[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F1184106:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":6,"birthday":7,"deathday":8,"gender":9,"homepage":10,"id":11,"imdb_id":12,"known_for_department":13,"name":14,"place_of_birth":15,"popularity":16,"profile_path":17,"combined_credits":18,"images":1127},false,[],"Barbara Hammer was born on May 15, 1939 in Hollywood, California. She was a visual artist working primarily in film and video. She made over 80 moving image works in a career that spanned 40 years. She is considered a pioneer of queer cinema.","1939-05-15","2019-03-16",1,"http:\u002F\u002Fbarbarahammer.com\u002F",1184106,"nm0358430","Directing","Barbara Hammer","Hollywood, California, USA",0.6745,"\u002F1YMUsZHPEVqLfxzrvauPulfR1wr.jpg",{"cast":19,"crew":328},[20,37,50,65,77,88,100,110,120,129,139,147,158,169,179,188,197,207,219,230,240,251,262,272,283,294,306,316],{"adult":4,"backdrop_path":21,"genre_ids":22,"id":24,"title":25,"original_language":26,"original_title":25,"overview":27,"popularity":28,"poster_path":29,"release_date":30,"softcore":4,"video":4,"vote_average":31,"vote_count":32,"character":33,"credit_id":34,"order":35,"media_type":36},null,[23],99,371387,"A Horse Is Not a Metaphor","en","The filmmaker, fighting ovarian cancer, stage 3, returns to her experimental roots, in a multilayered film of numerous chemotherapy sessions with images of light and movement that take her far from the hospital bed.  A a cancer ‘thriver’ rather than ’survivor’, Barbara Hammer rides the red hills of Georgia O’Keefe’s Ghost Ranch in New Mexico, the grassy foothlls of the Big Horn in Wyoming, and leafy paths in Woodstock, New York changing illness into recovery.  The haunting and wondrous music of Meredith Monk underscores and celebrates in this film that lifts us up when we might be most discouraged.",0.6257,"\u002FnASzsk0gqroEK7TviFaDizo0gBL.jpg","2009-02-10",5,3,"Self","6175d8a5a579f90090b2ff0b",0,"movie",{"adult":4,"backdrop_path":38,"genre_ids":39,"id":40,"title":41,"original_language":26,"original_title":41,"overview":42,"popularity":43,"poster_path":44,"release_date":45,"softcore":4,"video":4,"vote_average":46,"vote_count":47,"character":33,"credit_id":48,"order":49,"media_type":36},"\u002F9yHD9ZYkJke20JPnRLFhj2MG7D0.jpg",[23],55245,"!W.A.R.: !Women Art Revolution","Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.",1.4876,"\u002FbUfLZKgGUXQMZLI7d9tUlT1Vdt9.jpg","2010-09-12",4.3,17,"61f7137368929c001b410bd7",13,{"adult":4,"backdrop_path":51,"genre_ids":52,"id":55,"title":56,"original_language":26,"original_title":56,"overview":57,"popularity":58,"poster_path":59,"release_date":60,"softcore":4,"video":4,"vote_average":61,"vote_count":62,"character":63,"credit_id":64,"order":35,"media_type":36},"\u002Fpd7UKfkBSjQs1HfgoRscQBRETGg.jpg",[53,54],10749,18,258907,"Dyketactics","Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic.",0.9077,"\u002F2OeFXrG5kzJ6rEIajpw4g3DdTdW.jpg","1974-01-01",5.6,35,"Woman Making Love","531f61dac3a3685c51009dba",{"adult":4,"backdrop_path":21,"genre_ids":66,"id":67,"title":68,"original_language":26,"original_title":68,"overview":69,"popularity":70,"poster_path":71,"release_date":72,"softcore":4,"video":4,"vote_average":73,"vote_count":74,"character":75,"credit_id":76,"order":35,"media_type":36},[23],282435,"Double Strength","Four stages of a lesbian relationship explored in an experimental film starring performance artists Terry Sendgraff and Barbara Hammer on suspended trapezes and ropes.",0.8812,"\u002FbjEAt3U3Ll59pM9pq8Qr94QTXGJ.jpg","1978-01-01",5.3,9,"","53c841690e0a267fed005014",{"adult":4,"backdrop_path":78,"genre_ids":79,"id":80,"title":81,"original_language":26,"original_title":81,"overview":82,"popularity":83,"poster_path":21,"release_date":84,"softcore":4,"video":4,"vote_average":85,"vote_count":86,"character":33,"credit_id":87,"order":9,"media_type":36},"\u002FsKIXSPNJp7yMrQtI80ggqqQzEwq.jpg",[23],376516,"Film Hawk","What do filmmakers as disparate as Kevin Smith, Ed Burns, Rob Epstein, and Barbara Hammer have in common? A secret weapon known as Bob Hawk.  As a veteran of the American independent film scene since its inception, the cinephile and consultant has been a regular, cherished presence at film festivals and markets for over three decades. Hawk saw promise in scrappy, independently produced films like Clerks and The Brothers McMullen when no one else even knew to look, and he brought these films to the attention of the Sundance Film Festival, thereby launching multiple careers in the process. An unsung champion of new voices, he has discovered innovative work, nurtured new talents, and brokered relationships with film festivals and critics alike, while staying out of the spotlight—until now. At 75, Bob Hawk looks back on a still-vibrant life in independent film, exploring how the rebellious gay son of a preacher found his calling as a behind-the-scenes film impresario.",1.0894,"2016-01-20",4.4,8,"65b5508dafe2240184392aff",{"adult":4,"backdrop_path":21,"genre_ids":89,"id":91,"title":92,"original_language":26,"original_title":92,"overview":93,"popularity":94,"poster_path":95,"release_date":96,"softcore":4,"video":4,"vote_average":97,"vote_count":98,"character":33,"credit_id":99,"order":35,"media_type":36},[90,23],36,346446,"My Babushka: Searching Ukrainian Identities","This video documentary centers on the questions of civil liberties and cultural differences in a society beginning to open as one woman searches for her own ethnic roots, identity and family history in Ukraine. Issues of human rights, anti-Semitism, homophobia, feminism and a divided and economically-depressed country are encountered as Barbara Hammer, a feminist activist and pioneer of lesbian cinema, return to a “homeland” full of struggling as people search for a new post-glasnost identity.",0.4881,"\u002Fay0UzCT3KnZcmQwnrNADPYqVlmK.jpg","2001-01-01",5.5,4,"558f1b61c3a36843cf007c1d",{"adult":4,"backdrop_path":21,"genre_ids":101,"id":102,"title":103,"original_language":104,"original_title":103,"overview":105,"popularity":106,"poster_path":107,"release_date":108,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":33,"credit_id":109,"order":35,"media_type":36},[90,23],346448,"Diving Women of Jeju-do","ko","Jeju-do is the largest of Korean islands and lies between Korea and Japan. There, for hundreds of years, women dive without breathing apparatus, to the ocean floor and collect shellfish, octopus, and urchins that they sell. The divers are in their sixties and seventies and their daughters do not want to inherit their work, lifestyle, and health problems that go with diving. As a filmmaker I was privileged to meet many of these women and dive with them. Their stories of hardship and pride confirmed my desire to record this unique and ancient tradition.",0.7409,"\u002F4v38lhD3U9ZIJjj7Q3m4fXooBRd.jpg","2007-01-01","558f232ec3a3687bdb0062f7",{"adult":4,"backdrop_path":21,"genre_ids":111,"id":112,"title":113,"original_language":26,"original_title":113,"overview":114,"popularity":115,"poster_path":21,"release_date":116,"softcore":4,"video":4,"vote_average":9,"vote_count":117,"character":33,"credit_id":118,"order":119,"media_type":36},[23],431528,"Women of Vision","Documentary that highlights 18 women and covers a period of time from the 50's to the 90's. The women chosen were selected because they represent the real diversity within both feminism and independent film and video. They range in age from 65 to 25. They are black, white, Puerto Rican, Yugoslavian, Asian American, biracial. They are straight, gay and bisexual. What they share is a need to express their own interpretations of what American culture is and could be and a belief that this work is made particularly powerful through the media.",0.8834,"1998-08-03",2,"585f41a492514115cf0178fa",6,{"adult":4,"backdrop_path":21,"genre_ids":121,"id":122,"title":123,"original_language":26,"original_title":123,"overview":124,"popularity":125,"poster_path":126,"release_date":127,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":75,"credit_id":128,"order":35,"media_type":36},[],438047,"Generations","Generations is a 30 minute 16mm film about mentoring and passing on the tradition of personal experimental filmmaking. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer filmmaker. Shooting during the last days of Astroland at Coney Island, New York, the filmmakers find that the inevitable fact of aging echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Inspired by Shirley Clarke’s Bridges Go Round, both filmmakers edited picture and sound separately, joining their films in the middle when they finished making a true generational and experimental experiment.",0.699,"\u002F5ShqyYCBJg4OmneJ4g1RLeXsG80.jpg","2010-01-01","588e6d74925141183f01010b",{"adult":4,"backdrop_path":21,"genre_ids":130,"id":131,"title":132,"original_language":26,"original_title":132,"overview":133,"popularity":134,"poster_path":135,"release_date":136,"softcore":4,"video":4,"vote_average":86,"vote_count":9,"character":137,"credit_id":138,"order":35,"media_type":36},[],438358,"Resisting Paradise","Hammer’s 2003 film Resisting Paradise, which deals with the concept of art as a tool of political resistance, was especially fascinating to me. Hammer, who was doing a painting residency in Cassis, France, when war broke out in Kosovo, found herself questioning the validity of art in the face of political conflict and unrest. She began exploring the history of the French Resistance in Cassis, and used that as a chance to reflect on how Cassis’ artistic community, both those who were threatened by the Nazi occupation of France and those who were able to remain relatively neutral, reacted to the atrocities of the Second World War.",0.5237,"\u002FiuJdtNaEINU9g24B57SOhca0Xg9.jpg","2003-05-08","Director","5890ae90c3a368701d007048",{"adult":4,"backdrop_path":21,"genre_ids":140,"id":141,"title":142,"original_language":26,"original_title":142,"overview":75,"popularity":143,"poster_path":144,"release_date":145,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":75,"credit_id":146,"order":35,"media_type":36},[],465048,"Barbara