LESBIAN SEXUALITY
($19.95 + shipping) One VHS with 4 films:
Dyketactics, 16mm, color, sound, 4 min., 1974
The first lesbian lovemaking film to be made by a
lesbian filmmaker. Sensual, evocative montage of 110 images selected
for their representation of "touching." In the words of the filmmaker,
"I wanted to make a lesbian commercial."
"All of a sudden I found myself holding my breath as
I watched the images of lovemaking sensually and artistically captured."
--Elizabeth Lay, Plexus
Multiple Orgasm, 16mm, color, sound., 10 min, 1976
A sensual, explicit film that says just what it is, plus visual overlays of erotic rock and cave formations.
Double Strength, 16mm, color, sound, 16 min., 1978
An erotic/political series of female/lesbian images,
but leads into Hammer's later use of the confluence of mixed media in
her films.
"One of Barbara's most beautiful films on personal
relationships made with trapeze artist Terry Sendgraff, shot swinging
in the nude from various angles. The image poetry carries us through
the duration of a relationship: its intensely erotic beginnings, its
sense of serenity, its playfulness and comedy, and its closure, the
alienation, pain, anger, and loss of contact. The death of the body, a
theme tenderly interwoven into the ageless strength and agility of
Terry Sendgraff's body, becomes the death of a relationship, a closing
out, a blanking out, a leaving of the body behind. The body becomes a
source of life. Its movement, grace, pain, and happiness are contrasted
with the inertness of things and the stillness of photos that merely
document the brief passage of light."
--Jacqueline Zita, Jumpcut
Women I Love, 16mm, color, sound, 27 min., 1976
The camera as a personal extension of my body, my
personality. Lesbian lovers, a new camera, out-of-date stock,
celebration, play-all the footage collected over five years. That, plus
three months of country vegetable garden living without cultural
distractions give me the quiet, disciplined leisure to view the
moviescope faces of those I love and edit the original film directly on
the synchronizer while making the A/B rolls.
"I would gladly go out of my way to see it again and
would travel some distance to see a retrospective of its author's
work." --T. Dowling, The Washington Star
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