In Vaudeville Deluxe, Cornell assembles footage of performers, like a man who balances in his mouth a frame that supports a seated woman. (Release date is approximately 1940s.)

"Cornell's editing has not been tampered with. It is sometimes minimal (the editing), sometimes extensive, always sensitive. I did not change it, as when I did the entire re-edit of Cornell's Legend for Fountains. JACK'S DREAM, for instance, is a puppet animation into which Cornell has inserted a few shots from other material - just enough to throw it into the sphere of artful fantasy. Whereas CARROUSEL is a fully edited animal piece. There is no way now of determining the order in which the films were made, or even the exact years, but it was some time in the '40s." -Larry Jordan in 2003

Cornell employs clips from 1931's jungle melodrama East of Borneo – more specifically, clips of its lead actress, Rose Hobart – to disquieting effect. Through Cornell's collage editing, Hobart becomes a singular object of desire and dread, trapped in an exotic paradise.

Director Joseph Cornell evokes the nostalgia of childhood by filming a children's party.

Centuries of June, perhaps more than any Cornell film, is a naked attempt to capture the soul of a place and the mood of a disappearing moment.

Smoke, sparks and steam dance together in Cornell's found-footage collage. Backwards title cards (or an alien language, if you like) punctuate this mishmash of the industrial and the ancient.

A sombre day in the city. "A Legend for Fountains" is the 16-minute version, "A Fable for Fountains" the 6-minute version.

A short, avant-garde movie, starring twelve-year-old ballet student Gwen Thomas, Nymphlight is a lovely blend of fact and fiction, using Bryant Park at the New York Public Library as a stage set for the fantasy inclusion of a certain nymph. A meditation on an ephemeral day in the the life of a park shared by birds, the young and the old.

Carousel - Animal Opera (c.1938), a visual symphony by artist and sculptor Joseph Cornell.

A film composed of the out-takes from Brakhage’s The Wonder Ring (1955), which Cornell had commissioned. There has been a long-standing misconception that the film "Gnir Rednow" is simply "The Wonder Ring" mirrored or projected in reverse. However, Mark Toscano of the Academy Film Archive has definitively established that the original roll of each one of these two films is "unmistakably, completely comprised of camera original Kodachrome," and that no two shots are precisely the same from one film to the other.