Hammer Lends a Hand",0.5114,"\u002FoqhDMSfhlqcgRVH7eMYuuMlGL5r.jpg","2012-03-28","595f9cdd9251410bfa0a5982",{"adult":4,"backdrop_path":21,"genre_ids":148,"id":149,"title":150,"original_language":26,"original_title":150,"overview":151,"popularity":152,"poster_path":153,"release_date":154,"softcore":4,"video":4,"vote_average":155,"vote_count":156,"character":75,"credit_id":157,"order":35,"media_type":36},[23,53],357840,"Superdyke Meets Madame X","From the first kiss to breakup, Almy and Hammer record their relationship on a reel-to-reel ¾” tape recorder and microphone.",0.7067,"\u002F8CLQx1ccKI1xGDeYnBvMY1G4ULt.jpg","1976-09-22",6.2,10,"5a5db03e92514119e7005b56",{"adult":4,"backdrop_path":21,"genre_ids":159,"id":161,"title":162,"original_language":163,"original_title":162,"overview":164,"popularity":165,"poster_path":166,"release_date":167,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":75,"credit_id":168,"order":35,"media_type":36},[160],14,501002,"Evidentiary Bodies","xx","We, as human beings on a small globe, united by evolutionary structure and biological DNA have a chance to come together through the experience of empathy and identification with the sensitive body. An unspoken plea for viewers to engage with compassion, to experience vulnerability, to know through evidence this body is their body.",0.4967,"\u002FqBrT2QqURwwoEiEGHEsA9DWf9dR.jpg","2018-02-26","5a9838ff0e0a2630c10020c6",{"adult":4,"backdrop_path":170,"genre_ids":171,"id":172,"title":173,"original_language":26,"original_title":173,"overview":174,"popularity":175,"poster_path":176,"release_date":177,"softcore":4,"video":4,"vote_average":61,"vote_count":31,"character":75,"credit_id":178,"order":9,"media_type":36},"\u002F7uCCgp0GNBgLkMIGwYXmIGnWICQ.jpg",[23],507550,"Carolee, Barbara and Gunvor","From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives.",1.2471,"\u002F51lQjAC2rxe2P7q2k5jHO4vOO0u.jpg","2018-02-20","5a9345c492514107a9012d3c",{"adult":4,"backdrop_path":21,"genre_ids":180,"id":181,"title":182,"original_language":26,"original_title":182,"overview":183,"popularity":184,"poster_path":185,"release_date":186,"softcore":4,"video":4,"vote_average":117,"vote_count":117,"character":75,"credit_id":187,"order":35,"media_type":36},[],561022,"“X”","A profound and powerful experimental, personal film of one woman's despair, rage and exhibitionism; a baroque fugue of identity chanting growing from women's pain to a holistic, self-healing naming ritual.",0.6944,"\u002F5iP91p91EtibN3mZXChKoCtqDSQ.jpg","1973-06-21","5be7fced0e0a263c020250db",{"adult":4,"backdrop_path":21,"genre_ids":189,"id":190,"title":191,"original_language":26,"original_title":191,"overview":192,"popularity":193,"poster_path":194,"release_date":195,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":75,"credit_id":196,"order":35,"media_type":36},[],561023,"Stress Scars & Pleasure Wrinkles","Filmmaker Barbara Hammer recounts how she got her scars as well as her \"pleasure wrinkles.\"",0.7159,"\u002Fi9CB8RdddCKSIUZc2JtGNukqvwv.jpg","1976-07-08","5be8007292514143f202529b",{"adult":4,"backdrop_path":21,"genre_ids":198,"id":199,"title":200,"original_language":26,"original_title":200,"overview":201,"popularity":202,"poster_path":203,"release_date":204,"softcore":4,"video":4,"vote_average":205,"vote_count":31,"character":75,"credit_id":206,"order":35,"media_type":36},[23],223501,"Tender Fictions","Childhood stories of the artist as a young lesbian and intimate tales of the lesbian as a young artist underscore the filmmaker's life of performances. With a Swiss army knife she robs an American Express Bank in Morocco, accosts a shepherd in a field on International Women's Day, and tap dances on Shirley Temple's star on Hollywood Boulevard. This child movie star was the ideal by which Hammer's ambitious mother measured her own Barbie. Grandma, already a cook for Lillian Gish in Hollywood, introduced the cute, loquacious child and her mother to D.W. Griffith. Lesbian autobiography is a slender genre, so Hammer draws from general culture studies for critique and to provide an ironic edge to the synthesized \"voices of authority\".",0.5254,"\u002FipTc1PUA5uM2rgBfurTpLGDtafZ.jpg","1995-03-15",5.9,"5cbd9b990e0a266b96f9110e",{"adult":4,"backdrop_path":208,"genre_ids":209,"id":210,"title":211,"original_language":26,"original_title":211,"overview":212,"popularity":213,"poster_path":214,"release_date":215,"softcore":4,"video":4,"vote_average":216,"vote_count":217,"character":33,"credit_id":218,"order":35,"media_type":36},"\u002F5HdHljbeLPOLJWMq5wt3Ew1IOuU.jpg",[23],629993,"A Month of Single Frames","In 1998, filmmaker Barbara Hammer had a one-month artist residency in the C Scape Duneshack which is run by the Provincetown Community Compact in Cape Cod, Massachusetts. The shack had no running water or electricity. While there, she shot 16mm film with her Beaulieu camera, recorded sounds with her cassette recorder and kept a journal.  In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her Duneshack images, sounds and writing to filmmaker Lynne Sachs and invited her to make a film with the material.",0.7864,"\u002FyOCqYRnDk1G9YzmUaPhUiSpEHQi.jpg","2019-07-14",6.7,12,"5d767fd82ea6b90011c155f1",{"adult":4,"backdrop_path":220,"genre_ids":221,"id":222,"title":223,"original_language":26,"original_title":223,"overview":224,"popularity":225,"poster_path":226,"release_date":227,"softcore":4,"video":4,"vote_average":31,"vote_count":49,"character":228,"credit_id":229,"order":35,"media_type":36},"\u002FicJsWMcYx9vckaLSiPpNaz1Yskp.jpg",[23],162680,"Nitrate Kisses","Essay documentary explores eroded emulsions and images for lost vestiges of lesbian and gay culture. First feature by a pioneer of lesbian cinema, Hammer weaves gay and lesbian couples with footage that unearths the forbidden and invisible history of a marginalized people.",1.1181,"\u002Fz5dy2LpDzKLYqKN3HCf3X4XZMW3.jpg","1992-09-12","Interviewer \u002F Narrator (voice)","5e2a1242c3c8910017522c51",{"adult":4,"backdrop_path":231,"genre_ids":232,"id":233,"title":234,"original_language":26,"original_title":234,"overview":235,"popularity":236,"poster_path":237,"release_date":238,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":75,"credit_id":239,"order":35,"media_type":36},"\u002Ftz5QrZxeQhyN0Ee2Nd5JBamZPOA.jpg",[23],606095,"Queer Genius","Queer Genius is a cinematic exploration of four visionary queer artists breaking down barriers in their creative fields as they confront fame, failure, censorship, family, gender, and sexuality. The film embraces the communal possibilities of \"genius\" from a particularly queer perspective crossing genre and generational perspective. It features intertwined portraits of Eileen Myles, Barbara Hammer, Jibz Cameron, and Black Quantum Futurism.",0.6442,"\u002Fus4YZXVYhfvWOH1L31XFEEV3ZdD.jpg","2019-06-25","5ee003fd0e597b001f48a8e6",{"adult":4,"backdrop_path":241,"genre_ids":242,"id":243,"title":244,"original_language":26,"original_title":244,"overview":245,"popularity":246,"poster_path":247,"release_date":248,"softcore":4,"video":4,"vote_average":249,"vote_count":117,"character":33,"credit_id":250,"order":32,"media_type":36},"\u002FgUrR2N6RCfG3KjUOjg4PquZiXny.jpg",[23],684374,"Beyond the Bolex","Filmmaker Alyssa Bolsey stumbles on a treasure trove of vintage cameras, old film reels, fading photos, technical drawings and boxes of documents that belonged to her great-grandfather Jacques Bolsey. Among the many boxes, she spots an old movie camera with the word \"Bolex\" embossed on its side and a dangling tag with the date, \"1927.\" Entranced, she embarks on a journey to reveal how Jacques aimed to disrupt the early film industry with a motion picture camera for the masses.",0.8692,"\u002F7tuoGnwUJWuW29tacpJ7AXIeHCJ.jpg","2018-11-08",6.5,"5fbf3a4835c30a003f57b3e1",{"adult":4,"backdrop_path":21,"genre_ids":252,"id":254,"title":255,"original_language":26,"original_title":255,"overview":256,"popularity":257,"poster_path":258,"release_date":259,"softcore":4,"video":4,"vote_average":260,"vote_count":9,"character":33,"credit_id":261,"order":35,"media_type":36},[253,23],16,569129,"Pictures 4 Barbara","Film by Barbara Hammer.",0.5324,"\u002Fk6Fw4Pztp6Al9yy9T54Fnw9Jf1u.jpg","1981-01-01",7,"5fd1aa1d325a51003b737e34",{"adult":4,"backdrop_path":263,"genre_ids":264,"id":265,"title":266,"original_language":26,"original_title":266,"overview":267,"popularity":268,"poster_path":269,"release_date":270,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":33,"credit_id":271,"order":35,"media_type":36},"\u002Fas4T0T11PiCx3ZngEJ12fOlUZU6.jpg",[23],447386,"Masculinity\u002FFemininity","Masculinity\u002FFemininity is an experimental film project interrogating normative notions of gender, sexuality and performance. Shot primarily on Super 8, the project merges academic and creative critique -- a document of gender de-construction rather than a documentary about gender construction.",0.8175,"\u002FbBqkn7nbPAnttFkaNwwVUJfR6aF.jpg","2015-03-23","60113ce0458199003f20962e",{"adult":4,"backdrop_path":273,"genre_ids":274,"id":275,"title":276,"original_language":26,"original_title":276,"overview":277,"popularity":278,"poster_path":279,"release_date":280,"softcore":4,"video":4,"vote_average":31,"vote_count":9,"character":281,"credit_id":282,"order":35,"media_type":36},"\u002Ft05VQ31qTBYVDMdxKwTCtWOxsgy.jpg",[23],562273,"Vever (For Barbara)","Deborah Stratman brings past perspectives into the contemporary moment in a montage of unfinished film footage from artist Barbara Hammer with evocative sound, texts, and teachings from artist Maya Deren. Vever poetically draws connects between three generations of women filmmakers who separately, and now together, have taken on unknown challenges, and opened themselves up to reinterpretation in their filmmaking practices.",0.6455,"\u002Fd3JakvE9pYw4jKloxHOUD5zx9zs.jpg","2023-10-12","(voice)","606c732b44ea54004011c2e9",{"adult":4,"backdrop_path":284,"genre_ids":285,"id":286,"title":287,"original_language":26,"original_title":287,"overview":288,"popularity":289,"poster_path":290,"release_date":291,"softcore":4,"video":4,"vote_average":292,"vote_count":98,"character":33,"credit_id":293,"order":35,"media_type":36},"\u002Frjeht7Nh1covOl90ZtmCsmqheiL.jpg",[23],489181,"Audience","Barbara Hammer’s Audience is a fascinating deep cut from the director’s prodigious filmography. Relatively raw in its design, this 16mm diary of audience reactions at retrospectives of Hammer’s work in San Francisco, London, Toronto, and Montreal in the early 1980s bears none of the distinctive visual flourishes and essayistic form one usually finds in her filmmaking.  