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John Whitney was a guest on the inaugural episode of Screening Room in November, 1972. He showed and discussed Permutations, 1-2-3-Osaka, Matrix, Matrix III and a film by his son, John Whitney Jr., called Terminal Self.

Les Blank, along with music writer Peter Guralnick, appeared on Screening Room in January 1973 to discuss his recent work and screen The Blues Accordin' to Lightnin' Hopkins, also footage from what later comprised Dry Wood and Hot Pepper.

In March 1973, Hilary Harris visited Screening Room to screen and discuss films such as Longhorns, Highway, and Seawards the Great Ships, as well as footage from a work-in-progress about New York City.

Bruce Baillie appeared on Screening Room in April 1973. He screened excerpts from his films On Sundays, The Gymnasts, To Parsifal, Tung and Castro Street.

Robert Fulton appeared on Screening Room in April 1973 to screen and discuss Machu Pichu and Reality's Invisible.

Jan Lenica appeared on Screening Room in April, 1973. He screened and discussed excerpts from his films Fantorro, Monsieur Tete, A and Labyrinth.

John and Faith Hubley appeared on Screening Room in April 1973 to discuss and screen their films Eggs, The Hat, Children of the Sun, and Zuckerkandl.

Stan Brakhage first appeared on Screening Room in May, 1973 to screen and discuss the films Eye Myth, Desist Film, Wonder Ring, Window Water Baby Moving, Moth Light, Blue Moses, Machine of Eden and The Wold Shadow.

Derek Lamb appeared on Screening Room in June 1973 with over a dozen films and film clips that demonstrated a wide range of animation techniques.

Along with visual anthropologist Edmund Carpenter, Emile de Antonio appeared on Screening Room in June 1973 to screen and discuss excerpts from his films.

Ricky Leacock visited Screening Room on June 15, 1973, with Al Mecklenburg and Jon Rosenfeld. He demonstrates super-8 sync technology and screens excerpts from his films.

In this episode of Screening Room, Lawder demonstrates the intricacies of his home-made optical printer and shows examples of what can be achieved with rephotographing film.

Caroline Leaf’s animated work springs from her expert storytelling and pioneering animation techniques. One significant contribution to filmmaking is her technique of manipulating sand on a light-box, which she began as a student at Harvard. She later worked as an animator and director at the National Film Board of Canada. Her film The Street garnered an Academy Award nomination in 1976. On this episode, she screens the remarkable The Owl Who Married a Goose: An Eskimo Legend and parts of The Street and The Metamorphosis of Mr. Samsa which were works-in-progress at the time. Visit her personal website at www.carolineleaf.com.

Richard P. Rogers (1944-2001) was a renowned producer and director of nonfiction films, and a gifted teacher and mentor who taught filmmaking and photography for many years at S.U.N.Y., Purchase, and at Harvard University, where he was director of the Film Study Center. His films range from political to experimental and self-reflective, and include the independent documentaries Living at Risk and Pictures from a Revolution, about Nicaragua; an award-winning portrait made for PBS of the poet William Carlos Williams; and a dramatic adaptation of Laurel Thatcher Ulrich's book A Midwife's Tale.

Independent animator and painter Suzan Pitt, whose surreal and psychological films have gained her worldwide acclaim, continually pushes the boundaries of the animated form, sometimes working with live actors or using animation in opera stagings. Her film Asparagus won the top prize at the Oberhausen Short Film Festival and showed in theatres with David Lynch's Eraserhead for two years. She has had major exhibitions at the Whitney Museum of Art, the Holly Solomon Gallery in New York, and the Stedlijk Museum in Amsterdam. She currently teaches at the California Institute of the Arts.

Ed Emshwiller started out as an abstract expressionist painter and an award-winning science fiction illustrator before becoming a major figure in avant-garde cinema and the experimental film movement of the 1960s and '70s. Eventually a highly respected video artist and dean at the School of Film/Videoo at the California Institute of the Arts, Emshwiller was always looking for ways to push the boundaries of film and video. He was a pioneer of computer-generated video and combining technology with art. Many of his films, including Relativity, Totem, Film with Three Dancers, and Thanatopsis received screenings and awards at New York, Cannes and other major film festivals worldwide.

In this episode from 1975, ethnomusicologist Alan Lomax is the guest and viewers are treated to a partitioned screening of his path-breaking 40 minute film Dance and Human History: Movement Style and Culture #1, accompanied by short interludes of Gardner/Lomax discussion before and after each segment. It is a kind of ‘lecture-demonstration’ version of the film. Skillful editing keeps viewers attention away from the fact of Gardner’s smoking most of the time.

In September 1975, Lamb returned to the program to screen and discuss the films The Last Cartoon Man and The Psychic Parrot.

Breer chats with Gardner about his approach to filmmakin'. He screens RECREATION, A MAN AND HIS DOG OUT FOR AIR, 69, GULLS AND BUOYS, FUJI and RUBBER CEMENT.

Independent animator George Griffin has dedicated himself to the pursuit of animation as an art form. Originally from Tennessee, he became a pivotal figure of New York's experimental film scene in the 1970s with his self-reflexive, irreverent and personal films that challenge traditional notions and methods of animation. He has taught at institutions including the Parsons School of Design, Pratt Institute, and Harvard University, and his films have screened in museums and festivlas around the world. Griffin currently lives and works in New York. More information and his collected films, Griffiti, are available at www.geogrif.com.