1909 – CRETINETTI CHE BELLO – a.deed – ita – 16/B&W/M – 3 (4′)
1912 – ONESIME ORLOGER – j.durand – fra – 16/B&W/M – 7′ (9’30”)
1915 – LA FOLIE DU DOCTEUR TUBE – a.gance – fra – 16/B&W/MS – 1O’ (13′)
1919 – OPUS I – w.ruttmann – ger – 16/C/M – 7′ (9′)
1919 – LA FETE ESPAGNOLE – g.dulac – fra – 16/B&W/M – estratto – 6’25” (9′)
1919/2O – RHYTMUS 21 – h.richter – ger – 16/B&W/M – 2′ (2.30″)
1921 – OPUS II – w.ruttmann – ger – 16/B&W/M – 2′ **
1921 – SYMPHONIE DIAGONALE – v.eggeling – ger – 16/B&W/M – 8′ (10′ 30″)
1921 – FIEVRE – l.delluc – fra – S8/B&W/M – 29′ (38′)
1921 – MANHATTA – strand&sheller – usa – TR S8/B&W/M – 6’3O” (9′) + 16/B&W/M – 7’25” (10′)
1921 – KINO PRAVDA – d. vertov – urss – 16/B&W/M – 14′ estratti
1922 – CRAINQUEBILLE – j.feyder – fra – ST8/B&W/M/ED.INGH. – 4O’ (53′)
1922 – LA SOURIANTE MADAME BEUDET – g.dulac – fra – 16/B&W/M – 25′ (33′)
1922 – LA FEMME DE NUL PART – l.delluc – fra – 16/B&W/M – 45′ (60′)
1922 – SALOME – c.bryant – usa – 16/B&W/M/TR – 27′ (36′)
1923 – RHYTMUS 23 – h.richter – ger – 16/B&W/M – 2′ (2’30”)
1923 – LE RETOUR A LA RAISON – m.ray – fra – 16/B&W/M – 3′ (4′)
1923 – PARIS QUI DORT – r.clair – fra – 16/B&W/M/DID.INGH. – 40′ (53′)
1924 – AELITA – j.protazanov – urss – 16/B&W/M/TR – 84′ (112′)
1924 – OPUS III – w.ruttmann – ger – 16/B&W/M – 4′ **
1924 – BALLET MECANIQUE – f.leger – fra – 16 e S8/B&W/M – 8′ (1O’) + 16/B&W/M – 11’09” (14′)
1924 – ENTR’ACTE – clair/picabia – fra – 16/B&W/M – 15′ (2O’)
1924 – MENILMONTANT – d.kirsanoff – fra – 16/B&W/M – 25′ (33′)
1924/27 – WASESPERIMENTEN – o.fischinger – ger – 16/B&N&C/M – 8’45” (11′)
1925 – OPUS IV – w.ruttmann – ger – 16/B&W/M – 6′ **
1925 – REBUS FILM N.1 – p.leni – ger – 16/B&W/M/ED.INGH – 10’30” (13’30”)
1923-25 – VISAGES D’ENFANTS – j.feyder – fra – 16/B&W/M/ED.INGH. – 24’12” (32′) selezione
1926 – SHINEL – trauberg/kozintzev – urss – 16/B&W/M/DID.INGH./ED.USA: II P.- 40′ (53′)
1926 – RIEN QUE LES HEURES – a.cavalcanti – fra – 16/B&W/M – 33′ (44′)
1926 – FILMSTUDIE – h.richter – ger – 16/B&W/MS – 6′
1926 – ANEMIC CINEMA – m.duchamp – fra – 16/B&W/M – 6′ (8′)
1926 – EMAK BAKIA – m. ray – fra – 16/B&W/M – 14′ (19′)
1926 – BERLIN STILLEBEN – l.moholy-nagy – ger – 16/B&W/M – 8′
1926 – SEELISCHE KONSTRUKTIONEN – o.fischinger – ger – 16/B&W/MS – 7′
1927 – LA GLACE A TROIS FACES – j.epstein – fra – 16/B&W/M – 32′ (43′)
1927 – CHARLESTON – j.renoir – fra – S8/B&W/M – 17′ (22″)
1927 – LA COQUILLE ET LE CLARGYMAN – g.dulac – fra – 16 + S8/B&W/M – 29′ (39′)
1927 – L’INVITATION AU VOYAGE – g.dulac – fra – 16/B&W/M – 30′ (40′)
1927 – LA P’TITE LILI – a.cavalcanti – fra – 16/B&W/M da copia SO – 14′ (19′)