Today, Audience serves as an invaluable historical archive, providing quick but complex portraits of lesbian scenes in different cities and countries: the San Francisco women are bold and raucous, treating Hammer like a celebrity; the London crowd more reserved and tentative; the Canadians politely critical after initial hesitation.  It also functions as a testament to the power of Hammer herself as a figure of lesbian culture, showing how fully she engages audiences to incite new forms of discourse about representation.",0.8398,"\u002F3XX66sMLMMlIbpVORaj7zADtYRK.jpg","1983-06-20",3.5,"60d61cb06c0b360047cba297",{"adult":4,"backdrop_path":295,"genre_ids":296,"id":297,"title":298,"original_language":26,"original_title":298,"overview":299,"popularity":300,"poster_path":301,"release_date":302,"softcore":4,"video":4,"vote_average":303,"vote_count":9,"character":33,"credit_id":304,"order":305,"media_type":36},"\u002FiLrrwQBIiMOkzd3d8LgwIhgitMJ.jpg",[23],522360,"Dykes, Camera, Action!","The film examines the ways that women directors have contributed to this genre and emphasizes the role that the media play in representation of sexuality and gender, underscoring the power that film has to shape our perceptions of one another. Visually, this documentary comes to life on screen through compelling and intimate original interviews, intercut with emotionally-charged archival footage, photographs, ephemera, inspired music, and film clips.",1.3081,"\u002Fey6hYLpqWkeFDJl5gMwfyc7OtfR.jpg","2018-06-19",0.5,"67058dc0402be852b3e9c2cb",11,{"adult":4,"backdrop_path":307,"genre_ids":308,"id":309,"title":310,"original_language":26,"original_title":310,"overview":311,"popularity":312,"poster_path":313,"release_date":314,"softcore":4,"video":4,"vote_average":46,"vote_count":86,"character":33,"credit_id":315,"order":35,"media_type":36},"\u002FgDlEgBlDbeBPY4ZLZonC5eyjDNB.jpg",[23,90],598143,"The Female Closet","The Female Closet uses archival photographs, home movies, interviews, and other visual materials to explore the closeted lesbian stories of artists Alice Austen, Hannah Höch and Nicole Eisenman. Utilizing groundbreaking research, newly discovered home movies, and archival photographs, and other visual sources, The Female Closet is a cultural interrogation of the closeted and not-so-closeted lives of three women artists.",1.6151,"\u002F2Nj8dFgkA7KNG1bcgb71DkIG3lA.jpg","1998-06-06","684cec8a4ef4c4bee6294690",{"adult":4,"backdrop_path":317,"genre_ids":318,"id":319,"title":320,"original_language":321,"original_title":320,"overview":322,"popularity":323,"poster_path":324,"release_date":325,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":326,"credit_id":327,"order":35,"media_type":36},"\u002FmlEsvwfQoNUXC9y7vOSgVkrSL5U.jpg",[23],1596326,"Barbara Forever","de","An archive-driven exploration of the life, work, and legacy of iconic, pioneering lesbian filmmaker Barbara Hammer.",2.9489,"\u002FkYjCmL8sg17zoKtm5Pb6Cn4H0nB.jpg","2026-09-04","Self (archive footage)","6980628f90df53cabdb98b60",[329,338,343,352,364,369,374,378,381,389,397,407,410,414,424,427,430,433,442,445,455,465,473,482,492,495,504,507,510,513,516,519,528,538,547,550,558,561,564,567,570,573,582,591,601,610,619,628,631,634,637,646,649,652,662,665,668,671,674,683,692,702,710,721,731,740,748,757,765,773,783,792,800,808,816,826,834,842,851,859,868,871,874,883,886,895,903,913,916,919,928,931,939,947,955,964,973,982,991,999,1002,1010,1018,1021,1030,1039,1047,1050,1053,1056,1065,1074,1083,1091,1094,1097,1100,1103,1106,1116,1124],{"adult":4,"backdrop_path":21,"genre_ids":330,"id":331,"title":332,"original_language":26,"original_title":332,"overview":333,"popularity":334,"poster_path":335,"release_date":336,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":337,"department":13,"job":137,"media_type":36},[],806890,"The Great Goddess","A child, two youths, a mother and three crones spin spirals, joining rituals of birth, death and rebirth. Filmed in Mendocino, California, where the water snake appeared on each shooting day, where the river flooded the sand spiral, where earth, air, fire and water met.",0.4444,"\u002F3iVzEZR7bi6F7CZWVn44uLy8a8e.jpg","1977-01-01","60520d2e976a23005330be08",{"adult":4,"backdrop_path":208,"genre_ids":339,"id":210,"title":211,"original_language":26,"original_title":211,"overview":212,"popularity":213,"poster_path":214,"release_date":215,"softcore":4,"video":4,"vote_average":216,"vote_count":217,"credit_id":340,"department":341,"job":342,"media_type":36},[23],"606c7125699fb7006fc9d0b2","Camera","Director of Photography",{"adult":4,"backdrop_path":21,"genre_ids":344,"id":345,"title":346,"original_language":26,"original_title":346,"overview":347,"popularity":348,"poster_path":349,"release_date":350,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":351,"department":13,"job":137,"media_type":36},[],968113,"See What You Hear What You See","Optical sound!",0.5001,"\u002F8yU7RQZRrKJn596gFLvQOo8kZ65.jpg","1983-01-01","6268c0f31f98d1009ada4f2d",{"adult":4,"backdrop_path":21,"genre_ids":353,"id":354,"title":355,"original_language":26,"original_title":355,"overview":356,"popularity":357,"poster_path":358,"release_date":359,"softcore":4,"video":4,"vote_average":360,"vote_count":31,"credit_id":361,"department":362,"job":363,"media_type":36},[23,54],322701,"Lover Other","1920’s Surrealist artists Claude Cahun and marcel Moore come to life in this hybrid documentary. Lesbians and step-sisters, the gender-bending artists lived and worked together all their lives. Heroic resisters to the Nazis occupying Jersey Isle during WWII, they were captured and sentenced to death. Award-winning filmmaker Barbara Hammer infuses this film with vigor using photographs, archival footage, dramatic interludes of a “found Cahun script”, and unique interviews of Jersey Isle residents who knew the “sisters”.",0.8272,"\u002F1E81xEgsvoOBlpEgyStZqkt3DzQ.jpg","2006-06-15",6.8,"60d65d5aaa7898005d5026e2","Writing","Writer",{"adult":4,"backdrop_path":21,"genre_ids":365,"id":354,"title":355,"original_language":26,"original_title":355,"overview":356,"popularity":357,"poster_path":358,"release_date":359,"softcore":4,"video":4,"vote_average":360,"vote_count":31,"credit_id":366,"department":367,"job":368,"media_type":36},[23,54],"60d65d6aef9d72002faeb941","Production","Producer",{"adult":4,"backdrop_path":21,"genre_ids":370,"id":354,"title":355,"original_language":26,"original_title":355,"overview":356,"popularity":357,"poster_path":358,"release_date":359,"softcore":4,"video":4,"vote_average":360,"vote_count":31,"credit_id":371,"department":372,"job":373,"media_type":36},[23,54],"60d65d9e99c96400750cdb49","Editing","Editor",{"adult":4,"backdrop_path":21,"genre_ids":375,"id":354,"title":355,"original_language":26,"original_title":355,"overview":356,"popularity":357,"poster_path":358,"release_date":359,"softcore":4,"video":4,"vote_average":360,"vote_count":31,"credit_id":376,"department":341,"job":377,"media_type":36},[23,54],"60d65db48805510074c5be3a","Camera Operator",{"adult":4,"backdrop_path":307,"genre_ids":379,"id":309,"title":310,"original_language":26,"original_title":310,"overview":311,"popularity":312,"poster_path":313,"release_date":314,"softcore":4,"video":4,"vote_average":46,"vote_count":86,"credit_id":380,"department":367,"job":368,"media_type":36},[23,90],"60d65eb6ef9d720074dfcc92",{"adult":4,"backdrop_path":21,"genre_ids":382,"id":383,"title":384,"original_language":26,"original_title":384,"overview":385,"popularity":386,"poster_path":21,"release_date":387,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":388,"department":13,"job":137,"media_type":36},[],848378,"New York Loft","“Both NEW YORK LOFT and DOLL HOUSE convey a strong sense of resourcefulness, this ‘making something’ out of interiors, specifically domestic spaces. And domestic they are, in an avant-garde sort of way. The filmmaker gives plentiful evidence of arranging things, moving them, adjusting, placing and re-placing. First are poles and sticks found; second is fabric, sheets, pillows; in a third section we see round things. Circular magnets, machine parts, film cans and the like eventually become visually paralleled with the camera lens itself. The lens is seen as Barbara films into a round mirror. How different are the visions of this woman-with-a-movie-camera from Vertov of sixty years ago! Each extols the camera-eye, but Hammer replaces Vertov’s sociopolitical kino-truths with adventures in domestic space.” – Claudia Gorbman, Jump Cut",0.5018,"1981-03-12","60e52507a3b5e6002917a35d",{"adult":4,"backdrop_path":21,"genre_ids":390,"id":391,"title":392,"original_language":26,"original_title":392,"overview":393,"popularity":394,"poster_path":21,"release_date":395,"softcore":4,"video":4,"vote_average":156,"vote_count":9,"credit_id":396,"department":13,"job":137,"media_type":36},[53,62],1169114,"Hot Flash","A dramatic romantic comedy narrative featuring a pre-menopausal woman who tires to join the Hot Flashes.",0.7417,"1985-01-01","64e7a35cf2cf2500adf2d66c",{"adult":4,"backdrop_path":398,"genre_ids":399,"id":400,"title":401,"original_language":26,"original_title":401,"overview":402,"popularity":403,"poster_path":404,"release_date":405,"softcore":4,"video":4,"vote_average":249,"vote_count":86,"credit_id":406,"department":13,"job":137,"media_type":36},"\u002F9NYGvGpOVCkDX2WvALUXeYEAqJ5.jpg",[62,90,23],201920,"History