1975. 2 minutes.
Jarnow's primary motif is a grid which controls the shapes and motions of forms contained within the framework of a rotating cube. Constructed from interlocking cycles, the film explores branches and loops along paths laid down by geometric logic.
-Thelma Schenkel, Harvard Film Archives


1975. 3 minutes
Music by Brenda Murphy and W.A. Mozart
"Cubic shapes enmeshed in grids and perspective lines move precisely to phrases of a tune by Mozart. Jarnow's animation plays with space, creating a visual game that appeals to the mind as well as the sense."
-Freude Bartlett

One of my intentions in FQE was to design an "animation machine." I adapted a perspective system that enabled me to render complex motions almost automatically. I made the film before having access to the pleasures of computer graphics technology. Both the film and I remain committed to the joy of making marks on paper.


1976. 10 minutes.
Music by Brenda Murphy. Animation assistant: Peter Crosman "AUTOSONG'S remarkable spatial dimensional uses cartoon freedom to abolish the laws of physics inventing long, impossible tracking shots, Jarnow creates an inexorable forward movement sweeping over, around, into the window and out the rear-view mirror of a driverless Volkswagon as it careens down an empty-world autobahn."
-J. Hoberman, Village Voice


1977. 3 minutes. Color. Sound.
"Al Jarnow's witty animated collage of seaside bric-a-brac should delight any children and adults who have ever combed a beach. Instead of showing us the sea itself, the camera evokes the sounds, smells, shapes and textures of ocean life with a playful and imaginative assembly of sea-spawned memorabilia."
-William Costanzo, Film Library Quarterly

"An inventory of a morning's shell gathering develops into a comment on how we screen nature through art. Jarnow programs his natural souvenirs (found objects) through delightful scalar patterns in which we see all sequential components at once. The result reveals the animation process in a most delightful way."
-George Griffin, Athens Film Festival


1978. 4 minutes. Color. Sound.
Music composed by Brenda Murphy, performed by Joshua Pierce.
"In CUBITS, through visual analogies to Bach's fugal patterns, the screen fills with geometrically multiplying variations on the cube. The artist's hands flash by, flipping the drawings which are producing the intoxicating visual fugue. As the theme augments, contracts, overlaps and over flows itself, the film is exploring the logic of animation and the nature of logic itself."
-Thelma Schenkel, Trickfilm

"CUBITS fuses the use of plastic visual concerns and logic with animation. Every aspect of the animation is measured and systematic. The filmmaker has set up a closed visual system based upon a total visual analysis of the single, simple geometric form, the cube. The music composed especially for CUBITS by Brenda Murphy, lends a feel ing of humor."
- Donna Shepper, Film Library Quarterly

1980. 4 minutes.
'The 'plan' becomes a projection into the future, as the 'elevation' materializes into the present, concluding with the arch leaping playfully out of the paper's surface, as if to escape the exigencies of physical laws."
-Thelma Schenkel, Harvard Film Archives


1981. 4 minutes
A study of a seashell, using animated and stop-motion techniques. The filmmaker explores phenomena of virtual and real space/time, analyzing and finally synthesizing the growth of a spiral shell.


1979. 2 minutes.
With the help of Jill and Jesse Jarnow
and Peter Crosman.
"For one year I photographed sequences of our son Jesse growing into and out of his bassinet. At the same time, Jill and I made recordings of his increasingly rich vocabulary of sounds. The immediate result is a time-lapse film of Jesse's first year."
-Al Jarnow



1985. 15 minutes.
"In this complex blend of philosophical and technical enquiry, the filmmaker plots the seasonal procession of the sun from equinox to equinox using stop motion, time-lapse photography and drawn animation. Jarnow watches the shadows cross his studio wall and travels to Stonehenge to view the summer solstice. A film by a master animator which captures, first person, the experience of being, in the words of Buckminster Fuller, 'a passenger on Spaceship Earth."
-John Luther Schofill
Experimental Film Coalition





Taking NYC back in time -
from Times Square to the "beginning" in speeds accelerating by powers of ten.

A three minute segment from PBS / Creation of the Universe written by Timothy Ferris and produced by Geoff Haines-Styles


a billion years in the making,
only a few months in
the making of the film.

for 3-2-1 Contact, Childens's Television Workshop.

Producer -Sam Gibbon

a three minute piece for Sesame Street - along with more than 100 shorts for Children's Television Workshop.

Making Abe's face with painted styrofoam balls on the floor of a stage at Delphi with the camera mounted on the light bridge.

for 3-2-1 Contact

or three ways to get across.

for Sesame Street


conservation of mass with sugra, cardboard, plexiglass and wood frames.

for 3-2-1 Contact



RING OF TRUTH by Phil & Phylis Morrison


misc. commercials, ETC.