INCLUDES:

STREET FILM PART ZERO SERIES
Street Film Part 1: 22 Minutes, 16mm, B&W, Sound
Street Film Part Zero Composite: 34 Minutes, 16mm, Color, Sound
Street Film Part Zero Reel 2: 34 Minutes, 16mm, Color, Sound
Street Film Part Zero Reel 3: 32 Minutes, 16mm, Color, Sound
Street Film Part Zero Reel 4: 33 Minutes, 16mm, B&W, Sound
Street Film Part Zero Reel 5: 33 Minutes, 16mm, Color, Sound

STREET FILM EXTRAS SERIES
Street Film 7: 6 Minutes, 16mm, B&W, Silent
Street Film 7 AND 8: 17 Minutes, 16mm, Color, Silent
Street Film 8: 34 Minutes, 16mm, Color, Sound
Street Film 10: 5 Minutes, 16mm, B&W, Sound
Street Film 10 and 5: 15 Minutes, 16mm, B&W, Silent
Street Film 11: 13 Minutes, 16mm, B&W, Silent
Street Film 14: 7 Minutes, 16mm, Color, Sound
Street Film 17: 3 Minutes, 16mm, B&W, Sound

The Street Film series is one of Fulton’s greatest experimental undertakings, challenging viewers to look beyond their preconceptions of filmmaking’s basic tools for conveying time and perceiving image. Not only can cuts be rapid and sporadic, but in the case of “Street Film Part Zero,” five projectors were layered onto a single screen for exhibition. Street Film was in a constant state of experimentation, where Fulton would edit reels between screenings and change configurations of projectors. At times, single-reel portions would be shown as standalone films, such as “Street Film Part 1.”

After Fulton passed away, it wasn’t clear which of the film reels in his archives were meant to be standalone films, work prints, trimmings, or which made up the five reels 35 minutes in length for his most notable screening of “Street Film Part Zero” in Boulder, CO, 1976. The first part of this collection, “Street Film Part Zero Series,” represents archivists’ best efforts to recreate the effect of exhibiting those five projectors layered onto a single screen with “Street Film Part Zero Composite.” Each reel is available to view individually, and the standalone film “Street Film Part 1” was chosen to be used as “Reel 1.”

The “Street Film Extras Series” is comprised of the remaining reels of film in Fulton’s archive along with their original labeled titles, even if they contradict one another. For example, “Street Film 10 and 5” doesn’t resemble “Street Film 10” or “Street Film 5” (which was used for Street Film Part Zero Reel 5), and could be a work print for all that’s known. By allowing all of these films to be viewed, archivists hope to open a window into Fulton’s filmmaking process and creative spirit.

"The objective of Street Film is to separate awareness from its materials.

Normally, awareness is bound to particularizations — subject-object relations, content and dynamics. By organizing these elements, awareness of a given situation is constructed.

Street Film considers the values of looking past the particular to the general existence of an unqualified awareness. This entails overcoming the subject-object dualism inherent in any single image. Whenever an image is singly isolated, there exists ‘another’ image implied outside its frame of reference. Several projectors overlapped raise the question of the ‘other’ integrated into a singularity.

The work may be considered as a form of instrumentation for contacting an unqualified awareness; the structure behind any individual content. In this respect it resembles dream formation. It connects to the basis of a rarely examined semantic reflex; to the way in which our perceptual habits impinge on and restrict a quality of openness implicit in the existence of the human experience.

The Zero refers to the presence of unqualified awareness in its own irreducible terms. It is for its own sake. It is a theoretical possibility, difficult of attainment. This awareness allows the observer to make use of his own hidden contents. In another sense the awareness permits of no hidden contents. It resembles a catalyst which fires a reaction but does not become part of it. It also resembles nothing at all."

-Robert E. Fulton III, Boulder CO, 1976

This restoration, conducted by scanning Fulton's personal 16mm archival prints in 2018, allows viewers to experience the films digitally in 4K for the first time. Color has been faithfully restored while being optimized for digital projection and online viewing.