A lone man walking across the video screen is the starting point for this dynamic formal exercise. This image and its accompanying sound are subjected to increasingly complex and proliferating configurations to arrive at what Emshwiller calls a "visual fugue" in time and space, structured like musical or mathematical sequences. The walking figure and its de-synchronized footsteps are multiplied, slowed down, accelerated, reversed, syncopated, overlapped and otherwise altered in multifarious variations on a theme, building in a kinetic, almost narrative progression of compositional relationships. The screen is finally transformed into a dance of motion by male and female figures in an abstracted, colorized space. Rather than an analysis of movement a la Muybridge, Crossings and Meetings is a celebration of the potential for representing movement in time and space through video.
When churlish mobster Albert Spica acquires an upscale French restaurant in London, he dines there nightly, effectively scaring off the clientele with his bad manners.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time.
A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
FUDDY DUDDY uses the motif of the grid to blow it to pieces. Being occupied with structural film, I repeatedly draw 'frame plans', using grid structures to precisely record the succession of individual images.
Five friends head out to rural Texas to visit the grave of a grandfather. On the way, they stumble across what appears to be a deserted house, only to discover something sinister within.
