The staging and cutting is pre-Griffith. Seven infinitely complex cine tapestries comprise the original film, and the style is not primitive, not uncinematic but the cleanest, inspired indication of a path of cinematic development whose value has only recently been discovered. My camera closes in, only to better ascertain the infinite richness ( playing with fate, taking advantage of the loop character of all movies, recalling with variations some visual complexes again and again for particular savouring), searching out incongruities in the story-telling ( a person, confused suddenly looks out of an actors face), delighting in the whole bizarre human phenomena of story-telling itself and this within the fantasy of reading any bigone time out of the visual crudities of film: dream within a dream!
And then I wanted to shoe the actual present of film, just begin to indicate its energy. I wantedto bring to the surface that multi- rhythmic collision-contesting of dark and light two- dimensional force areas struggling edge to edge for identity of shape
to get into the amoebic grain pattern itself- a chemical dispersion pattern unique to each frame,
stirred to life by a successive 16-24 pattering on our retinas, the teaming energies elicited ( the grains! the grains!) then collaborating, unknowingly and ironically to form the always-poignant-because-always-past illusion. KEN JACOBS.