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Zeno Phantasies    
     
Glenn Gould (excerpt) Lumiere's Train Atomic Testing
 
Installation shots: Leonard and Bina Ellen Gallery.

Is it possible to create a cinema stripped down to only the movement that eludes it? To attempt a Beckett-style cinema that claims not to reproduce reality, but to “bore one hole after another in it, until what lurks behind it—be it something or nothing—begins to seep through.” Would this cinema project onto the screen the basic mechanics of the spectator’s phantasy? Could this technique reconstruct a secret archive, a memory of repression, a repression of a reality the camera originally prohibited? To offer a radiographic analysis of what is under the skin of the image, an x-ray of motion pictures.


By analyzing films with custom software, I begin with subtraction. Realising cinematic time is only half of the time of reality, and cinematic movement is only a series of static moments, I subtract frames from each other in search for the movement that passed in between the frames—the movement that existed in between moments. In order to do this, I use a negative theological strategy; that is: to move towards the invisible through cancellation. The result reveals new frames for a new film, a reconstructed film composed only of interframes not illustrating colour or form, but illuminating the invisible movement.


Three films have been produced using this technique:


Analysis of Glenn Gould's piano technique (original footage filmed in Montreal in the 1950’s)
Analysis of the Lumierè brother’s train footage
Analysis of military footage of atomic testing

 

Multi-channel video or single channel 16mm film installation.
 
For expanded writing on this work and the concepts surrounding this body of work see: Cinema Remembers Through Subtraction.