(1951-2022)
The majority of Jim Jennings’ filmography is complete and accurate as below, but as I’ve gone through his collection, certain mysteries have emerged, not to mention that the absence of certain elements has drawn the information about some films into confusion. So below is as accurate a filmography as is currently possible to make, with some of the mysteries and uncertainties included. As more inspections, comparisons, and research is done, I will correct and amend this filmography. But in the meantime, it’s as accurate as it can be.
Jim Jennings’ wife Karen Treanor also set up a great site devoted to Jim, containing links to films and biographical info, as well as sections devoted to his other work in photography, painting, etc.: https://jimjenningsfilm.com/
THE MINI BIKE RIDE (1969)
16mm, bw, sound, 6.5m
Film stock notes: This film was shot on b/w reversal stock (original is currently missing, so precise stock is TBD).
SNOW RIDE (1970-72)
8mm or Super 8 (TBC), color, silent, 3.5m
EDGE (1972)
16mm, color, silent 16/18fps, 6m
Film stock notes: This film was shot on 7241 Ektachrome EF stock.
REFRACTION (1972)
16mm, color, silent 16/18fps, 4m
Film stock notes: This film was shot on Kodachrome II stock.
PROXIMITY (1973)
16mm, color, silent 16/18fps, 4m
Film stock notes: This film was shot on Kodachrome II stock.
LEAVES (1975)
16mm, color, silent 16/18fps, 7.5m
Film stock notes: This film was shot on Ektachrome stock.
SONNETS (ca.1976)
16mm, color, silent 16/18fps, 4m
Although this title did not appear in Jennings’ existing filmography, in 2000 it was included as a spliced original to be duplicated to internegative at a lab along with other completed works. It is definitely an edited, intentional work. However, the titling is confusing, as there is another film with the title “Sonnet“, and this film was also included in the batch of films to be printed to internegative. There is some inconsistency of labeling on Jennings’ part as to whether this film is “Sonnets” and the other is “Sonnet“, but they are definitely discrete, completed works, separate from each other.
Film stock notes: This film was shot on Kodachrome stock.
CLOTHESLINE (1977)
16mm, color, silent 16/18fps, 5m
Film stock notes: This film was shot on Kodachrome stock.
SONNET (1974/77?)
16mm, color, silent 16/18fps, 5.5m
Although this title did not appear in Jennings’ existing filmography, in 2000 it was included as a spliced original to be duplicated to internegative at a lab along with other completed works. It is definitely an edited, intentional work. However, the titling is confusing, as there is another film with the title “Sonnets“, and this film was also included in the batch of films to be printed to internegative. There is some inconsistency of labeling on Jennings’ part as to whether this film is “Sonnet” and the other is “Sonnets“, but they are definitely discrete, completed works, separate from each other.
Film stock notes: This film was shot on Kodachrome KM, Ektachrome, and Ansco b/w reversal stocks with hand-coloring on the b/w material.
FILM NOIR (1977-78)
16mm, bw, silent 16/18fps (presumed), 7.5m
Film stock notes: This film was shot on Eastman 7277 4-X reversal stock.
CHAMBERS (1978)
16mm, bw, silent 16/18fps, 6m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
CHINATOWN (1979)
16mm, bw, silent 24fps, 5m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
COUNTERPANE (1979)
16mm, color, silent 16/18fps, 5m
Film stock notes: This film was shot on Ektachrome stock.
DISPATCH (1979)
16mm, bw, silent 16/18fps, 7m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
GO FLY A KITE (1980)
16mm (orig. Super 8 or 8mm, TBC), color, silent 24fps, 3m)
Film stock notes: This film was shot on either 8mm or Super 8, almost certainly in Kodachrome, and blown up to 16mm Eastman 7252 Ektachrome Commercial stock, which was then used as a printing master.
WALL STREET (aka FALL) (1980)
16mm, bw, silent 16/18fps, 6m
Film stock notes: This film was shot on Eastman 7278 Tri-X reversal stock.
A FAIRY TALE (1981-83)
16mm, bw, silent 18fps, 9.5m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
BRIGHTON (1983)
16mm, color, silent 18fps, 7m
Film stock notes: This film was shot on Ektachrome stock.
CANAL CINEMA (1983)
16mm, color, silent 18fps, 8m
Film stock notes: This film was shot on Eastman 7241 Ektachrome EF stock.
COLOR BLIND (1983)
16mm, color, silent (fps TBD), 8m
WAITING FOR ST. GERARD (1983)
16mm, bw, silent 24fps, 7.5m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
SHADES (1985)
16mm, bw, silent 18fps, 7m
Film stock notes: This film was shot on b/w reversal stock (original is currently missing, so precise stock is TBD).
