45-minutes of increasing sine-wave oscillations, the frequency reaching its overwhelming climax over time as the wavelength, in inverse proportion, dissolves into the final limit of the slowly zooming camera's space - a picture of the sea. Saw this (introduced by an 88-yr-old Snow!) on the big screen: Less immersive than oppressive! A structurally complex, philosophically dense, intellectually keen, unpleasant watch.
You dont need a degree in film/art studies to appreciate this important film (i dont understand this work). Just contemplate what you see; appreciate what you hear, and then read some pages of the book on the film by Elizabeth Legge in order to get insights about this oeuvre d'art.
I think of Rossellini's utilization of the Pancinor, non-invasive spatial control, recording apparatus, here the optical zoom as threat, destabilizing, a technological character emerging in plastic variations, tactile stutter--negative image, superimpositions, quivering of the motor. Pity the soundtrack aspires to a conventional unity of sound/image, so comforting to the spectator, even here, where she isn't welcome.
Un cine experimental pero ceñido a la manipulación técnica. Michael Snow hace un plano general de un ventanal y juega con la luz natural, la artificial, distingue los horarios, filtra sonidos, los anula, los agudiza, genera ruidos, incluye numerosos filtros, desenfoca, manipula la exposición, crea contraluces, acude a sobreimpresiones. Su cine es concentra en la variación técnica como un punto de vista ínfimo.