1927 – LULLABY – b.deuthc – fra – 16/B&W/M – 7′ (8’3O”)
1927 – BERLIN:DIE SHYMPHONIE EINER GROSSTADT – w.ruttmann – ger – 16/B&W/M – 54′ (70′) + S8/SM/MS a 19ft 62′
1927 – MUNCHEN BERLIN WANDERUNG – o.fischinger – ger – 16/B&W/M – 3′
1927 – POTSELUJ MERY PICKFORD – s.komarov – urss – 16/B&W/M/TR – 60′ (80′)
1927/28 – INFLATION – h.richter – ger – 16/B&W/MS – 5′[
1927/28 – DE BRUG – j.ivens – ol – 16/B&W/M – 13′ (17′)
1928 – LA MARCHE DES MACHINES – e.deslaw – fra – 16/B&W/M – 5’25” (7′)
1928 – LA TOUR – r.clair – fra – ST8 e S8/B&W/M – 9′ (12′)
1928 – L’ETOILE DE MER – m.ray – fra – 16 e S8/B&W/M – 10′ (13′)
1928 – LA CHUTE DE LA MAISON USHER – j.epstein – fra – 16 + S8/B&W/M – TR – 43′ ( 57′)
1928 – L’ARGENT – m.l’herbier – fra – 16/B&W/M – 134′ (178′)
1928 – THE FALL OF THE HOUSE OF USHER – watson&webber – usa – 16/B&W/MS + S8/B&W/M – 12′ (16′)
1928 – LIFE AND DEATH OF AN HOLLYWOOD EXTRA – r.florey – usa – S8/B&W/M – 11′ (14′)
1928 – REGEN – j.ivens – ol – S8/B&W/M e 16/B&W/SO – 12′ (16′)
1928 – VORMITTAGSPUK – h.richter – ger – 16 e S8/B&W/M – 7′ (8’3O”)
1928 – OKTJABR’ – s.m.eisensteijn – urss – 16/B&W/MS/ED.ORI/DID.INGH – 102′
1928/29 – RENNSYMPONIE – h.richter – ger – 16/B&W/MS – 4′ [[
1928/29 – ZWEIGROSCHENZANBER – h.richter – ger – 16/B&W/MS – 4′ [[
1929 – IMPRESSIONEN VON ALTEN MARSEILLERHAFEN – l.moholy-nagy – ger – 16/B&W/M – 9′
1929 – SURF AND SEAWED – r.steiner – usa – S8/B&W/M – 9’3O” (12′)
1929 – THE SWAN – w.futter – usa – 16/B&W/SO – 4’41” musica
1929 – TUSALAVA – l.lye – gb – 16/B&W/M da SO ? – 6’50”
1929 – DRIFTERS – j.grierson – gb – 16/B&W/MS – 42′
1929 – LES MYSTERES DU CHATEAU DU DE – m.ray – fra – 16/B&W/M – 14′ (19′)
1929 – THEMES ET VARIATIONS – g.dulac – fra – 16/B&W/M – 7’20”
1929 – ALLES DREHT SICH, ALLES BEWEGT SICH – h.richter – ger – 16/B&W/MS – 4′ [
1929 – CELOVEC S’ KINOAPPARATOM – d.vertov – urss – S8/B&W/M – 67′ (85′)
1929 – UN CHIEN ANDALOU – buÇuel/dali – fra – 16/B&W/MS (musica apocrifa) + S8/B&W/SO (musica originale) – 16′ (21′)
1929 – HæO – r.steiner – usa – 16/B&W/M – 1O’ (13′)
1930 – ENTUZIAZM (SIMFONIJA DOMBASSA) – d.vertov – urss – 16/B&W/SO – 68′
1930 – ROMANCE SENTIMENTALE – alexandrov/eisensteijn – ch -S8/B&W/SM – 21′
1930 – A PROPOS DE NICE – j.vigo – fra – 16/B&W/M – 30′ (40′)
1930 – EIN LICHTSPIEL: SCHWARZ, WEISS, GRAU – l.mohly-nagy – ger – 16/B&W/M – 6′
1930 – L’AGE D’OR – bunuel/dali – fra – 16/B&W/SO/ED.ORI./DID.INGH.- 63′
1930 – ZAMPA – w.c.menzies – usa – 16/B&W/SO – 9’15”
1930 – THE WIZARD APPRENTICE – w.c.menzies – usa – S8/B&W/SM – 9’3O”
1930 – STUDY N.6 – o.fischinger – ger – 16/B&W/SO – 3′ [[[