BYE BYE BOB (1989)
16mm, bw, sound, 10m
Film stock notes: This film was shot on Eastman 7278 Tri-X reversal stock.
ESCAPE (1994)
16mm, bw, silent 24fps, 6.5m
Film stock notes: This film was shot on Eastman 7278 Tri-X reversal stock.
DWELLINGS (1997)
16mm, bw, silent 24fps, 7m
Film stock notes: This film was shot on Eastman 7278 Tri-X reversal stock.
THE ELEVATED (1997)
16mm, bw, silent 24fps, 12m
Film stock notes: This film was shot on b/w reversal stock (original is currently missing, so precise stock is TBD).
POEMS OF ROME (PART 1) (1997)
16mm, color, silent 24fps, 7m
Film stock notes: This film was very likely shot on Eastman 7239 Ektachrome VND stock, although the original is currently missing, so this can’t be confirmed.
POEMS OF ROME (PART 2) (1997)
16mm, color, silent 24fps, 6m
Film stock notes: This film was shot on Eastman 7239 Ektachrome VND stock.
SCHOOL OF ATHENS (1997)
16mm, bw, silent 24fps, 14m
INTRIGUE (1998)
16mm, color, silent 24fps, 10.5m
Film stock notes: This film was shot on Eastman 7239 Ektachrome VND stock.
PAINTING THE TOWN (1998)
16mm, bw, silent 24fps, 10m
Film stock notes: This film was shot on Eastman 7278 Tri-X reversal stock.
SILVERCUP (1998)
16mm, bw, silent 24fps, 12m
Film stock notes: This film was shot on Eastman 7278 Tri-X reversal stock, with titles shot on 7276 Plus-X reversal stock.
F-STOPS (1999)
16mm, color, silent 24fps, 7m
Film stock notes: This film was shot on Eastman 7239 Ektachrome VND stock.
MIRACLE ON 34TH STREET (1999)
16mm, bw, silent 24fps, 13m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
WASH (1999)
16mm, color, silent 24fps, 6m
Film stock notes: This film was shot on Eastman 7239 Ektachrome VND stock.
CITY OPERA (2000)
16mm, color, silent 24fps, 9m
Film stock notes: This film was shot on Eastman 7239 Ektachrome VND stock.
DAY DREAM (2001)
16mm, bw, silent 24fps, 9m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
IMPOSSIBLE LOVE (2001)
16mm, bw & color, silent 24fps, 10m
Film stock notes: The color material in this film was shot on Eastman 7245 color negative stock. The b/w material was shot on b/w reversal (stock TBD), which was then copied to 7272 color internegative stock for incorporating into the A/B rolls for the conformed negative
INTERIOR (2001)
16mm, color, silent 24fps, 9m
Film stock notes: This film was shot on Eastman 7245 color negative stock.
MEGALOPOLIS (2001)
16mm, bw, silent 24fps, 8.5m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
SKYSCRAPER (2001)
16mm, bw, silent 24fps, 8m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
BALANCING (aka BIKE STUDY) (2002)
16mm, bw, silent 24fps, 7m
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock, with titles shot on 7278 Tri-X reversal stock.
DAILY COMMUTE (2002)
16mm, color, silent 24fps, 8m
Film stock notes: This film was shot on Eastman 7274 color negative stock, with titles on 7245 color negative stock.
NOCTURNE (2002)
16mm, bw, silent 24fps, 8.5m
Film stock notes: This film was shot on Eastman 7278 Tri-X reversal stock.
ELEMENTS (2003)
16mm, bw, silent 24fps, 7m
Film stock notes: This film was shot on Eastman 7276 Plus-X and 7278 Tri-X reversal stocks.
CLOSE QUARTERS (2004)
16mm, bw, silent 24fps, 9m
Film stock notes: This film was shot on Eastman 7266 Tri-X reversal stock.
MADE IN CHINATOWN (2005)
16mm, color, silent 24fps, 7m
Film stock notes: This film was shot on Eastman 7245 color negative stock.
SILK TIES (2006)
16mm, bw, silent 24fps, 10m
Film stock notes: This film was shot on Eastman 7265 Plus-X and Tri-X 7266 reversal stocks.
BRUGES (2007)
16mm, bw, silent 24fps, 6m
Film stock notes: This film was shot on Eastman 7265 Plus-X and Tri-X 7266 reversal stocks.
FASHION AVENUE (2007)
16mm, bw, silent 24fps, 7m
Two working titles for this film were 7th Avenue and Hall of Mirrors.
Film stock notes: This film was shot on Eastman 7266 Tri-X reversal stock.
GREENPOINT (2007)
16mm, color, silent 24fps, 7m
Film stock notes: This film was shot on Eastman 7201 color negative stock.