Lessons","A montage of film clips and stills calling all lesbians to come out and celebrate who they are. In a trilogy of experimental documentaries, director Barbara Hammer rewrites history by inserting lesbians and lesbian imagery throughout educational films, newsreels, medical footage and more from the past century.",0.5414,"\u002FzusPgskjLnFK4ovL4e095Ca9jqi.jpg","2000-06-21","52fe4cb8c3a368484e1c40d7",{"adult":4,"backdrop_path":307,"genre_ids":408,"id":309,"title":310,"original_language":26,"original_title":310,"overview":311,"popularity":312,"poster_path":313,"release_date":314,"softcore":4,"video":4,"vote_average":46,"vote_count":86,"credit_id":409,"department":341,"job":342,"media_type":36},[23,90],"60fb9f933d35570047230e68",{"adult":4,"backdrop_path":307,"genre_ids":411,"id":309,"title":310,"original_language":26,"original_title":310,"overview":311,"popularity":312,"poster_path":313,"release_date":314,"softcore":4,"video":4,"vote_average":46,"vote_count":86,"credit_id":412,"department":413,"job":413,"media_type":36},[23,90],"60fb9fecd7fbda0079f6754e","Sound",{"adult":4,"backdrop_path":21,"genre_ids":415,"id":416,"title":417,"original_language":26,"original_title":417,"overview":418,"popularity":419,"poster_path":420,"release_date":421,"softcore":4,"video":4,"vote_average":422,"vote_count":119,"credit_id":423,"department":13,"job":137,"media_type":36},[62],222227,"Menses","A wry comedy on the disagreeable aspects of menstruation where women act out their own dramas on a California hillside, in a supermarket, in a red-filtered ritual of mutual bonding. MENSES combines both the imagery and the politics of menstruation in a fine blend of comedy and drama.",0.6225,"\u002Fm15Jj7a3as32bkAGqCW6lEzjcov.jpg","1973-01-01",3.8,"52fe4de59251416c75144a9d",{"adult":4,"backdrop_path":21,"genre_ids":425,"id":199,"title":200,"original_language":26,"original_title":200,"overview":201,"popularity":202,"poster_path":203,"release_date":204,"softcore":4,"video":4,"vote_average":205,"vote_count":31,"credit_id":426,"department":13,"job":137,"media_type":36},[23],"52fe4e169251416c7514ae67",{"adult":4,"backdrop_path":51,"genre_ids":428,"id":55,"title":56,"original_language":26,"original_title":56,"overview":57,"popularity":58,"poster_path":59,"release_date":60,"softcore":4,"video":4,"vote_average":61,"vote_count":62,"credit_id":429,"department":13,"job":137,"media_type":36},[53,54],"531f61c3c3a3685c3700a18d",{"adult":4,"backdrop_path":21,"genre_ids":431,"id":67,"title":68,"original_language":26,"original_title":68,"overview":69,"popularity":70,"poster_path":71,"release_date":72,"softcore":4,"video":4,"vote_average":73,"vote_count":74,"credit_id":432,"department":13,"job":137,"media_type":36},[23],"53c841600e0a267fed005011",{"adult":4,"backdrop_path":21,"genre_ids":434,"id":435,"title":436,"original_language":26,"original_title":436,"overview":437,"popularity":438,"poster_path":439,"release_date":440,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":441,"department":13,"job":137,"media_type":36},[],1004358,"Our Grief Is Not a Cry for War","On October 11, 2001, in Times Square, New York City, an ad hoc group of artists named Our Grief Is Not a Cry for War silently demonstrated for peace at a time when the nation was clamoring for war and sacrificing its own civil liberties.",0.5004,"\u002FaFg2hjg1xuBiMK9dkLk6UVEm9QM.jpg","2003-11-15","62decde1955c65004f06e656",{"adult":4,"backdrop_path":21,"genre_ids":443,"id":354,"title":355,"original_language":26,"original_title":355,"overview":356,"popularity":357,"poster_path":358,"release_date":359,"softcore":4,"video":4,"vote_average":360,"vote_count":31,"credit_id":444,"department":13,"job":137,"media_type":36},[23,54],"54cd6df8925141475b002721",{"adult":4,"backdrop_path":446,"genre_ids":447,"id":448,"title":449,"original_language":163,"original_title":449,"overview":450,"popularity":451,"poster_path":452,"release_date":453,"softcore":4,"video":4,"vote_average":98,"vote_count":98,"credit_id":454,"department":13,"job":137,"media_type":36},"\u002F8i10554j7x4S6fYTuSA0oC4BvPq.jpg",[],335348,"Pools","Made with Barbara Klutinis. Shot with an underwater camera exploring the swimming pools of the Hearst Castle, California.",0.7882,"\u002FfrlMargWSFVqvu3loMtpBWO4PMl.jpg","1981-04-11","5528916292514111c6000a00",{"adult":4,"backdrop_path":456,"genre_ids":457,"id":458,"title":459,"original_language":163,"original_title":459,"overview":460,"popularity":461,"poster_path":462,"release_date":463,"softcore":4,"video":4,"vote_average":260,"vote_count":98,"credit_id":464,"department":13,"job":137,"media_type":36},"\u002F5yuY0pvdpCFlB0rJUBmSLle2nqD.jpg",[217],335349,"Pond and Waterfall","An experimental movie where the viewpoint starts in a placid pond high inland, and follows the flow of water down to the sea. The movie experiments with viewing both the air, the water, and the surface of the water at the same time. The tempo changes from calm to frenzied later in the movie as the water is more disturbed.",0.4963,"\u002Fnx66IfIw1SbsONzjQftZ9qWXa81.jpg","1982-10-19","55289419c3a3681f59000ab9",{"adult":4,"backdrop_path":21,"genre_ids":466,"id":467,"title":468,"original_language":26,"original_title":468,"overview":469,"popularity":470,"poster_path":21,"release_date":471,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":472,"department":13,"job":137,"media_type":36},[23],335415,"Stone Circles","In Stone Circles, Hammer really leaves ‘nation’ as well as ‘era’ and creates a film poem on the prehistoric stone cultures of Britain.",0.7226,"1983-04-11","55297779c3a36859cf001e14",{"adult":4,"backdrop_path":21,"genre_ids":474,"id":475,"title":476,"original_language":26,"original_title":476,"overview":477,"popularity":478,"poster_path":21,"release_date":479,"softcore":4,"video":4,"vote_average":480,"vote_count":117,"credit_id":481,"department":13,"job":137,"media_type":36},[],336061,"Bent Time","One-point perspective visual path across the US beginning inside a linear accelerator or atom-smashing device and traveling to such high-energy locations as the home of an ancient sun calendar in Chaco Canyon, New Mexico; the site of Ohio Valley Mound cultures; the Golden Gate and Brooklyn Bridges; and beyond. Scientists have noted that light rays curve at the outer edges of the universe, leading them to theorize that time also bends. Inspired by this idea, Hammer used an extreme wide angle lens and \"one frame of film per foot of physical space\" to simulate the concept of bent time.",0.3943,"1983-04-16",7.5,"552fba54c3a36804cd0048e5",{"adult":4,"backdrop_path":21,"genre_ids":483,"id":484,"title":485,"original_language":26,"original_title":485,"overview":486,"popularity":487,"poster_path":488,"release_date":489,"softcore":4,"video":4,"vote_average":490,"vote_count":117,"credit_id":491,"department":13,"job":137,"media_type":36},[90,23],336907,"Maya Deren's Sink","Maya Deren's Sink, a 30 minute experimental film, is an evocative tribute to the mother of avantgarde American film. The film calls forth the spirit of one who was larger than life as recounted by those who knew her. Teiji Ito's family, Carolee Schneemann and Judith Malvina, float through the homes recalling in tiny bits and pieces words of Deren's architectural and personal interior space. Clips from Maya Deren's films are projected back into the spaces where they were originally filmed appearing on the floorboard, furniture, and in the bowl of her former sink. Fluid light projections of intimate space provide an elusive agency for a filmmaker most of us will never know as film with its imaginary nature evokes a former time and space.",0.9237,"\u002FrbcMscXzM7FZXQvq88MgOHX8zd4.jpg","2011-01-05",4.5,"5537a2e6c3a3681be40020a4",{"adult":4,"backdrop_path":21,"genre_ids":493,"id":484,"title":485,"original_language":26,"original_title":485,"overview":486,"popularity":487,"poster_path":488,"release_date":489,"softcore":4,"video":4,"vote_average":490,"vote_count":117,"credit_id":494,"department":362,"job":363,"media_type":36},[90,23],"5537a370c3a36842ae004a43",{"adult":4,"backdrop_path":21,"genre_ids":496,"id":497,"title":498,"original_language":26,"original_title":498,"overview":499,"popularity":500,"poster_path":501,"release_date":395,"softcore":4,"video":4,"vote_average":502,"vote_count":32,"credit_id":503,"department":13,"job":137,"media_type":36},[],334619,"Optic Nerve","\"Barbara Hammer's Optic Nerve is a powerful personal reflection on family and aging. Hammer employs filmed footage which, through optical printing and editing, is layered and manipulated to create a compelling meditation on her visit to her grandmother in a nursing home. The sense of sight becomes a constantly evolving process of reseeing images retrieved from the past and fused into the eternal present of the projected image. Hammer has lent a new voice to the long tradition of personal meditation in the avant-garde of the American independent cinema.