Dung Syi (1980), 45 min., 24 FPS, Color, sound, 16mm.
- Dung Syi
Untitled, 1980, 4 1/2 minutes, 18FPS, Silent, Color 16mm
- Untitled, 16mm, 18 FPS, Silent, 1980
“I wanted to make a “pressurized” film, a film that consisted of capturing several meditations in a single take, and a film that would do so with some degree of elegance. This displays that attempt.” R Edgar, 1980.
Walls Scaled, 16mm, B&W, 18FPS, Silent, 1979
“Before Camera: Office employees’ personal wall and desk space.
“Camera Composiiton: Camera uses continuous, unrehearsed take on each employee’s area. Camera is hand held, paper-thin depth of field.
“Film Composiiton: Each take is individually cut to isolate the cameraman’s searching for an dpausing at compositions. Differing cutting strategies are used for differing takes”. R Edgar, 1979
Move Remove Re-Moved, 16mm, 18 FPS, Silent, 1978
“This film begins with a narrative montage of six shots. This series repeats, with some images replaced by new images. On a third repetition, images that repeated in the previous series are now replaced with new images. This process of repetition and replacement continues throughout the film. The structure reminds me of a woman changing from one CHANGE of clothes to another without ever being naked”. R Edgar, 1978
“…Wesenschau is based on the imaginary ‘free variation’ of certain facts. In order to grasp an essence, we consider a concrete experience, and then we make it change in our thought, trying to imagine it as effectively modified n all respects. That which remains invariable through these changes is the essence of the phenomena in question.” Maurice Merleau-Ponty.
Implicit X Explicit (1976), 16mm, sound, screen, three-projector sources.
Image from the screen of "Implicit X Explicit"
“Implicit X Explicit is a film created by juxtaposing paradoxically the time and place of shooting with the time and place of projecting.
“Part one is composed by juxtaposing the time and space of the camera/tripod with the time and position of the shutter’s being open or closed,
“Part two is composed of images taken during summer, 1975, in and around my home in Cocoa Beach, Fl. The images include stingrays, my house, and the final Apollo moon shot, all presented in superimposition by three simultaneous projections onto the single screen.
“Part three was shot in my bedroom in Syracuse, New York. Henry Baker was cameraman for part three.
“This film is composed for a special screen, and should always be projected on that screen”. R Edgar, 1976
Simultaneous Opposites (1972), 16mm, Silent
“This film was shot in Super 8mm, then blown up to 16mm. The film was single framed from a single tripod position, with the vertical axis fixed, and the horizontal positioning of the camera for each exposure determined by a score. The camera was positioned through an arc of 180 degrees, divided into two halves of ninety units each. The score begins with the progression 0, 1L, 1R, 2L, 2R, 3L, 3R,… -thus two pans are superimposed, not by double exposure, but by alternation of frames. During the film as many as six events are clustered into the presentational “stammers”. Don’t blink”. R Edgar, 1971
Note: the transfer to video is not frame-accurate, multiple exposure is present in this file.