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The same moment and composition were captured using two Super 8 cameras with a simple setup employing a half-mirror. These films, one in color and the other in black and white, were developed in-house and blown up to 16mm. The screen alternates between "images" of the same moment and composition. The color portion is 24 frames per second, and the black and white portion is 1 frame per 2 seconds. Even though we say it's the same moment and the same composition, this is only conceivable based on the assumption that film records and reproduces reality in time and space. When you directly handle film as a sculptural material, you see just how ambiguous that is.Read moreLess
The same moment and composition were captured using two Super 8 cameras with a simple setup employing a half-mirror. These films, one in color and the other in black and white, were developed in-house and blown up to 16mm. The screen alternates between "images" of the same moment and composition. The color portion is 24 frames per second, and the black and white portion is 1 frame per 2 seconds. Even though we say it's the same moment and the same composition, this is only conceivable based on the assumption that film records and reproduces reality in time and space. When you directly handle film as a sculptural material, you see just how ambiguous that is.
The story
The same moment and composition were captured using two Super 8 cameras with a simple setup employing a half-mirror. These films, one in color and the other in black and white, were developed in-house and blown up to 16mm. The screen alternates between "images" of the same moment and composition. The color portion is 24 frames per second, and the black and white portion is 1 frame per 2 seconds. Even though we say it's the same moment and the same composition, this is only conceivable based on the assumption that film records and reproduces reality in time and space. When you directly handle film as a sculptural material, you see just how ambiguous that is.
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- Director
- Yo Ota