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SHORT FILMS

1974

Lucy

5'30" – Super-8 – B&W – Silent (soundtrack lost) – Israel

Lucy has the allure and expressions of a diva. The film can be compared to both the Italian dramas of the 1910s and the French experimental films of the 1920s.

Blowing Glass

5' – Super-8 – Color – Silent (soundtrack lost) – Israel

This film was made in Hebron and deals with the work and techniques of a glassblower.

The International Orthodontist Congress

4' – Super-8 – Color – Silent (soundtrack lost) – UK

Short comedy film, using images gathered around London: some dentures and the flag from an orthodontists’ conference, a brass band in which each musician follows his own beat…

Pictures in the Exhibition

3'30" – Super-8 – Color – Silent (soundtrack lost) – UK

An exhibition of Inuit art in London. Through parallel editing, the Inuit statuettes, then the faces, attitudes, and gestures of visitors to the exhibition.

Memphis U.S.A. (Suite)

4'10" – Super-8 – Color – Silent (soundtrack lost) – USA

Houses and buildings of the inhabitants living in the neighborhood, filmed in Memphis, USA: Faces, now filmed in their environment.

Memphis U.S.A. (Faces)

5'20" – Super-8 – Color – Silent (soundtrack lost) – USA

Faces and expressions of men, women, and children in the African-American neighborhood of Memphis.

Maïm (Water)

3'30" – Super-8 – Color, B&W – Silent (soundtrack lost) – USA

Surfaces, movements and reflections of the sea and the beach in sunlight and rain.

Ahare (Images After War)

3'20" – Super-8 – Color – Silent (soundtrack lost) – Israel

Upon his return from serving in the Yom Kippur War, during which he miraculously survived a helicopter crash, Amos Gitai directed this short feature in which he films, in a series of close-ups, his torn and blood-stained uniform, as well as some drawings.


It is the Yom Kippur war… in which Amos Gitai, like the soldier Weinraub in Kippur, served as a crew member of a rescue helicopter… Amos Gitai brought the camera along to the hospital and then home for his convalescence. There was no more war to film, but there was his memory and, more immediate and more physical, his combat suit, torn to pieces and stained with blood. It hangs on the balcony on a washing line, as if left to dry. It is an image that recurs more insistently and in several reels, shot from all distances and angles, as if Gitai wanted to convince himself that he was no longer inside that suit, to make sure that he was really alive, safely “out of range.” At the same time, it appears as a sacred relic and a grotesque scarecrow, the waving ghost of a nightmare now over. The soldier Weinraub, lifeless, suspended, a monument and surrealist effigy to the absurdity of war. The director Gitai, out of range, being born.

Alberto Farassino, in Daniela Turco (ed.): Amos Gitai, 2001

Images of war 1, 2, 3

10'20" – Super-8 – Color – Silent (soundtrack lost) – Israel

During the Yom Kippur War, Amos Gitai served in a helicopter-borne rescue unit. These three Super-8 reels, filmed at the height of the conflict, include shots taken from a helicopter, as well as a few shots of the crew and the helicopter. The final reel shows tanks moving up toward the Golan Heights and bombings on the Heights.

Arlington U.S.A.

1'50" – Super-8 – Color – Silent – USA

Filmed at the Arlington Military Cemetery during a commemorative parade, this film can only be understood in the context of “Memphis USA”, to which it is the “negative.” Stiffness, aseptic and decorum of the army in contrast to life in poor neighborhoods.

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