\" -- John Hanhardt, Biennial Exhibition Catalogue, Whitney Museum of American Art, New York, 1987",0.5369,"\u002FyXSPOR5vbtKLVyozG5fb9aPW0yR.jpg",8.3,"5522be02c3a3684dd40069e5",{"adult":4,"backdrop_path":21,"genre_ids":505,"id":91,"title":92,"original_language":26,"original_title":92,"overview":93,"popularity":94,"poster_path":95,"release_date":96,"softcore":4,"video":4,"vote_average":97,"vote_count":98,"credit_id":506,"department":13,"job":137,"media_type":36},[90,23],"558f1b7892514164890000ca",{"adult":4,"backdrop_path":21,"genre_ids":508,"id":91,"title":92,"original_language":26,"original_title":92,"overview":93,"popularity":94,"poster_path":95,"release_date":96,"softcore":4,"video":4,"vote_average":97,"vote_count":98,"credit_id":509,"department":367,"job":368,"media_type":36},[90,23],"558f1e26c3a36843490011e2",{"adult":4,"backdrop_path":21,"genre_ids":511,"id":91,"title":92,"original_language":26,"original_title":92,"overview":93,"popularity":94,"poster_path":95,"release_date":96,"softcore":4,"video":4,"vote_average":97,"vote_count":98,"credit_id":512,"department":372,"job":373,"media_type":36},[90,23],"558f1e7392514178e3001300",{"adult":4,"backdrop_path":21,"genre_ids":514,"id":102,"title":103,"original_language":104,"original_title":103,"overview":105,"popularity":106,"poster_path":107,"release_date":108,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":515,"department":13,"job":137,"media_type":36},[90,23],"558f234dc3a3687bdb0062fb",{"adult":4,"backdrop_path":21,"genre_ids":517,"id":102,"title":103,"original_language":104,"original_title":103,"overview":105,"popularity":106,"poster_path":107,"release_date":108,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":518,"department":367,"job":368,"media_type":36},[90,23],"558f2363c3a3685cf9000898",{"adult":4,"backdrop_path":21,"genre_ids":520,"id":521,"title":522,"original_language":26,"original_title":522,"overview":523,"popularity":524,"poster_path":525,"release_date":526,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":527,"department":13,"job":137,"media_type":36},[23],342289,"Welcome to This House","Welcome To This House, a feature documentary film on the homes and loves of poet Elizabeth Bishop, is about life in the shadows, and the anxiety of art making without full lesbian disclosure. Hammer filmed in Bishop's best loved homes in the U.S., Canada, and Brazil, believing that buildings and landscapes bear cultural memories. Interviews with poets, friends,and scholars provide missing documents of numerous female lovers. Bishop's intimate poems and the creative music composition by Joan La Barbara bring the poet into our lives with new facts and unexpected details.",0.8636,"\u002F3dWxb0BfNjT4RzmtclEwfgJ5Q2J.jpg","2015-05-26","55688dd8c3a3682df4000009",{"adult":4,"backdrop_path":529,"genre_ids":530,"id":531,"title":532,"original_language":26,"original_title":532,"overview":533,"popularity":534,"poster_path":535,"release_date":536,"softcore":4,"video":4,"vote_average":260,"vote_count":9,"credit_id":537,"department":362,"job":363,"media_type":36},"\u002Fx9I4SpegudbnVYylNp3BNtHhMSp.jpg",[253],316473,"Spare the Child","It shows a family where the son makes a wish to switch sizes with the father so that he can be the boss for a change. The father doesn't like this at all. After a while, the son slowly realizes that being a grownup isn't all that easy. Unfortunately, the father doesn't seem to realize that the same holds true for being a kid.",1.2972,"\u002FlXVgtKjFOr3lt2XZyHDDTEvGf7K.jpg","1955-01-27","55a04c86c3a3681cf50001d2",{"adult":4,"backdrop_path":21,"genre_ids":539,"id":540,"title":541,"original_language":26,"original_title":541,"overview":542,"popularity":543,"poster_path":544,"release_date":545,"softcore":4,"video":4,"vote_average":155,"vote_count":119,"credit_id":546,"department":13,"job":137,"media_type":36},[],362764,"Sanctus","Hammer used old x-ray footage, rearranged, colored and orchestrated through optical printing, in order to reveal hidden bodily movements and rhythms in its constant juxtaposition.",0.7535,"\u002FaeqnTZrIaxBsXGXxRhSYsJxv4Fw.jpg","1990-01-01","561393ecc3a3686817017954",{"adult":4,"backdrop_path":21,"genre_ids":548,"id":149,"title":150,"original_language":26,"original_title":150,"overview":151,"popularity":152,"poster_path":153,"release_date":154,"softcore":4,"video":4,"vote_average":155,"vote_count":156,"credit_id":549,"department":13,"job":137,"media_type":36},[23,53],"55e86317c3a3682c62002971",{"adult":4,"backdrop_path":21,"genre_ids":551,"id":552,"title":553,"original_language":26,"original_title":553,"overview":554,"popularity":555,"poster_path":556,"release_date":350,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":557,"department":13,"job":137,"media_type":36},[],1216261,"Bamboo Xerox","\"Behind my desire to 'activate' the audience is a distaste for sutured, hegemonic cinema. By this, I mean a cinema dominated by both narrative and documentary traditions, cinema that hypnotizes its audience through invisible editing, illusionist sound, and 3D) perspective. With Bamboo Xerox, I found another strategy to move my audience and break illusions. I photographed bamboo (my favorite grass) from my backyard and then xeroxed both sections of living bamboo and the photographic stills of the bamboo. After editing the film, I had the entire six-minute film blueprinted as a black and white scroll. I stretched the scroll horizontally around the theater space so that the audience could see the film frame by frame before they saw the projection. Perhaps the audience could break the illusionist ritual-or at the very least experience a different way of seeing a film.\" — Barbara Hammer",0.4668,"\u002FtlWvWbgPQeS1dHnkbft1ZhHBCH3.jpg","6576a1dfbbe1dd00c40cb617",{"adult":4,"backdrop_path":21,"genre_ids":559,"id":24,"title":25,"original_language":26,"original_title":25,"overview":27,"popularity":28,"poster_path":29,"release_date":30,"softcore":4,"video":4,"vote_average":31,"vote_count":32,"credit_id":560,"department":13,"job":137,"media_type":36},[23],"5663ffa79251412ac6007659",{"adult":4,"backdrop_path":21,"genre_ids":562,"id":24,"title":25,"original_language":26,"original_title":25,"overview":27,"popularity":28,"poster_path":29,"release_date":30,"softcore":4,"video":4,"vote_average":31,"vote_count":32,"credit_id":563,"department":362,"job":363,"media_type":36},[23],"5663ffb09251412ad9007be3",{"adult":4,"backdrop_path":220,"genre_ids":565,"id":222,"title":223,"original_language":26,"original_title":223,"overview":224,"popularity":225,"poster_path":226,"release_date":227,"softcore":4,"video":4,"vote_average":31,"vote_count":49,"credit_id":566,"department":13,"job":137,"media_type":36},[23],"5665df609251411ca1000263",{"adult":4,"backdrop_path":220,"genre_ids":568,"id":222,"title":223,"original_language":26,"original_title":223,"overview":224,"popularity":225,"poster_path":226,"release_date":227,"softcore":4,"video":4,"vote_average":31,"vote_count":49,"credit_id":569,"department":341,"job":342,"media_type":36},[23],"5665df6f92514179d70007e3",{"adult":4,"backdrop_path":220,"genre_ids":571,"id":222,"title":223,"original_language":26,"original_title":223,"overview":224,"popularity":225,"poster_path":226,"release_date":227,"softcore":4,"video":4,"vote_average":31,"vote_count":49,"credit_id":572,"department":372,"job":373,"media_type":36},[23],"5665df76c3a36806aa000870",{"adult":4,"backdrop_path":21,"genre_ids":574,"id":575,"title":576,"original_language":26,"original_title":576,"overview":577,"popularity":578,"poster_path":579,"release_date":580,"softcore":4,"video":4,"vote_average":31,"vote_count":156,"credit_id":581,"department":13,"job":137,"media_type":36},[23],371688,"Women I Love","A series of cameo portraits of the filmmaker's friends and lovers intercut with a playful celebration of fruits and vegetables in nature.",0.6429,"\u002FiJY3c7YOxvkrHvVGZMShjZQ6BdV.jpg","1976-01-01","5666ffa092514129b500149c",{"adult":4,"backdrop_path":21,"genre_ids":583,"id":584,"title":585,"original_language":163,"original_title":585,"overview":586,"popularity":587,"poster_path":588,"release_date":589,"softcore":4,"video":4,"vote_average":260,"vote_count":31,"credit_id":590,"department":13,"job":137,"media_type":36},[160],371745,"Multiple Orgasm","A hand plays with a vagina as the same scene drifts over a sea of erotic rock formations.",0.8757,"\u002Fa4vYfPeP75UPIx3qhL0QJMS92lj.jpg","1976-12-09","5667567592514173fc000013",{"adult":4,"backdrop_path":21,"genre_ids":592,"id":593,"title":594,"original_language":26,"original_title":594,"overview":595,"popularity":596,"poster_path":597,"release_date":598,"softcore":4,"video":4,"vote_average":599,"vote_count":32,"credit_id":600,"department":13,"job":137,"media_type":36},[23,62],373110,"Superdyke","A comedy about a troop of shield-bearing Amazons who take over city institutions before relaxing in the country. \"Superdyke\" takes women into the streets when Barbara arms of a platoon of vagina warriors with Amazon shields in an attempt to overthrow San Francisco. They march through City Hall, usurp the bus lines, demythologiz the consumer mentality at Macy's (to the recorded astonishment of casual shoppers), and wander through the erotic art museum. Barbara's frenetic handheld lens catches the startled reactions and the glee of the participants. SUPERDYKE has a home-movie quality to it, but its committed and loose moments in the playground confirm its comic rationale.",0.8829,"\u002FeaeMz2qT3DKVNaYwjUS4SSUGegK.jpg","1975-01-01",5.7,"56743517c3a3685ef1002407",{"adult":4,"backdrop_path":21,"genre_ids":602,"id":603,"title":604,"original_language":26,"original_title":604,"overview":605,"popularity":606,"poster_path":21,"release_date":607,"softcore":4,"video":4,"vote_average":608,"vote_count":31,"credit_id":609,"department":13,"job":137,"media_type":36},[],380637,"Still Point","‘Still Point’ serves as Barbara Hammer’s definitive reassessment of 70’s cultural feminism. She literally places side-by-side the romantic image of her companion walking and stretching under the sun in a landscape and the gritty realism of a methodical garbage picker on the street of New York city, pushing a shopping cart and moving on to the next waste container. Our world view must encompass both realities, the film indicates. Privilege can’t obscure vision.",0.4274,"1989-01-01",6.4,"56afa4f5c3a368317e00052d",{"adult":4,"backdrop_path":21,"genre_ids":611,"id":612,"title":613,"original_language":26,"original_title":613,"overview":614,"popularity":615,"poster_path":616,"release_date":617,"softcore":4,"video":4,"vote_average":480,"vote_count":117,"credit_id":618,"department":13,"job":137,"media_type":36},[23],380640,"Vital Signs","In “Vital Signs” (1991), Barbara Hammer demonstratively transforms the horror of death into its opposite. She tenderly cares for a human skeleton, feeding it, dressing and caressing it, taking it for walks in the dark cabaret of an intimate relationship beyond death. She confronts pain and fear rather than repressing them.",0.6895,"\u002FrU9zHigo1UTbAubFi4rrMTn38ls.jpg","1991-01-01","56afa8fec3a368318c00067c",{"adult":4,"backdrop_path":21,"genre_ids":620,"id":621,"title":622,"original_language":26,"original_title":622,"overview":623,"popularity":624,"poster_path":625,"release_date":626,"softcore":4,"video":4,"vote_average":156,"vote_count":9,"credit_id":627,"department":367,"job":368,"media_type":36},[23],428762,"Devotion: A Film About Ogawa Productions","Devotion investigates the extremely complex and heirarchical relationships among a committed group of Japanese filmmakers who dedicated up to 30 years of their lives making films for one man-Ogawa Shinsuke.  