EUTERPE • 2m 38s
MOUNTAIN VIEW thinks about framing, movement, surface and depth. The film consists of three continuous zooms towards a landscape that are deconstructed into a discontinuous sequence of single frames. Movement is exposed as an illusion of twenty-four static frames per second, the organic movement of the hand dissolved into structural variation. The world seen through the window frame appears as an image, a phantasmatic reality that becomes more and more unstable the closer the mountains appear (until it all disappears).
Up Next in EUTERPE
In this handmade film, composed of more than four thousand collages, the actress Lillian Gish is seamlessly appropriated from silent-era cinema and plunged into a new and haunting role. NIGHT HUNTER evokes a disquieting dreamscape, drawn from allegory, myth and archetype.
Primarily in black-and-white with touches of color, the engraved artwork was filmed on color negative in order that subtle variations in tone are recorded.
The mood—enhanced by John Davis’ original music—is dream-like. It is both lyric and crackling, producing a kind of anticipatory tension. The...
THE OGRE'S GARDEN
Despite its title, this brevity is somewhat romantic. We do see the ogre, however. He inverts himself into the action throughout the film. As usual, the action is partly symbolic, partly surreal (if those two can ever be separated). Toward the end, Eadweard Muybridge still-sequences are brought t...