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The Best Craig Baldwin Directed Movies

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poster

60

17

6.2

/399/

59

/16/

48

/13/

3.7

/917/

Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.

?

80

/2/

A non-narrative film of science-related found footage.

poster

?

6.9

/24/

10

/1/

Coronado's ill-fated expedition across what is now the American Southwest is examined in a mix of found footage and live-action.

poster

?

7.4

/38/

40

/2/

63

/3/

This kaleidoscopic, amphetamine-paced tour de force uses a barrage of found-footage images and rapid-fire narration to trace a history of Zaire since its independence in 1960.

poster

?

80

/1/

70

/2/

A compilation disc in two parts. The first is a collection of 70s television ads called "What The 70s Really Looked Like", curated by Matt McCormick and Morgan Currie. The second part is called "70s Remix" (curated by Craig Baldwin and Noel Lawrence) which features a selection of art films that all make interventions on found footage from the 70s. These films include Matt McCormick's "The Vyrotonin Decision", Thad Povey's "Thine Inward-Looking Eyes", Tony Gault's "Not Too Much Remember", Damon Packard's "Toast 'ems", People Like Us's "We Edit Life" and Animal Charm's "Mark Roth".

poster

55

?

6.7

/233/

42

/4/

58

/4/

In post-apocalyptic 2007 where a government cover-up disseminates via mass media and the history of electromagnetic technologies, from X-rays to the Internet, telepath Boo Boo travels through the history of TV to fight against a corporate-controlled 'New Electromagnetic Order'.

poster

?

6.4

/25/

A collection of films from an eclectic array of contributors commissioned to raise funds for the Bristol independent cinema The Cube.

poster

59

?

6.7

/111/

44

/5/

58

/9/

86

/7/

40

/2/

A radical hybrid of spy, sci-fi, Western, and even horror genres, Craig Baldwin's Mock Up On Mu cobbles together a feature-length "collage-narrative" based on (mostly) true stories of California's post-War sub-cultures of rocket pioneers, alternative religions, and Beat lifestyles. Pulp-serial snippets, industrial-film imagery, and B- (and Z-) fiction clips are intercut with newly shot live-action material, powering a playful, allegorical trajectory through the now-mythic occult matrix of Jack Parsons (Crowleyite founder of the Jet Propulsion Lab), L.Ron Hubbard (sci-fi author turned cult-leader), and Marjorie Cameron (bohemian artist and "mother of the New Age movement"). Their intertwined tales spin out into a speculative farce on the militarization of space, and the corporate take-over of spiritual fulfillment and leisure-time.

poster

?

6.3

/44/

10

/3/

62

/5/

The mythic nature of cowboy masculinity is deconstructed in this scathing montage of re-contextualized sounds and images culled from advertising, television, arcade game footage and other pop culture iconography.

poster

74

?

7.4

/182/

79

/11/

74

/5/

3.6

/303/

73

/3/

Within days of the release of Negativland's clever parody of U2 and Casey Kasem, recording industry giant Island Records descended upon the band with a battery of lawyers intent on erasing the piece from the history of rock music. Craig "Tribulation 99" Baldwin follows this and other intellectual property controversies across the contemporary arts scene. Playful and ironic, his cut-and-paste collage-essay surveys the prospects for an "electronic folk culture" in the midst of an increasingly commodified corporate media landscape.

?

An exploded view of a ballistic issue, Bulletin is a 6-minute mish-mash-up of a mid-’60s media-archeological marvel.

poster

?

Armed with S8 camera and sound-person, Craig Baldwin runs both recording devices continuously through single-take raids on a series of SF Market St. grindhouse theaters. Rushing past box offices and through front lobbies, he captures the chance scenes and sounds on screen at the time, then flees out the rear exit doors to reunite with the reality of the street.

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