Members of Ogawa Pro filmed the student movement of the late 60's; the fight by farmers to save their land from government confiscaton for the Narita airport at Sanrizuka; and the village life of a small farming community, Magino Village, in northern Japan.  These heartbreaking and sometimes funny stories have never been told on film before. Rare footage, stills, and diaries with interviews with Oshima Nagisa, Hara Kazuo and Robert Kramer make this historical inquiry visually exciting as well as valuable.",1.0276,"\u002FA55iWF2RIqYdnFf0naJfHGlNtH3.jpg","2002-01-26","63c1f40805a53300aecfdc18",{"adult":4,"backdrop_path":21,"genre_ids":629,"id":621,"title":622,"original_language":26,"original_title":622,"overview":623,"popularity":624,"poster_path":625,"release_date":626,"softcore":4,"video":4,"vote_average":156,"vote_count":9,"credit_id":630,"department":372,"job":373,"media_type":36},[23],"63c1f420e16e5a007eaa3890",{"adult":4,"backdrop_path":21,"genre_ids":632,"id":621,"title":622,"original_language":26,"original_title":622,"overview":623,"popularity":624,"poster_path":625,"release_date":626,"softcore":4,"video":4,"vote_average":156,"vote_count":9,"credit_id":633,"department":13,"job":137,"media_type":36},[23],"5842cb7a9251417ebe00808e",{"adult":4,"backdrop_path":21,"genre_ids":635,"id":122,"title":123,"original_language":26,"original_title":123,"overview":124,"popularity":125,"poster_path":126,"release_date":127,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":636,"department":13,"job":137,"media_type":36},[],"588e6c99925141184600ffd3",{"adult":4,"backdrop_path":21,"genre_ids":638,"id":639,"title":640,"original_language":26,"original_title":640,"overview":641,"popularity":642,"poster_path":643,"release_date":644,"softcore":4,"video":4,"vote_average":249,"vote_count":117,"credit_id":645,"department":13,"job":137,"media_type":36},[],443226,"Endangered","The Peruvian Galapagos Islands feature in Hammer’s film Endangered, where Blue-footed Boobies, seals and iguanas are equated with the filmmaker herself who identifies light, life and the genre of experimental film to be threatened with extinction in this late twentieth century.  Every image is marked and cancelled before it disappears. Even the emulsion of the film is treated with acid showing its fragility. The film is a highly effective compilation of image, colour and sound building upon each other, slowly heightening the sense of urgency.  Against this mood there is a reassuring image of a silhouetted woman working at the film projector. A strong, competent, fearless woman. Woman documenting, warning, saving.",0.4677,"\u002F2CuFxCkPH1HnFsyFDIkjjIXqVzy.jpg","1988-01-01","58adf64092514160f4000e85",{"adult":4,"backdrop_path":21,"genre_ids":647,"id":131,"title":132,"original_language":26,"original_title":132,"overview":133,"popularity":134,"poster_path":135,"release_date":136,"softcore":4,"video":4,"vote_average":86,"vote_count":9,"credit_id":648,"department":13,"job":137,"media_type":36},[],"59211cd5c3a36878fe04c19b",{"adult":4,"backdrop_path":51,"genre_ids":650,"id":55,"title":56,"original_language":26,"original_title":56,"overview":57,"popularity":58,"poster_path":59,"release_date":60,"softcore":4,"video":4,"vote_average":61,"vote_count":62,"credit_id":651,"department":362,"job":363,"media_type":36},[53,54],"59c458109251415b6e01d697",{"adult":4,"backdrop_path":653,"genre_ids":654,"id":655,"title":656,"original_language":26,"original_title":656,"overview":657,"popularity":658,"poster_path":659,"release_date":660,"softcore":4,"video":4,"vote_average":360,"vote_count":119,"credit_id":661,"department":13,"job":137,"media_type":36},"\u002F5RRxTaqdDKAmTJewqNTaeOTGlQH.jpg",[23,253],489179,"No No Nooky T.V.","NO NO NOOKY TV posits sexuality to be a social construct in a \"sex-text\" of satiric graphic representation of \"dirty pictures.\" Made on an Amiga Computer and shot in 16mm film, NO NO NOOKY TV confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film\u002Fvideo hybrid that points fun at romance, sexuality, and love in our post-industrial age.  Preserved by the Academy Film Archive in 2017.",0.7572,"\u002FdaKbDINQjn0zNZETozps3TeyDaB.jpg","1987-01-01","5a1b098c0e0a264cd0042324",{"adult":4,"backdrop_path":653,"genre_ids":663,"id":655,"title":656,"original_language":26,"original_title":656,"overview":657,"popularity":658,"poster_path":659,"release_date":660,"softcore":4,"video":4,"vote_average":360,"vote_count":119,"credit_id":664,"department":341,"job":342,"media_type":36},[23,253],"5a1b099b0e0a264cca0418a3",{"adult":4,"backdrop_path":653,"genre_ids":666,"id":655,"title":656,"original_language":26,"original_title":656,"overview":657,"popularity":658,"poster_path":659,"release_date":660,"softcore":4,"video":4,"vote_average":360,"vote_count":119,"credit_id":667,"department":372,"job":373,"media_type":36},[23,253],"5a1b09ab0e0a264cd0042354",{"adult":4,"backdrop_path":284,"genre_ids":669,"id":286,"title":287,"original_language":26,"original_title":287,"overview":288,"popularity":289,"poster_path":290,"release_date":291,"softcore":4,"video":4,"vote_average":292,"vote_count":98,"credit_id":670,"department":13,"job":137,"media_type":36},[23],"5a1b0aba92514103300400eb",{"adult":4,"backdrop_path":21,"genre_ids":672,"id":161,"title":162,"original_language":163,"original_title":162,"overview":164,"popularity":165,"poster_path":166,"release_date":167,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":673,"department":13,"job":137,"media_type":36},[160],"5a6afd239251413b73002ec6",{"adult":4,"backdrop_path":21,"genre_ids":675,"id":677,"title":678,"original_language":26,"original_title":678,"overview":679,"popularity":680,"poster_path":681,"release_date":421,"softcore":4,"video":4,"vote_average":119,"vote_count":9,"credit_id":682,"department":13,"job":137,"media_type":36},[676],28,501004,"I Was\u002FI Am","One of the first 3 16 mm films made by Barbara Hammer. The filmmaker changes from a damsel in gown and crown to a leather jacket motorcycle dyke.",0.7177,"\u002F9I2EvAANixQr7hhQqNbB8KaPQju.jpg","5a6b069fc3a3681dc000389b",{"adult":4,"backdrop_path":21,"genre_ids":684,"id":685,"title":686,"original_language":26,"original_title":686,"overview":687,"popularity":688,"poster_path":689,"release_date":690,"softcore":4,"video":4,"vote_average":260,"vote_count":9,"credit_id":691,"department":13,"job":137,"media_type":36},[23],500356,"Sisters!","A celebration and collage of lesbians, including footage of the Women's International Day march in SF and joyous dancing from the last night of the second Lesbian Conference where Family of Woman played; as well as images of women doing all types of traditional \"men's\" work.",0.7483,"\u002F3Ed6T7VWQY5AKikJJMifucbmrOT.jpg","1974-03-10","5a66b11892514169be003e62",{"adult":4,"backdrop_path":21,"genre_ids":693,"id":694,"title":695,"original_language":26,"original_title":695,"overview":696,"popularity":697,"poster_path":698,"release_date":699,"softcore":4,"video":4,"vote_average":700,"vote_count":32,"credit_id":701,"department":13,"job":137,"media_type":36},[],506656,"A Gay Day","An experimental film with lesbian themes",0.5643,"\u002F50zk8gZCHzG2CpU0xrYPIG632tE.jpg","1973-02-21",3.7,"5a8dc8560e0a263e6e002856",{"adult":4,"backdrop_path":21,"genre_ids":703,"id":704,"title":705,"original_language":26,"original_title":705,"overview":706,"popularity":707,"poster_path":21,"release_date":708,"softcore":4,"video":4,"vote_average":156,"vote_count":9,"credit_id":709,"department":13,"job":137,"media_type":36},[],506657,"Women’s Rites or Truth is the Daughter of Time","An autumnal celebration of colorful fall leaves, brooks and bathing, chanting circles and tree goddess rites. Shot on witch's land in Northern California, it is a woman celebrating woman and nature film with the poetry of Elsa Gidlow accompanying.",0.58,"1974-02-21","5a8dc942c3a3682672002799",{"adult":4,"backdrop_path":711,"genre_ids":712,"id":713,"title":714,"original_language":26,"original_title":714,"overview":715,"popularity":716,"poster_path":717,"release_date":718,"softcore":4,"video":4,"vote_average":719,"vote_count":32,"credit_id":720,"department":13,"job":137,"media_type":36},"\u002F5rnGOcagFGsyXTEkzakLB9C2zk7.jpg",[54],509044,"Fucking Different New York","What do construction workers do in their well-earned breaks? How might Angelina Jolie's and Brad Pitt's relationship have ended? And what really happened between Marilyn Monroe and Joan Crawford during the summer of 1959? The answers to these and many other interesting questions are provided by twelve queer New York filmmakers. Their films also scrutinize such topics as the difference between the way men and women dream, and how erotic tying a necktie or having a manicure can be.",1.2582,"\u002Fid13TnPMM1hGnnaEMtsln3LIF7q.jpg","2007-02-10",1.3,"5a9b2a0c925141286d0258c2",{"adult":4,"backdrop_path":21,"genre_ids":722,"id":723,"title":724,"original_language":26,"original_title":724,"overview":725,"popularity":726,"poster_path":727,"release_date":728,"softcore":4,"video":4,"vote_average":729,"vote_count":32,"credit_id":730,"department":13,"job":137,"media_type":36},[253],509199,"Tourist","In Tourist, Barbara Hammer depicts a trip to Europe: the flow of images is manipulated with a syncopated rhythm, to alter the perception of places that appear well-known and to instill a feeling of anxiety ...",0.6156,"\u002F4I6WHbGZGI3f62Oa2kMB1QRMzXF.jpg","1985-03-04",7.7,"5a9c2583c3a3680bb9030274",{"adult":4,"backdrop_path":732,"genre_ids":733,"id":734,"title":735,"original_language":163,"original_title":735,"overview":736,"popularity":737,"poster_path":738,"release_date":660,"softcore":4,"video":4,"vote_average":480,"vote_count":117,"credit_id":739,"department":13,"job":137,"media_type":36},"\u002F9PbmFEZhjPkYskCPsOzl5xI1XaG.jpg",[253],509200,"Place Mattes","Place Mattes explores the space between reaching and touching.  