Decade: 1970s


The camera was placed on the flexible branch of a tree in a strong wind. The composition included both stationary and moving trees (a wooded landscape). The relationship of this landscape to the vertical and horizontal plane was maintained as much as possible. The camera ran continuously until all the film was exposed. The world is seen from the point of view of a tree as its branches sway to …

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Colour Separation

Colour Separation

This film is based on the colour separation process. High contrast film stock was run three times through a stationary camera; once for each of the light primaries. In the composite image, anything moving is represented in primary or secondary colour whilst anything still, having been filmed through all three filters, is represented in “correct” colour. When projected the film resembles a moving impressionist painting but the passing of time …

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The location for this film is a small London park which is situated close to the busy centre of the city. The camera faces south east across the park, in the foreground there is an expanse of grass surrounded by walkways and luxurious trees. In the middle distance is a junction of the busy Euston road, trucks busses and commuter traffic surge past halting only for the traffic lights. The …

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Windmill Two

The camera films a park landscape through the blades of a small, hand-built windmill. Each of the eight blades was covered in mirrored plastic. The film was shot on a windy day in the park, with three 100-foot takes being shot on the same day. The camera angle remained the same throughout. Variations in wind speed and direction cause a constantly shifting relationship between the landscape in front of the …

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Wind Vane

Wind Vane

The location for this film is the western end of Hampstead Heath in London. Two cameras mounted on tripods with wind vane attachments were positioned about 50 feet apart along an axis of 45 degrees to the direction of the wind. Both cameras were free to pan through 360 degrees in the horizontal plane. There are three continuous 100 foot takes for each screen. The movements of the two cameras, …

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River Yar

River Yar (with William Raban)

Shot through an upstairs window in a water mill on the Isle of Wight, overlooking a tidal estuary. A camera recorded one frame every minute (day and night) for two separate three-week periods in autumn and spring. The film is shown on two adjacent screens, each having a soundtrack that was recorded on a sampling basis. “River Yar is one of the richest and most beautiful films to have been …

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Park Film – preview

The camera was pointed at right angles across a busy park pathway connecting one part of the city to another. On the other side of the path are many trees receding into the distance. Many people move through the picture, both on and off the pathway. One frame was taken each time a person on the pathway moved into the picture and one frame was taken again as they moved …

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Seven Days – preview

One frame was taken every ten seconds throughout the hours of daylight. The camera was mounted on an equatorial stand, which is a piece of equipment used by astronomers to track the stars. In order to remain stationary in relation to the star field, the mounting is aligned with the Earth’s axis and rotates about its own axis once every 24 hours. Rotating at the same speed as the Earth, …

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Stream Line – preview

This film is a continuous, “real time” tracking shot of a stream bed. The length of the track was ten yards. The camera was suspended in a motorized carriage running on steel cables three feet above the water surface. The camera pointed vertically downwards recording the contours of the stream bed and the flow of water along its course. The sound of the water was recorded synchronously from the moving …

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Windmill Three – preview

“The varying speeds of the blades presents the spectator with varying perceptual data which require different approaches to the image.When moving slowly, they [heighten] the sense of deep space. At moderate speed, they act as an extra shutter, which fragments “normal” motion, emphasizing movement within the deeper plane, and critiquing the notion of “normality” in cinematic motion. When moving quite fast, the blades act as abstract images superimposed on the …

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