. In 1953 the sculptor Ed Kienholz moved to Los Angeles, where he began making a series of bas-reliefs with found materials. For the next forty years, until his death in 1994, he and his wife Nancy Reddin Kienholz made assemblage environments consisting of mannequins, stuffed animals, and pieces of clothing, focusing on the controversial subjects of romance, religion, consumerism and patriotism. Steel's extremely entertaining film consists of audience reactions to a Vietnam-era Kienholz exhibit at the LA County Museum of Art, which included his well-known pieces "The Birthday‚" "Back Seat Dodge‚" and "Roxy's," depicting such hot-button motifs as the bordello, furtive sex, and back-alley abortion.

Frank Film (1973), 9m, dir. Frank Mouris. This amazing and hypnotic film, a dizzying array of 11,592 collage shots parodying the good 'n' plenty world of advertising, challenges the visual and auditory senses to the extreme. Mouris made this film while teaching at Harvard, on a production schedule that involved seven consecutive 10-hour days. It was nominated for an Academy Award in the Animated Film category.

Begone Dull Care (1949), 10m, dir. Norman McLaren. McLaren created the animation group at the National Film Board of Canada, and served as its director until his death in 1984. His work was experimental, fun, and sometimes downright strange (I'm still at a loss to explain 'Rhythmetic'). Whether painting directly on film, experimenting with slo-mo multiple images or pixillation, he championed high-art animation in a financially austere environment. Incredibly, his entire output consists of less than three hours of film. This film, handpainted with the assistance of Eve Lambart, and set to the music of Oscar Peterson, is exceptional by anyone's standards.

Le Paysagiste (Mindscape) (1976), 8m, dir. Jacques Drouin. Alexandre Alexeieff, one of the best-known early animators, invented the pinscreen technique, which employed a massive version of those toys you see at museum shops; the animator forms the images by pushing the pins through the board to different depths, creating light and dark, one frame at a time. The National Film Board of Canada acquired Alexeieff's original pinscreen, and Drouin employed it to create this beautiful, haunting story of an artist who climbs into the landscape he has just painted, and journeys through his invented two-dimensional world.

David & Hazel (1963), a guidance drama illustrating the conflict between a non-communicative husband and his family.

I'm No Fool with Fire (1955). Jiminy Cricket instructs young learners on the perils of playing with matches.

Meet Mr. Lincoln (1959), an NBC Project 20 historical portrait of the man on the penny.

Secrets of the Plant World (1956), a biology classic, with beautiful time-lapse sequences.