Animation and optical printing are used to create travelling mattes for places, confounding the difference between eternal and internal.",0.5016,"\u002FhUR1eUb2dkysPpyJHnPY2AcxyRh.jpg","5a9c263f0e0a260649036439",{"adult":4,"backdrop_path":21,"genre_ids":741,"id":742,"title":743,"original_language":26,"original_title":743,"overview":744,"popularity":745,"poster_path":746,"release_date":644,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":747,"department":13,"job":137,"media_type":36},[],524128,"Bedtime Stories","Three short films. I: The Wet Dream-Questions of seduction, viewer\u002Fviewed and personal stories are collaged in this heavily postproduced account of a 'hot tub relationship. II: The Erotic Intellect-Shot in Garbo's Hairdressing Salon, Hammer suggests intellectual stimulation to be as provocative as overt sexuality. III: Clip, Grab, and Paint-A sunstroke delirium as the videographer identifies with Georgia O'Keeffe and her radio obituary using a frame buffer and computer program for paintbrush and easel.",0.5076,"\u002Ff93Ht9cQ5tvw9KJYhAi5SyKi9hF.jpg","5af8e321c3a368103d0059a0",{"adult":4,"backdrop_path":21,"genre_ids":749,"id":750,"title":751,"original_language":26,"original_title":751,"overview":752,"popularity":753,"poster_path":754,"release_date":755,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":756,"department":13,"job":137,"media_type":36},[],518398,"Aldebaran Sees","Aldebaran is the brightest star in the Taurus constellation.",0.5129,"\u002FwkX9YGCgZGekGjPaH75VFxPosKy.jpg","1969-05-05","5b0469ee0e0a2623e302b093",{"adult":4,"backdrop_path":21,"genre_ids":758,"id":759,"title":760,"original_language":26,"original_title":760,"overview":761,"popularity":461,"poster_path":762,"release_date":763,"softcore":4,"video":4,"vote_average":31,"vote_count":9,"credit_id":764,"department":13,"job":137,"media_type":36},[],526045,"Death of a Marriage","Regarding this film and Cleansed: \"These are two of the first films Hammer ever made and two of the last films she made while married to a man. Never before screened, they capture Hammer and her former husband interacting together but separately – walking in the woods, riding horses, taking showers. Throughout both of these pieces Hammer uses her own body to manipulate the way in which we see the images, deploying her hands as mattes and creating layers with the shadows of her body.\" - Leslie Lohman Museum","\u002Fu1uzcyPd8ROqk7gnLwkcguWvwFU.jpg","1969-06-01","5b062b7ac3a3684cad0068d6",{"adult":4,"backdrop_path":21,"genre_ids":766,"id":767,"title":768,"original_language":26,"original_title":768,"overview":769,"popularity":770,"poster_path":771,"release_date":259,"softcore":4,"video":4,"vote_average":119,"vote_count":9,"credit_id":772,"department":13,"job":137,"media_type":36},[],1139408,"Arequipa","“Shot in the Peruvian convent of Santa Catalina, AREQUIPA analogizes the building blocks of film (frames, color and black and white stocks, negative reversal, superimpositions) to the frames of architecture (doorways, windows, walls, corridors). The confinement of the frame, the convent, changed for Hammer as she realized there could be beauty and a self-willed delineation of activity within the ‘imprisoning’ frame.”\r – Kathleen Hulser, Centre Pompidou Brochure, 1985",0.4143,"\u002Fbj9bTv24zUzr50WZTPZNmwzInIl.jpg","648755cfe375c00139c1598b",{"adult":4,"backdrop_path":774,"genre_ids":775,"id":776,"title":777,"original_language":163,"original_title":777,"overview":778,"popularity":779,"poster_path":780,"release_date":781,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":782,"department":13,"job":137,"media_type":36},"\u002Fuiev8IgJaD2xrEyoFrb448KsFsx.jpg",[],536746,"Elegy","Early Barbara Hammer film shot on Super 8mm in color and silent.",0.6116,"\u002FbiUYQjaEdJNPNjuFnpH1G7i8eMD.jpg","1970-01-01","5b51240fc3a3680f15008a89",{"adult":4,"backdrop_path":21,"genre_ids":784,"id":785,"title":786,"original_language":26,"original_title":786,"overview":787,"popularity":788,"poster_path":789,"release_date":790,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":791,"department":13,"job":137,"media_type":36},[],537706,"Barbara Ward Will Never Die","Barbara Hammer (then married and known as Barbara Ward) stakes a claim to immortality.",0.5685,"\u002FrXmjQ7QUzKG2xqsDYqTqNXI9Sdd.jpg","1968-01-01","5b5762ec0e0a2673d803b42d",{"adult":4,"backdrop_path":21,"genre_ids":793,"id":794,"title":795,"original_language":26,"original_title":795,"overview":796,"popularity":797,"poster_path":798,"release_date":790,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":799,"department":13,"job":137,"media_type":36},[54],537894,"Schizy","Barbara Hammer's first film.",0.9011,"\u002FyVgHyxoDklENlmInKxgRS1HCo84.jpg","5b58a3439251416dc20509a9",{"adult":4,"backdrop_path":21,"genre_ids":801,"id":802,"title":803,"original_language":26,"original_title":803,"overview":804,"popularity":805,"poster_path":806,"release_date":421,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":807,"department":13,"job":137,"media_type":36},[],537900,"Yellow Hammer","Shot on Super 8mm in color and silent.",0.7845,"\u002FmjJjMzHxRPi5i3Xy3r26PeCk0Ar.jpg","5b58a7550e0a2673dc0560eb",{"adult":4,"backdrop_path":21,"genre_ids":809,"id":810,"title":811,"original_language":26,"original_title":811,"overview":812,"popularity":813,"poster_path":814,"release_date":781,"softcore":4,"video":4,"vote_average":31,"vote_count":9,"credit_id":815,"department":13,"job":137,"media_type":36},[],537902,"Play or ‘Yes’, ‘Yes’, ‘Yes’","B&W and color; silent.",0.662,"\u002FucH8fJZtRXD8RBiA7booDvJvkh4.jpg","5b58a92a9251416dc6050df9",{"adult":4,"backdrop_path":21,"genre_ids":817,"id":818,"title":819,"original_language":26,"original_title":819,"overview":820,"popularity":821,"poster_path":822,"release_date":823,"softcore":4,"video":4,"vote_average":824,"vote_count":32,"credit_id":825,"department":13,"job":137,"media_type":36},[],539264,"Parisian Blinds","A film investigating the nature of spectator perception in an unfamiliar environment. Manipulating the movement of the film direction on the screen much like a camera shutter, Hammer questions the perceptual experience of mass tourism as the Bâteau Mouche endlessly circles the île de la Cité.",0.5569,"\u002FzJGIBCOs4RSmzXI2kWxCrauoVVm.jpg","1984-01-01",7.3,"5b5f844bc3a368357c007380",{"adult":4,"backdrop_path":21,"genre_ids":827,"id":828,"title":829,"original_language":26,"original_title":829,"overview":830,"popularity":831,"poster_path":832,"release_date":598,"softcore":4,"video":4,"vote_average":156,"vote_count":9,"credit_id":833,"department":13,"job":137,"media_type":36},[],550642,"Jane Brakhage","\"I picked up Stan and Jane Brakhage at the airport and drove them to San Francisco State College where Stan spoke about his films to the student body. I was fascinated with Jane. She was so interested in the world around her while Stan seemed caught up only in his ideas. She picked seed pods from trees and plants and told me she had written a lexicon of dog language. She was so much more complex than Stan's portrayal of her in Window Water Baby Moving (1958) that I decided to make a documentary about her for my graduate project.\" — Barbara Hammer  16mm film, Color\u002FSound",0.7739,"\u002FiPc8gHBsFCuLfUf5PACKANZM8f5.jpg","5babe8fb0e0a2664cc02da28",{"adult":4,"backdrop_path":21,"genre_ids":835,"id":836,"title":837,"original_language":26,"original_title":837,"overview":838,"popularity":839,"poster_path":840,"release_date":598,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":841,"department":13,"job":137,"media_type":36},[],562602,"Psychosynthesis","\"The sub-personalities of me, as baby, athlete, witch and artist are synthesized in this film of superimpositions, intensities, and color layers coming together through the powers of film.\" —Barbara Hammer",0.6024,"\u002FwAXBWcw4WTnORFJKXTMSWur7owz.jpg","5bf0b1ba0e0a26266604a9a0",{"adult":4,"backdrop_path":21,"genre_ids":843,"id":844,"title":845,"original_language":26,"original_title":845,"overview":846,"popularity":847,"poster_path":848,"release_date":849,"softcore":4,"video":4,"vote_average":249,"vote_count":117,"credit_id":850,"department":13,"job":137,"media_type":36},[],562610,"Dream Age","\"A 70-year-old lesbian feminist, seeing little change in the society after years of work, sends out her 40-year-old self on a journey taking her around the perimeters of the San Francisco Bay. During her quest she encounters aspects of her personality: the guardian angel who has all that she needs; the seductress who leads her astray; the wise woman of secrets who she meets underground. The film culminates in a visual crescendo ascending a tower as the heroine's hair is painted white by her counterparts. A dream vision film.\" —Barbara Hammer",0.4951,"\u002F1J6YaQWmgeQkZgbE7UzueGGqXYg.jpg","1979-01-01","5bf0b87a9251415cd7045735",{"adult":4,"backdrop_path":21,"genre_ids":852,"id":853,"title":854,"original_language":26,"original_title":854,"overview":855,"popularity":856,"poster_path":857,"release_date":823,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":858,"department":13,"job":137,"media_type":36},[],562611,"Doll House","\"Rapid montage shows a plethora of objects all arranged in, or with reference to, the central prop of a dollhouse. We see whimsical references to domesticity (kitchen implements), clothing (shoes), the housing situation (want ads), feminist film (Annette Kuhn's book Women's Pictures), relationships, claustrophobia. The final shots show the dollhouse outside, up in the branches of a tree - by the effort of cinema, the dollhouse has become a tree-house. This thematic movement mirrors the movement of Barbara Hammer's films in the last few years: from preoccupation with inside\u002Fthe body, to a claiming of outside\u002Fthe landscape.