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Titles by Barbara Hammer
- "X"
- A Horse Is Not A Metaphor
- Arequipa
- Audience
- Available Space
- Bamboo Xerox
- Barbara Ward Will Never Die: Early 8mm and Super 8 Films
- Bedtime Stories I, II, III
- Bent Time
- Blue Film No. 6: Love Is Where You Find It
- Contribution to Light: Early Super 8 Films
- Devotion: A Film About Ogawa Productions
- Diving Women of Jeju-do
- Double Strength
- Dr. Watson's X-Rays
- Dream Age
- Dyketactics
- Endangered
- Evidentiary Bodies
- Generations
- Haircut
- History Lessons
- I Was/I Am
- Jane Brakhage
- Lesbian Whale
- Lover/Other
- Maya Deren's Sink
- Menses
- Multiple Orgasm
- My Babushka: Searching Ukrainian Identities
- Nitrate Kisses
- No No Nooky T.V.
- Optic Nerve
- Our Grief Is Not a Cry for War
- Our Trip
- Out in South Africa
- Parisian Blinds
- Place Mattes
- Pond and Waterfall
- Pools
- Psychosynthesis
- Resisting Paradise
- Sanctus
- Sappho
- Save Sex
- Shirley Temple and Me
- Sisters!
- Snow Job: The Media Hysteria of AIDS
- Still Point
- Stone Circles
- Stress Scars & Pleasure Wrinkles
- Superdyke
- Superdyke Meets Madame X
- Sync Touch
- Tender Fictions
- The Female Closet
- The Great Goddess
- The History of the World According to a Lesbian
- Tourist
- Two Bad Daughters
- Vital Signs
- Welcome to This House
- Women I Love
- Would You Like to Meet Your Neighbor? A New York Subway Tape
No No Nooky T.V.
Using a 16mm Bolex and Amiga computer, Hammer creates a witty and stunning film about how women view their sexuality versus the way male images of women and sex are perceived. The impact of technology on sexuality and emotion and the sensual self is explored through computer language juxtaposed with everyday colloquial language of sex. No No Nooky T.V. confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that pokes fun at romance, sexuality, and love in our post-industrial age.
This film was preserved by Electronic Arts Intermix and the Academy Film Archive through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation.
