Michael Snow

Michael Snow – Cityscape (2019)

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Cityscape elaborates on the methods Snow used in the making of his ground-breaking 360-degree film La Région Centrale (1971). Taking the advice of his long-time friend, Graeme Ferguson, to produce it as an Imax film, Snow orchestrates new patterns of movement that exchanges the focus on landscape in La Région Centrale with the cityscape of Toronto. Read More »

Michael Snow – Puccini conservato (2008)

Puccini Conservato was commissioned by the Lucca Film Festival for the 150th anniversary of the famous Italian composer’s birth. In this delightful video, the Canadian master offers a witty visual and sonic commentary to Puccini’s La Bohème. Read More »

Michael Snow – New York Eye and Ear Control (1964)

This film contains illusions of distances, durations, degrees, divisions of antipathies, polarities, likenesses, complements, desires. Acceleration of absence to presence. Scales of Art – Lift, setting-subject, mind body, country city pivot. Simultaneous silence and sound, one and all. Arc of excitement, night and daylight. Aide. side then back then front. Imagined and Real. Gradual, racial, philosophical kiss. Read More »

Michael Snow – Standard Time (1967)

Standard Time is 8 minutes and feels, hypnotically, like a time-less segment fragment of life.(Life-physical movement in a space/time enclosure). The camera swivels (pans) left to right, over and over again, then tilts, up and down, over and over again establishing movement as such as the given conditions of perception and existence. This suspended tension of being holds for both the cameraman and the spaces/walls/objects/(people?)…The film establishes each viewer’s autonomous sense of self. The bombarding impulses, through the ‘repeated’ pans/tilts, permit (for each viewer, each time) different moments of reality to become relevant, exciting etc. The speed at which the camera sees the given visually creates frustration at not being able to hold (the) experience, to pattern it in a conventional manner. Michael Snow’s film activates one’s internal mechanisms for grasping, (idiosyncratically, in time), the substances one is faced with, a negates objective experience once and for all. In terms of the politics of experience and human consciousness, few films could be less fascist. Standard Time is also a beautiful ‘8’ minutes. – Peter Gidal. Read More »

Michael Snow – Wavelength (1967) (HD)

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“Wavelength” was shot in one week in December, 1966, preceded by a year of notes, thoughts, mutterings. It was edited and first print seen in May, 1967. (The Film-Makers’ Cooperative)

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I wanted to make a summation of my nervous system, religious inklings, and aesthetic ideas. I was thinking of, planning for a time monument in which the beauty and sadness of equivalence would be celebrated, thinking of trying to make a definitive statement of pure Film space and time, a balancing of “illusion” and “fact,” all about seeing. Read More »

Michael Snow – To Lavoisier, Who Died in the Reign of Terror (1991)

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To Lavoisier Who Died in the Reign of Terror (1991) is a collaboration with filmmaker Carl Brown, who specializes in homebrewed chemical film development. In a series of tableaux, people perform everyday tasks — sleeping, dining, reading, card-playing — as the camera arcs past and over them (the replete set of positions recalls La région centrale’s movements). Brown abraded the film stock, creating a continuous dynamic surface-effect tension with the comparatively static views and cueing the soundtrack, the crackle of fire. The physics and chemistry of combustion were the scientific focus of Lavoisier, the 18th-century savant. Read More »

Michael Snow – *Corpus Callosum (2002)

The corpus callosum is a central region of tissue in the human brain which passes “messages“ between the two hemispheres. Corpus Callosum, the film (or tape, or projected light work), is constructed of, de-picts, creates, examines, presents, consists of, and is, “betweens.“ Between beginning and ending, between “natural“ and “artificial,“ between fiction and fact, between hearing and seeing, between 1956 and 2002. It’s a tragi-comedy of the cinematic variables. Corpus Callosum juxtaposes or counterpoints a realism of normal metamorphosis (two extreme examples: pregnancy, explosions) in believable, “real“ interior spaces with “impossible“ shape changes (some made possible with digital animation). Read More »