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The Best Philip Mallory Jones Directed Movies

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Ghosts & Demons is a single-channel version of the four-channel installation of the same title. In the installation, appropriated broadcast television images — electronically processed and decontextualized by Jones — were rendered as abstract, black- and-white visuals. The visual sources were, as Jones states, "images of Third World People and the images of victimization, deprivation, weakness and the connotation that Third World People are unable to take care of themselves." The soundtrack consisted of sounds gathered from short-wave broadcasts: howls, whistles, high-speed telemetry signals, coded voices, growls, screams. This piece, states Jones, represents "my bad dream and Third World people's collective bad dream."

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In this tapestry of images and sounds, fragments gleaned from more than three years of research on four continents illuminate an ancient community of perceptions, practices, and values. Originating in Africa, thousands of years before Egypt, remnants of the First World Order survive today as codes and symbolic language in the arts and life of many people. Weaving verité sequences of arts and cultural expression with interviews and animation, Jones evokes the textured relationships of culturally and ethnically distinct and disparate peoples.

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Fusing graphics, illustration and animation, Jones creates a spare, intense evocation of sexual and metaphoric love, desire and loss. According to the artist, this short piece was originally intended as a "love letter, inspired by a broken heart." What Goes Around/Comes Around is composed of four hundred ink drawings, spoken text and percussive instrumental sounds — all created by Jones, who states, "I was trying to make hand-made video."

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A video look at three impoverished Black communities in rural Georgia in 1976 - America's bicentennial, interspersing photos with footage and voices of those in their communities.

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A document of the artist's three-channel audio/video installation of the same title, Dreamkeeper is the second part of Jones' ongoing transcultural dialogue, a commentary on the emerging global African diaspora culture. Here he uses a drum to signify the link among diaspora peoples, stating, "The drum, the sound, is the translator of the unseen, to guide the seeker." Using footage and ambient sounds recorded in Angola and Burkina Faso, he explores what he terms a "narrative structure based on emotional progressions." Dreamkeeper continues Jones' search for images and sounds that speak to African diaspora cultures throughout the world. The drummers and music in the tape are indigenous to Bobo-Diolaso, Burkina Faso, West Africa.

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Montage of black music and poetry.

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In Jembe, Jones transposes African visual motifs and image construction to the electronic medium. Vibrant images, rendered as abstracted electronic color and form, are fused with the dynamic music of Coulibaly Aboubacar. This vivid, impressionistic piece explores the development of codes based on what Jones terms "emotional progressions and an African sensorium," without dependence on specific language comprehension.

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Shot in Burkina Faso, Wassa, which translates “come out and play”in Wolof, is a transcultural music video that unfolds with lush imagery and the evocative music of Moustapha Thiombiano. Jones creates a dreamlike vision, capturing the vibrancy and sensuality of the everyday. This rhythmically textured work is part of his exploration of African diaspora culture through nonverbal storytelling and a transcultural language of sound and image construction — the development of codes based on what Jones terms "emotional progressions and an African sensorium."

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