\" —Claudia Gorbman, Jump Cut.",0.4759,"\u002F8pfxjSOb9t9lxBZCT7XBUI3LQ6k.jpg","5bf0b8e29251415cc8045c35",{"adult":4,"backdrop_path":21,"genre_ids":860,"id":861,"title":862,"original_language":26,"original_title":862,"overview":863,"popularity":864,"poster_path":865,"release_date":866,"softcore":4,"video":4,"vote_average":74,"vote_count":9,"credit_id":867,"department":13,"job":137,"media_type":36},[23,253],560803,"Sync Touch","A lesbian\u002Ffeminist aesthetic proposing the connection between touch and sight to be the basis for a new cinema. The film explores the tactile child nature within the adult woman filmmaker, the connection between sexuality and filmmaking, and the scientific analysis of the sense of touch.",0.5828,"\u002FiFFs82tDX7QijMieHbJagoJKDt4.jpg","1981-12-10","5be676b9c3a368173000a167",{"adult":4,"backdrop_path":21,"genre_ids":869,"id":181,"title":182,"original_language":26,"original_title":182,"overview":183,"popularity":184,"poster_path":185,"release_date":186,"softcore":4,"video":4,"vote_average":117,"vote_count":117,"credit_id":870,"department":13,"job":137,"media_type":36},[],"5be7fcfd0e0a263bf3024a9a",{"adult":4,"backdrop_path":21,"genre_ids":872,"id":190,"title":191,"original_language":26,"original_title":191,"overview":192,"popularity":193,"poster_path":194,"release_date":195,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":873,"department":13,"job":137,"media_type":36},[],"5be8007e0e0a263bf3024f5b",{"adult":4,"backdrop_path":21,"genre_ids":875,"id":876,"title":877,"original_language":26,"original_title":877,"overview":878,"popularity":879,"poster_path":880,"release_date":881,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":882,"department":13,"job":137,"media_type":36},[],567703,"Our Trip","Animation of photos and paper cut outs from a hike at Machu Pichu in Peru.",0.4573,"\u002FejCfD0SDkYbAbYKcbPcWdFsc4LF.jpg","1981-02-28","5c0ec698c3a36825280cb21e",{"adult":4,"backdrop_path":21,"genre_ids":884,"id":254,"title":255,"original_language":26,"original_title":255,"overview":256,"popularity":257,"poster_path":258,"release_date":259,"softcore":4,"video":4,"vote_average":260,"vote_count":9,"credit_id":885,"department":13,"job":137,"media_type":36},[253,23],"5c17f0d6c3a36866d838bee9",{"adult":4,"backdrop_path":21,"genre_ids":887,"id":888,"title":889,"original_language":26,"original_title":889,"overview":890,"popularity":891,"poster_path":892,"release_date":893,"softcore":4,"video":4,"vote_average":260,"vote_count":9,"credit_id":894,"department":13,"job":137,"media_type":36},[253,23],576025,"Snow Job: The Media Hysteria of AIDS","Deconstructs the representation of AIDS in the popular media where distortion and misrepresentation amount to a \"snow job\" promoting increased homophobia, sexual discrimination and repression of gays.",0.6909,"\u002FzDKGpySUBsz2LbCBYipWN0anO7C.jpg","1987-06-19","5c417026c3a368057342c8df",{"adult":4,"backdrop_path":21,"genre_ids":896,"id":897,"title":898,"original_language":26,"original_title":898,"overview":899,"popularity":900,"poster_path":901,"release_date":395,"softcore":4,"video":4,"vote_average":260,"vote_count":9,"credit_id":902,"department":13,"job":137,"media_type":36},[],576027,"Would You Like To Meet Your Neighbor? A New York Subway Tape","An investigation into what subway passengers are reading.",0.5174,"\u002Fiqac9M8LSpRHCl1dMr8x5AbvI4s.jpg","5c4173749251414160ab6a29",{"adult":4,"backdrop_path":904,"genre_ids":905,"id":906,"title":907,"original_language":26,"original_title":907,"overview":908,"popularity":909,"poster_path":910,"release_date":911,"softcore":4,"video":4,"vote_average":74,"vote_count":117,"credit_id":912,"department":13,"job":137,"media_type":36},"\u002Fn7PWWICD7L72s5Rwj7JX8uxutwb.jpg",[253],576031,"Two Bad Daughters","A whirlwind tour of paternal institutions: fatherhood, Lacanian psychoanalysis and bondage.",0.8916,"\u002FkY3Uj6WI11r1XB0SAxQzQeJHR9w.jpg","1988-06-16","5c4174f90e0a2633488efc4e",{"adult":4,"backdrop_path":398,"genre_ids":914,"id":400,"title":401,"original_language":26,"original_title":401,"overview":402,"popularity":403,"poster_path":404,"release_date":405,"softcore":4,"video":4,"vote_average":249,"vote_count":86,"credit_id":915,"department":372,"job":373,"media_type":36},[62,90,23],"5c999402c3a36863b73b9260",{"adult":4,"backdrop_path":398,"genre_ids":917,"id":400,"title":401,"original_language":26,"original_title":401,"overview":402,"popularity":403,"poster_path":404,"release_date":405,"softcore":4,"video":4,"vote_average":249,"vote_count":86,"credit_id":918,"department":367,"job":368,"media_type":36},[62,90,23],"5c99940dc3a36841a33f1c6e",{"adult":4,"backdrop_path":21,"genre_ids":920,"id":921,"title":922,"original_language":26,"original_title":922,"overview":923,"popularity":924,"poster_path":925,"release_date":926,"softcore":4,"video":4,"vote_average":490,"vote_count":98,"credit_id":927,"department":13,"job":137,"media_type":36},[23],598138,"Out in South Africa","Out in South Africa, a documentary about a country in the state of transition; specifically of lesbians and gays, black and white, Indian and Asian, from townships, cities and rural areas who speak of their lives and desires as homosexuals in post-apartheid South Africa. Hammer was invited to have a retrospective in summer, 1994, at the first Gay and Lesbian film festival on the African continent. She wanted to do more than screen her films and videos; she wanted to teach video production skills in the townships. These workshops provide the deeply moving stories lesbians and gays told to one another.",0.5653,"\u002FqjzouY9PV5QNfVWQCf1DEWlm2lH.jpg","1995-01-05","5cc4c4560e0a2649cfed9e35",{"adult":4,"backdrop_path":307,"genre_ids":929,"id":309,"title":310,"original_language":26,"original_title":310,"overview":311,"popularity":312,"poster_path":313,"release_date":314,"softcore":4,"video":4,"vote_average":46,"vote_count":86,"credit_id":930,"department":13,"job":137,"media_type":36},[23,90],"5cc4cb479251415d3bf302e9",{"adult":4,"backdrop_path":21,"genre_ids":932,"id":933,"title":934,"original_language":26,"original_title":934,"overview":935,"popularity":936,"poster_path":937,"release_date":790,"softcore":4,"video":4,"vote_average":31,"vote_count":9,"credit_id":938,"department":13,"job":137,"media_type":36},[253],606375,"Contribution to Light","transferred S8 mm film, 4:3, color, silent, 3:42 min, Edition of 7 + 2AP",0.5309,"\u002F9KJoHmfZ8FpLreZOvfrmGHPYHbq.jpg","5cf391a9c3a368775822f09d",{"adult":4,"backdrop_path":21,"genre_ids":940,"id":941,"title":942,"original_language":26,"original_title":942,"overview":943,"popularity":944,"poster_path":945,"release_date":790,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":946,"department":13,"job":137,"media_type":36},[23],606376,"White Cassandra","Transferred S8 mm film, 4:3, color, silent, 4:08 min, Edition of 7 + 2AP",0.4684,"\u002FoQObqPy4oAA5znHbMMBB7JIbNnw.jpg","5cf392140e0a2619d3ca92b3",{"adult":4,"backdrop_path":21,"genre_ids":948,"id":949,"title":950,"original_language":26,"original_title":950,"overview":951,"popularity":952,"poster_path":953,"release_date":790,"softcore":4,"video":4,"vote_average":31,"vote_count":9,"credit_id":954,"department":13,"job":137,"media_type":36},[],606378,"Clay I Love You II","1968\u002F69, transferred S8 mm film, 4:3, color, silent, 5:19 min, Edition of 7 + 2AP",0.6773,"\u002Fhp0mnD31vm9P7I24YFBooa3Vw0y.jpg","5cf393d20e0a261186ca8373",{"adult":4,"backdrop_path":21,"genre_ids":956,"id":957,"title":958,"original_language":26,"original_title":958,"overview":959,"popularity":960,"poster_path":961,"release_date":962,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":963,"department":13,"job":137,"media_type":36},[],606379,"Cleansed II","1969, transferred S8 mm film, 4:3, color, silent, 7:34 min, Edition of 7 + 2AP",0.4791,"\u002FdfOcgbqL3LFPLEoFRfmExMNM6gf.jpg","1969-01-01","5cf394540e0a26237dca8ef0",{"adult":4,"backdrop_path":21,"genre_ids":965,"id":966,"title":967,"original_language":26,"original_title":967,"overview":968,"popularity":969,"poster_path":970,"release_date":971,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"credit_id":972,"department":13,"job":137,"media_type":36},[],605460,"Moon Goddess","In California a young woman artist\u002Ffilmmaker is led by an older female artist through the small pine forests of Mendocino and the hot desert sands of Death Valley before she is taught the lesson of creative inspiration.",0.5119,"\u002FhaEUdGA2saEXzw4jEai8t344wOz.jpg","1976-05-16","5cee45a0c3a368518220e14e",{"adult":4,"backdrop_path":21,"genre_ids":974,"id":975,"title":976,"original_language":26,"original_title":976,"overview":977,"popularity":978,"poster_path":979,"release_date":980,"softcore":4,"video":4,"vote_average":156,"vote_count":9,"credit_id":981,"department":13,"job":137,"media_type":36},[23],605462,"History of the World According to a Lesbian","From the platonic cave to post-punk, the tape traces the invisible and visible references to women who love women from prehistory to contemporary times with the sarcastic sound of the ’50s lesbian quartet from Seattle, the Sluts from Hell.",0.5206,"\u002FirSYIAvOHkiUJAMdWeKEPFpL2ej.jpg","1988-05-02","5cee46d60e0a265e9dca3ae5",{"adult":4,"backdrop_path":983,"genre_ids":984,"id":985,"title":986,"original_language":26,"original_title":986,"overview":987,"popularity":988,"poster_path":989,"release_date":849,"softcore":4,"video":4,"vote_average":98,"vote_count":98,"credit_id":990,"department":13,"job":137,"media_type":36},"\u002F1Nr4yQoe6wM94b97fO1nr0tYiLG.jpg",[23],604014,"Sappho","Using the sixth century B.C. lyricist's poetry, a group of women unwrap the papyrus gauze of the lesbian goddess and bring her to life. 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