|CORRESPONDENCES: FILMS AS LETTERS|
In Beavers’ cinema, the turning of the lenses unfolds the image at the edges. Horizontal and vertical invert. Rectangular masks diminish and limit the frame. In Hand Held Day, a mirror, held like one of Alvarado’s postcards, condenses the idea of a single day, while Pasadena Freeway Stills creates the illusion of movement through still images. In Mirror, the frame which the mirror reflects equates to that of the camera, coinciding with what the filmmaker sees, while in (nostalgia), the photo-frame and the duration depend on combustion. We listen to a commentary about a photograph that we shall be seeing in the future and look at a photograph that we have just heard about
CRUCE POSTAL. Valentina Alvarado, 16mm [transfer. Digital], 4’.
PASADENA FREEWAY STILLS. Gary Beydler, 16mm, 2’, silente.
DIMINISHED FRAME. Robert Beavers. 24’.
(nostalgia). Hollis Frampton. 38’.
HAND HELD DAY. Gary Beydler. 16mm. 6’:
MIRROR. Robert Morris, 1971, 16mm, 9’, silente.
TRT: 79 min