6.30 Uhr p.m.
Canada 1967 — D+B+C: Michael Snow — M: Tom Wolff — With: Hollis Frampton, Lynne Grossmann, Naoto Nakazawa, Amy Taubin, Joyce Wieland — 45 min. — OV — 16mm
This film is a continuous zoom which takes forty-five minutes to go from its widest field to its smallest and final field. It was shot with a fixed camera from one end of an eighty-foot loft, shooting the other end, a row of windows and a street. Thus, the setting and the action which takes place there are cosmically equivalent. The room (and the zoom) are interrupted by four human events including a death. The sound on these occasions is sync sound – music and speech occurring simultaneously with an electronic sound, a sine wave, which goes from its lowest rate to its highest. It is a total glissando, while the film is a crescendo and a dispersed spectrum – so the film as a whole attempts to utilize the gifts of both prophecy and memory, which only film and music have to offer. (Michael Snow)
Canada 2002 — D+B: Michael Snow — C: Harald Bachmann, Robbi Hinds — With: Jacqueline Anderson, Greg Hermanovic, John Massey, Kim Plate, Tom Sherman — 92 min. — OV
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, depicts, 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 tragic-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). (Michael Snow)