1930/31 – AUTUMN FIRE – h.g.weingberg – usa – S8/B&W/M – 16′
1931 – A BRONX MORNING – j.leyda – usa – S8/B&W/M – 11′ (15′)
1931 – LA NATATION PAR JEAN TARIS – j.vigo – fra – 16/B&W/SO – 8′
1931 – MOR VRAN – j.epstein – fra – 16/B&W/SO – 25′ 30″
1931 – STUDY N.7 – o.fischinger – ger – 16/B&W/SO – 3′ [[[
1931 – STUDY N.8 – o.fischinger – ger – 16/B&W/SO – 4′ [[[
1931 – PACIFIC 231 – m.tsekhanouvskii – urss – 16/B&W/SO – 6′ 26″
1932 – GROSSTADT ZINGEUNER – l.moholy-nagy – ger – 16/B&W/M – 12′
1932 – L’AFFAIRE EST DANS LE SAC – p.prevert – fra – S8/B&W/SO – 48′
1932 – L’IDäE – b.bartosh – fra – 16/B&W/SO – 27′
1932 – LAS HURDES – l.bunuel – spa – S8/B&W/SM/ e 16/SO/ED.INGH. – 27′
1932 – L’HISTOIRE DU SOLDAT INCONNU – h.stork – bel – 16/B&W/M – 9′ (12′)
1932 – STUDY N. 11 – o.fischinger – ger – 16/B&W/SO – 3′ [[[
1932 – LE SANG D’UN POäTE – j.cocteau – fra – S8/B&W/SM – 53′
1933 – THE PEANUT VENDOR – l.lye – gb – 16/B&W/SO – 2′
1933 – UNE NUIT SUR LE MONT CHAUVE – alexejeff&parker – fra – 16/B&W/SO – 7′
1933 – LOT IN SODOM – watson&webber – usa – 16 + S8/B&W/SM – 27′
1933 – ZERO DE CONDUITE – j.vigo – fra – S8/B&W/SM – 44′
1934 – L’ATALANTE – j.vigo – fra – S8/B&W/SM – 89′ (d. h.s.)
1934 – HERTS OF AGE – o.welles – usa – S8/B&W/M – 6′
1934 – NIEUWE GRONDEN – j.ivens – ol – 16/B&W/SO/ED.INGH.- 24′
1934 – TRI PESNI O LENINE – d.vertov – urss – 16/B&W/SO – 59′ 39″
1932/34 – MAN OF ARAN – r.flaherty – gb – 16/B&W/SO – 54′ (da 70′)
1935 – RHYTM IN LIGHT – m.e.bute – usa – 16/B&W/SO – 4′ 30″
1935 – MURATTI PRIVAT – o.fischinger – ger – 16/B&W/SO – 2’35”
1935 – KOMPOSITION IN BLAU – o.fischinger – ger – 16/C/SO – 4′ 3O”
1935 – COLOR BOX – l.lye – gb – 16/C/SO – 5′
1935 – RAIBOW DANCE – l.lye – gb – S8/C/SM e 16/C/SO – 4′
1935 – LOBSTERS – l.moholy-nagy – gb – 16/B&W/M – 17′ 25″
1936 – ALLEGRETTO – o.fischinger – ger/usa – 16/C/SO – 4′
1936 – NIGHTMAIL – watt&wright – gb – 16/B&W/SO – 21′
1936 – THINGS TO COME – w.cameron menzies – gb – 16/B&W/SO – 92′ non accr. lazlo moholy-nagy
1936 – THE PLOW THAT BROKE THE PLAINS – p.lorenz – usa – 16/B&W/SO – 26′
1937? – CALLING ALL GIRLS – wb: b.bercheley – usa – S8/B&W/SM – 20′
1937 – TRADE TATOO – l.lye – gb – 16/C/SO – 6′
1937 – THE RIVER – p.lorenz – usa – 16/B&W/SO – 30′
1938 – NORTH SEA – h.watt – gb – 16/B&W/SO – 30′ 40″
1938 – SWINGING THE LAMBETH WALK – l.lye – gb – 16/C/SO – 4′
1939 – THE CITY – steiner&van dike – usa – 16/B&W/SO – 45′
1939 – L’AGNEAU MYSTIQUE – a.cauvin – bel – 16/B&W/SO/ED.INGH – 8’26”
1940 – MUSICAL POSTER N.1 – l.lye – gb – 16/C/SO – 3′
1940 – THE RED BOX FANTASY – p.bianchi – gb – S8/C/SM – 4′
1941 – AN AMERICAN MARCH – o.fischinger – usa – 16/C/SO – 3′