PRAGUE WINTER (2007)
16mm, bw, silent 24fps, 8m
Film stock notes: This film was shot on Eastman 7276 and 7265 Plus-X and 7266 Tri-X reversal stocks.
PUBLIC DOMAIN (2007)
16mm, color, silent 24fps, 8m
Film stock notes: This film was shot on Eastman 7201 color negative stock.
TRAIN OF THOUGHT (2008)
16mm, bw, silent 24fps, 9.5m
Film stock notes: This film was shot on Eastman 7265 Plus-X reversal stock.
JACKSON HEIGHTS (2010)
16mm, color, silent 24fps, 14.5m
Film stock notes: This film was shot on Eastman 7201 color negative stock.
SAN CRISTOBAL (1983/2011)
16mm, color, silent 24fps, 6m
Film stock notes: This film was shot on Kodachrome stock.
SOUTH OF THE BORDER (1983/2011)
Super 8/16mm, color, silent 24fps, 9m
WATCH THE CLOSING DOORS (2012)
video, color, sound, 12m
LOST OUR LEASE (2013)
16mm, bw, silent 24fps, 10m
The stock in this film’s original picture roll is all dated to 2004, so it’s possibly/likely that the filmmaker shot this material around that time, and didn’t finish/release the film until 2013. Also, the original cut for this film ca.2004 was approximately 14 minutes, and it was recut to its final length upon its release in 2013.
Film stock notes: This film was shot on Eastman 7266 Tri-X reversal stock.
LOST AND FOUND (1979-83?/2013)
16mm, bw, silent 18fps, 5m
This film was shot and assembled sometime between 1979-1983, and only printed and distributed in 2013. The original Plus-X stock is all 1979 vintage, and Jennings did not have a general tendency to shoot outdated stock, so 1979-80 is a reasonable guess for when the original footage was shot, although his official filmography estimates 1983 (which Karen Treanor confirmed was just a rough guess on Jennings’ part).
Film stock notes: This film was shot on Eastman 7276 Plus-X reversal stock.
UNCERTAIN TITLES
COLOR STUDY (1973)
16mm, color, silent 16/18fps (presumed), 6.5m
Although this roll of Kodachrome and Ektachrome material turned up labeled and dated by Jennings (“1973 // 211 W.88th // Color Study” and, later, “Old Color Original Interior”), it doesn’t seem likely to be anything like a finished work, seemingly having never been printed, but it’s included here since it’s a discrete piece that is theoretically viewable.
IMPORT/EXPORT (ca.1974)
16mm, color, silent 16/18fps (presumed), 10.5m
Although this does seem to be an edited and completed (and printed) film, it may only have been shown or circulated in a very limited fashion, and does not seem to have been formally distributed. However, the fact that it was labeled by the filmmaker with a title and exists in a whole and printed state at least validates its presence somewhere in his filmography.
Film stock notes: This film was shot on Kodachrome II stock.
OSCULAR (ca.1974)
16mm, color, silent 16/18fps (presumed), 6.5m
Although this does seem to be an edited and completed (and printed) film, it may only have been shown or circulated in a very limited fashion, and does not seem to have been formally distributed. However, the fact that it was labeled by the filmmaker with a title and exists in a whole and printed state at least validates its presence somewhere in his filmography.
Film stock notes: This film was shot on Kodachrome KM stock.
GARBO TALKS (ca. late 1970s/early 1980s)
16mm, bw, silent, 2m loop
The clear or definitive form of this piece is still TBD.
CANAL CINEMA #2 (ca.1980)
16mm, bw & color, silent 18fps (presumed), 7.5m
There is a spliced original picture roll for Canal Cinema #2, per Jennings’ labeling, but the date is strange considering Canal Cinema itself is 1983.
VALSE TRISTE (1981)
16mm, bw, silent 16/18fps (presumed), 3.5m
A print of this film exists, labeled “Valse Triste by Jim Jennings”, but this film was apparently never officially distributed, and comprises family home movie footage.
POEMS OF ROME (PART 3) (1997)
There is apparently a third film in this series, but elements/prints have not yet surfaced.
ROCK (ca.2004)
16mm, bw, silent 24fps, 9m
In Jennings’ collection, there exists what seems to be a complete, edited workprint for a film (on 2004 7361 b/w reversal stock and shot on 2004 Tri-X stock) labeled by Jennings “Rock” on a piece of tape at its head. More information will be added if possible.
GARDENING SECRETS (year TBD)
16mm, bw, silent (more info TBD)
Jennings’ filmography assembled by his wife Karen Treanor includes this film with the indication of it being an unscreened, “minor” work, but no elements have yet surfaced for this film. More information will be added if possible.
OTHER WORK
NUKE BRINK (1980)
Jennings was cinematographer, editor, performer, and handled other technical aspects of this film by his then-wife, Christine Piazza.
LIGHTSTRUCK 