Michael Snow

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

    1991-2000CanadaExperimentalMichael Snow

    Quote:
    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)

    2001-2010CanadaExperimentalMichael Snow

    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 »

  • Michael Snow – La Région Centrale (1971)

    1971-1980Amos Vogel: Film as a Subversive ArtCanadaExperimentalMichael Snow

    Quote:
    «La Région Centrale» was made during five days of shooting on a deserted mountain top in North Quebec. During the shooting, the vertical and horizontal alignment as well as the tracking speed were all determined by the camera’s settings. Anchored to a tripod, the camera turned a complete 360 degrees, craned itself skyward, and circled in all directions. Because of the unconventional camera movement, the result was more than merely a film that documented the film location’s landscape. Surpassing that, this became a film expressing as its themes the cosmic relationships of space and time. Cataloged here were the raw images of a mountain existence, plunged (at that time) in its distance from civilization, embedded in cosmic cycles of light and darkness, warmth and cold.Read More »

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