1941 – LISTEN TO BRITAIN – jennings&mcallister – gb – 16/B&W/SO – 20′
1942 – MOODS OF THE SEA – s.volkapich – usa – 16/b&W/SO – 9’41”
1942 – LAMBETH WALK NAZY STYLE – j.ellit – 16/B&W/SO – 2′
1943 – CAMERAMEN AT WAR – l.lye – gb – 16/B&W/SO – 15′
1943 – MESHES OF THE AFTERNOON – m.deren – usa – 16/B&W/SO e S8/B&W/SM – 14′
1943 – COLOR SEQUENCE – d.grant – usa – 16/C/M – 3′
1943 – STRICHT-PUNKT-BALLET – h.seggelke – ger – 16/C/SM – 3′
1944 – AT LAND – m.deren – usa – 16/B&W/M – 15′
1944 – WHEN THE PIE WAS OPENED – l.lye – gb – 16/B&W/SO – 8’32”
1945 – A STUDY IN CHOREOGRAPHY FOR CAMERA – m.deren – usa – 16/B&W/M – 3′
1945 – LE RETOUR – h.cartier-bresson – usa/fra – 16/B&W/SO – 34′
1946 – RITUAL IN TRASFIGURED TIME – m.deren – usa – 16/B&W/M – 15′
1947 – DREAMS THAN MANY CAN BUY – h.richter – usa – 16/C/SO – 80′
1947 – MOTION PAINTING N.1 – o.fischinger – usa – 16/C/SO – 11’15”
1947 – AU PAYS DES MAGES NOIRS – j.rouch – fra – 16/B&W/SO – 13’30”
1948 – MEDITATION ON VIOLENCE – m.deren – usa – 16/B&W/SO – 15′
1948 – THE QUIET ONE – s.mayers – usa – 16/B&W/SO – 66′
1949 – BEGONE DULL CARE – n.mclaren – can – S8/C/SM – 8′
1949 – PACIFIC 231 – j.mitry – fra – 16/B&W/SO – 1O’
1949 – THORVALDSEN – c.t.dreyer – dn – 16/B&W/SO/ED.INGH – 10’13”
195O – UN CHANT D’AMOR – j.genet – fra – 16/B&W/M – 26′
1951 – A LA POINTE DE LA PLUME – peters&batchelor – can – 16/B&W/SO/ED.FRA.- 5′
1951 – LOONY TOM THE HAPPY LOVER – j.broughton – usa – 16/B&W/SO – 1O’
1952 – COLOR CRY – l.lye – gb – 16/C/SO – 4′
1952 – THE GENTLEMAN IN ROOM 6 – a.hammid – usa – 16/B&W/SO – 10’43”
1940/52 – IN THE STREET – levitt&loeb&agee – usa – 16/B&W/M – 12’50”
1954 – ABSTRONIC – m.e.bute – usa – 16/C/SO – 6′
1955 – BLINKITY BLANK – n.mclaren – can – 16/C/SO – 5′
1956 – NUIT ET BROUILLARD – a.resnais – fra – S8/C/SM/ED.ORI/DID.INGH.- 32′
1956 – LENIN – m.romm – urss – 16/B&W/SO – 30′ ca
1956 – 8X8 – h.richter – sv – 16/C/SO – 71′
1957 – A CHAIRY TALE – n.mclaren – can – S8/B&W/SM – 8′
1957 – TANT Q’IL Y AURA DES BETES – bressai – fra – 16/B&W/SO/ED.INGH – 9’33”
1958 – DWAY LUDZJE Z SZAFA – r.polansky – pol – 16/B&W/SO – 16′
1959 – THE VERY EYE OF THE NIGHT – m.deren – usa – 16/B&W/SO – 15′
196? – THE FISHERMAN – a.potenza – usa – S8/B&W/SM – 4’3O”
196? – LAUDATE – usa – 16/B&W/SO – 12′
1960 – LOVES OF FRANISTAN – j.scwering – usa – 16/B&W/SO – 8′
1961 – CATALOG – j.whitney – usa – 16/C/SO – 7′
1961 – TERMINUS – j.schlesinger – gb – S8/B&W/SM – 36′
1961 – LE GROS ET LE MAIGRE – r.polansky – fra – 16/B&W/SO – 15′
1961 – CHRONIQUE D’UN ETE – rouch&morin – fra – 35/B&W/SO/ED.ORI./DID.ITA.- 90′ dep.
