Michael Snow "Presents"in a 2002 interview
"Presents"
6mm 1981 90’
A film by Michael Snow with Jane Fellowes and Peter Melnick, and with Robin Collyer, Keith Lock, Brian Day, Stephen Smith, Gregory Svaluto, Ric Amis and The Canada Council.
http://www.re-voir.com/html/snowpresents.htm
Presents has something like three different modes in it. There is pushing and stretching, the tracking of the set, which because of convention you think of as camera movement, but you can see that the set is moving, then there is the smashing up of the set, followed by almost an hour of hand held pans which are from all over the world. Each one the pans is a different reaction to the scene with the camera. So that if the camera was moving in one way you might follow it or if the shape was round you would shoot it in a round way. One of the things I wanted to do was to cut each pan so that there would be no continuity from shot to shot, so they were isolated in time and space as these little instants taken from life. Pans are obviously much different from dollies or tracks. They are a glance. And they also reinforce a certain ephemerality, so there is a sadder aspect to the glance. It is recorded but then it is gone and then there’s another glance and it is gone. So that part of Presents is a particular thing that I have not done that much, a montage of things that have a tremendous variety, not in terms of the world itself but in terms of what you can gather from the world.
The “Presents” of Michael Snow by JONATHAN ROSENBAUM
http://www.jonathanrosenbaum.net/1981/05/the-presents-of-michael-snow/
6mm 1981 90’
A film by Michael Snow with Jane Fellowes and Peter Melnick, and with Robin Collyer, Keith Lock, Brian Day, Stephen Smith, Gregory Svaluto, Ric Amis and The Canada Council.
http://www.re-voir.com/html/snowpresents.htm
Presents has something like three different modes in it. There is pushing and stretching, the tracking of the set, which because of convention you think of as camera movement, but you can see that the set is moving, then there is the smashing up of the set, followed by almost an hour of hand held pans which are from all over the world. Each one the pans is a different reaction to the scene with the camera. So that if the camera was moving in one way you might follow it or if the shape was round you would shoot it in a round way. One of the things I wanted to do was to cut each pan so that there would be no continuity from shot to shot, so they were isolated in time and space as these little instants taken from life. Pans are obviously much different from dollies or tracks. They are a glance. And they also reinforce a certain ephemerality, so there is a sadder aspect to the glance. It is recorded but then it is gone and then there’s another glance and it is gone. So that part of Presents is a particular thing that I have not done that much, a montage of things that have a tremendous variety, not in terms of the world itself but in terms of what you can gather from the world.
The “Presents” of Michael Snow by JONATHAN ROSENBAUM
http://www.jonathanrosenbaum.net/1981/05/the-presents-of-michael-snow/
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