Structure and series Archives - Page 6 of 7

A-B-C-D-E-F=1-36

In my work up until now, and I am thinking about the years 1972-75, I was interested in the mathematical logic of the existence of

Short Film Series

“It is literally impossible to offer a definitive description of Guy Sherwin’s Short Film Series, since the film has no beginning, middle or end. It

Place on the Hill

Two copies of a film of a man speaking a phrase of single syllable words were mathematically re-cut together to render the words as sounds

10 Shots

A succession of ten shots with ten sounds. The sounds are moved up one place each time the ten shots are show so that each

Timed 1 2 3

(A part of MODELS Reel 1, 1972) “My favorite section of Models – “Timed 1, Timed 2, Timed 3” – is a particularly effective interweaving

Synch Sound

Using the system of academy leader: 10 to 1, the film replaces the number to white space with bip sound (clear leader) gradually until it

A & B in Ontario

‘ …a delightful tongue in cheek, cat and mouse cinema game in which Wieland and Frampton stalk each other with hand held cameras…the formal qualities

Back and Forth

‘As a move from the implications of Wavelength, Back and Forth attempts to transcend through the motion more than light. There will be less of

Film Of Their 1973 Spring Tour Comissioned By Christian World Liberation Front Of Berkeley, California

“A document of what happened when a group of radical ‘Jesus Freaks’ from Berkeley met conservative Christians in seminaries and colleges across the U.S.” –

Anemometer

The location is at the eastern end of Euston Square. The camera faces south east. In the foreground there are trees, in the middle distance

Inferential Current

A mapping of an image of the linear passage of 16mm film frames and emulsion scratches onto actual 16mm film strip (the unperceived film print)/the

Pictures of the Lost Word

Wyborny’s previous film, Birth of a Nation, was organised around a narrative exposition, there is a repetition of the titles and some of the elements

Threshold

“Threshold, made five years later, aptly offers points of comparison with Little Dog For Roger. Le Grice no longer simply uses the printer as a

Hall

Demystified reaction by the viewer to a demystified situation, a cut in space and an interruption of duration, through (obvious) jumpcut editing within a strictly

(nostalgia)

As its name suggests, Nostalgia is autobiographical. Its maker, HOLLIS FRAMPTON, is recognised as one of the leading figures of the New American Cinema, a

Themes: Structure and series