Everyone knows that cinema is really just photography in motion, rushing past our I-Am-Eyebeams at 24 images a second. Everyone knows that there is a spinning shutter in the film projector. And everyone knows that because we are lesser mammals with slow eyes, we spend half our time watching cinema in the dark, mistaking a series of photographs for movement, mistaking the dark gaps in between images as a constant flow of light.
So, if everyone knows this, what happens when moving images (cinema) depict still images (photography)? When filmmakers become photographers, does death (photography) become immortal (cinema), does the dark fill in with light, and does time stop altogether? Presented in conjunction with Gallery 400’s exhibit of contemporary photography I Am Eyebeam, and featuring everything from Rayograms to stereoscopes to production stills to fiber-prints-on-fire, here are seven stabs at that eternal question (in moving image form).
- Anna Geyer, Arapadaptor (I Feel So), 2003, 16mm, 4:30 min.
- Man Ray, La retour á la raison, 1923, 16mm, 3:00 min.
- Ken Jacobs, Capitalism: Child Labor, 2006, video, 14:00 min.
- Gary Beydler, Pasadena Freeway Stills, 1974, 16mm, 6:00 min.
- Morgan Fisher, Production Stills, 1970, 16mm, 11:00 min.
- Stephanie Barber, Letters, Notes, 2000, 16mm, 3:00 min.
- Hollis Frampton, Nostalgia, 1973, 16mm, 36:00 min.
Total Running Time: 77:30 min.