A performance piece written by Sam Shepard, enacted by Joseph Chaikin and directed by Shirley Clarke, a dying man reflects on his life while delivering his own last rites.

A couple in love interacts across a multitude of environments.

A Visual Diary is a look at a private moment in one's life. A narrative form without utilizing a story line. The collaboration incorporates naturalistic non-verbal theater and dance techniques with photographs providing the environment.

This short film displays the dynamic movement of people as they enter and exit parks in Paris.

This feature-length documentary is devoted to the life and art of famed jazz musician Ornette Coleman. Saxophonist, trumpeter, violinist--you name the musical instrument, and supreme stylist Coleman will make magic with it. At the time this film was made, Coleman had not turned out an album in years, though he was still active on the concert circuit. Filmmaker Shirley Clarke focuses on Coleman's appearance with the symphony orchestra in his home town of Fort Worth, Texas. Combining documentary footage, dramatized scenes, and some of the first music video-style segments ever made, ORNETTE chronicles his boyhood in segregated Texas and his subsequent emergence as an American cultural pioneer and world-class icon. Among those appearing in the film are William Burroughs, Brion Gysin, Buckminster Fuller, Don Cherry, Yoko Ono, Charlie Haden, and Robert Palmer. Clarke’s film is essential for anyone hoping to understand the history of jazz and the fertile creative exchange that highlighted the 60s and 70s in America.

Choreographer Daniel Nagrin performs in a studio and in the sun.

THE CONNECTION is one of the most vital, fascinating films of the American independent world. Created by a woman director, Shirley Clarke, at a time when they were in very short supply, the film shattered stereotypes in just about every conceivable way. And yet, the film remained unseen for many years. The Connection was a play within a play within a jazz concert. It portrayed a group of drug addicts, some of them jazz musicians, waiting in a New York loft apartment for their drug connection. A producer and a writer, meanwhile, have entered their lives to study them and write a play about them. The brilliantly written Beat dialogue was blended with jazz music written by the great pianist Freddie Redd. Clarke changed the character of the writer to Jim Dunn, a young, preppy filmmaker out to make a name for himself by documenting the "scene." As Clarke was best friends with the hot new indie directors, she added a level of humor by poking fun at the cinema verité movement. She also chose to keep the play's one-set constriction, but she combined the French New Wave’s mobile camera with a whirling choreography of movement and jazz to create an exciting, kinetic film that was acclaimed at the Cannes International Film Festival as a masterpiece. Yet even knowing the avant garde nature of the play and her film, little could Clarke recognize the furor the film was about to create.

A fifteen-year-old boy wants to buy a gun from an adult racketeer named Priest, in order to become president of the gang to which he belongs, and to return them to active "bopping" (gang fighting) which has declined in Harlem.

Interview with Jason Holliday aka Aaron Payne. House-boy, would-be cabaret performer, and self-proclaimed hustler giving one man's gin-soaked, pill-popped view of what it was like to be black and gay in 1960s United States. Preserved by the Academy Film Archive in partnership with Milestone Films in 2013.

By the time Clarke made a biopic on Robert Frost for public television, he was a long-celebrated American institution. Though featuring him accepting the Congressional Gold Medal from President Kennedy at the White House, Clarke lingers on the 88-year-old poet busily ambling about his house and property in Vermont and intersperses this with relaxed talks to students at Sarah Lawrence and Amherst Colleges. Jokingly acknowledging his film crew at times, Frost appears comfortable and amused with his place in the sun. Relatively conventional with a verité cognizance, Clarke’s stroll “above ground” earned her the Academy Award for Best Feature Documentary in 1963.

Anna Sokolow’s choreographed reinterpretation of a bullfight. Sokolow plays the matador, an audience member, and the doomed animal.

Nominated for an Academy Award, this live-action short film playfully chronicles the construction of the Tishman Building at 666 Fifth Avenue in New York City.

雪莉•克拉克（Shirley Clarke）的《环绕路桥》（Bridges Go Round,1958）采用更为复杂的冲印效果，包括著色和重叠影像，营造出高耸的弓形路桥。