'Film Music Part One is a systematic film based on a unit of 26 frames. The first section is a composition of picture/sound image (a fragment of cartoon film) and clear spacing, rigorously controlled so that the white spacing gradually fills up with image, which then contracts into a rapid one frame repeat punctuated with the thumping splices. The spectator's attention is shifted from perceptual surface, into the picture/sound illusion and out again. The second section uses an equally hackneyed cinema image, that of a cowboy on horseback. This section is based on the advancing of original footage and print stock across the printer at varying rates, again governed by a system, producing a complex structure of echo repetitions and overlaps. If the film can be handled in much the same way as a photo-sensative tape, the camera produced image with its restricting frame line is no longer obligatory. If film can be handled in much the same way as photo-gram, images formed by direct contact printing and light projection. Neither is there any need to retain distinctions between separate areas of the photo-sensative surface for sound and picture. The content is not really the figurative subject matter, (where it occurs), nor some super-imposed concept but the presentness of the raw material, in making and projection, and in the relationship between these two events. The raw material is the photo-sensative strip with a surface like sand which can be pushed around and washed away, leaving configurations of grains which may or may not: â€¢ appear in consecutive frames â€¢ be figurative (photographs) â€¢ be ordered in sequences which, when projected, give the illusion of movement and which may be perceived as sound and/or visual images, depending on the type of projection device.' - C.G
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