1961 – DADASCOPE – h.richter – sviz – 16/C/SO – 42′
1962 – WHAT’S A NICE GIRL LIKE YOU – m.scorsese – usa – S8/B&W/SM – 9’45”
1963 – LA JETEE – c.marker – frs – 16/B&W/SO/ED.INGH – 27′
1962 – SSAKI – r.polansky – pol – 16/B&W/SO – 11′
1963 – LE NEZ – alexejeff&parker – fra – 16/B&W/SO – 9′
1964 – COUCH – a.warhol – usa – 16/B&W/SM – 25′
1964 – IMMAGINI DEL TEMPO – m.masini – ita – 16/B&W/SO – 4′
1964 – BREATHDEATH – s.vanderbeek – usa – 16/B&W/SO – 15′
1965 – LE CIEL, LA TERRE – j.ivens – fra/vietnam – 35/B&W/SO – 30′ dep. 1
1968 – PERMUTATIONS – j.whitney – usa – 16/C/SO – 8′
1968 – PAS DE DEUX – n.mclaren – can – 16/B&W/SO – 13’22”
1969 – IMMAGINI DISTURBATE DA UN INTENSO PARASSITA : PER EMILIO VEDOVA – p.gioli – ita -16/B&W/SO – 40′ (d.ev)
1970 – MATRIX – j.whitney – usa – 16/C/SO – 6′
1978 – 3 / 78 – l.cuba – usa – 16/B&W/SO – 6′
1980 – PARTICLES ON SPACE – l.lye – nz – 16/B&W/SO – 4′ 3O”
1980 – UNITITLED – k.zurak/aabb – S8/C/M – 12′
1980 – SANDWICH – b.bozzetto – ita – 16/C/SO – 1O’
1981 – PIXNOCCHIO – g.laganý – ita – 16/C/SO – 4’30”
1986 – CALCULATED MOVEMENTS – l.cuba – usa – 16/B&W/SO – 6′

LEGENDA
* I FORMATI : ST8= standard 8 / S8= super8 / 9‡= nove e mezzo / 16= sedici millimetri / 35= trentacinque millimetri * B&W= bianco e nero / C= colore / N= rapporto normale,1:1,33 / SP= rapporto panoramico, da 1:1,66 a 1:1,85 / SC= cinemascope o sistemi analoghi anamorfizzati / M= muto / MS= muto postsonorizzato/ SO= sonoro ottico / SM= sonoro magnetico / SEPMAG= magnetico separato.
* QUANDO NON VI SONO ULTERIORI SEGNALAZIONI LA COPIA E’ NELLA VERSIONE (ED.) ORIGINALE (ORI.)/ DID.= didascalie o sottotitoli: ITA.= italiano / INGH= inglese / FRA= francese / GER= tedesco /SPA= spagnolo * ED.LATINA è versione proveniente da spagna o sudamerica.
* LA NAZIONALITA’ : fra =francia / usa= stati uniti d’america / ita= italia / ger= germania / sv= svezia / urss= unione sovietica /spa= spagna / mex= messico / gb= gran bretagna / ol= olanda/ nz= nuova zelanda, ecc.
* CON TR si segnala l’esistenza della traduzione italiana dei “cartoni” o didascalie esplicative in uso nel cinema muto.
* LA DURATA in minuti, quando À doppia, si riferisce alla presunta velocità del cinema muto (16/18 fotogrammi al secondo, per gli inizi) e alla cadenza codificata del cinema sonoro (24 fotogrammi al secondo): la prima è ovviamente la piòlunga.
* ABBREVIAZIONI EVENTUALI : selez. sta per selezione (film mancante di alcune sequenze) / framm. per frammento (unico spezzone rimasto o ritrovato) / cond. per condensato: edizione riassunta dell’opera.
* DEPOSITO (d.) significa o una copia molto avariata visibile solo alla moviola, o una copia affidata all’archivio da amici o conoscenti segnalati in sigla.
* PAROLE IN CHIAVE : sink= opera nata da sincronizzazione tra suono e immagine con tecnologie diverse (anche cilindro o disco) / hand color (h.c.)= film colorato a mano / pochoir= sistema prima manuale e poi meccanico di trasporto di colore per matrici / imbibizione= pellicola colorata uniformemente / viraggio= colorazione per riduzione chimica dell’argento / technicolor bipack= sistema americano di colore a due matrici / technicolor tripack= sistema americano di colore a tre matrici / gasparcolor, dufaycolor, cinemacolor, ferraniacolor= sistemi di colore chimico con processi diversi / kodachrome 16= sistema di colore invertibile a passoridotto (ma esiste anche per il passo normale) / reddish: copia a colori uniformemente “magenta”, degradata dal tempo/ppc= tratta da copie su carta della PAPERPRINT COLLECTION della Library of Congress di Washington.
* VARI SIMBOLI (*, $, [, @, ^…) piò volte replicati indicano l’appartenenza delle opere in oggetto a bobine antologiche, non necessariamente omogenee nel contenuto.
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