O’Neill began using optical printing techniques in the mid-1960s, manipulating the cinematic image in ways mimicked by computer technology decades later. His ingenuity has made him a pioneer in avant-garde film and earned him a Maya Deren Independent Film and Video Artists Award from the American Film Institute, among many other accolades. With Horizontal Boundaries, O’Neill interprets the landscapes of Los Angeles and enhances this multilayered portrait with a new soundtrack and a dazzling 35mm print. 2008, 35mm, 23 minutes. In Sidewinder’s Delta, a title from the Walker’s Ruben/Bentson Film and Video Study Collection, optical printing is used to combine original material with images drawn from found films. 1976, video, 20 minutes. Rounding out the program is Trouble in the Image, a multilayered work that took more than a decade to complete. 1996, 35mm, 38 minutes.

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O’Neill began using optical printing techniques in the mid-1960s, manipulating the cinematic image in ways mimicked by computer technology decades later. His ingenuity has made him a pioneer in avant-garde film and earned him a Maya Deren Independent Film and Video Artists Award from the American Film Institute, among many other accolades. With Horizontal Boundaries, O’Neill interprets the landscapes of Los Angeles and enhances this multilayered portrait with a new soundtrack and a dazzling 35mm print. 2008, 35mm, 23 minutes. In Sidewinder’s Delta, a title from the Walker’s Ruben/Bentson Film and Video Study Collection, optical printing is used to combine original material with images drawn from found films. 1976, video, 20 minutes. Rounding out the program is Trouble in the Image, a multilayered work that took more than a decade to complete. 1996, 35mm, 38 minutes.

Target Free Thursday Nights sponsored by