The usual form over substance of structuralist cinema seems to be seen a bit in this movie.
Bill Morrison narrates the content in his form, superimposed and inverted, and we see the train pulling in and out, but this purely linear concept is shattered when the film begins to crisscross in the middle of the film to a beautiful Todd Reynolds score, and the continuity of time and space is shattered under the zoom, which is foreshadowed in the first part of the film, where the accelerating images signal a challenge to the rigor of the director's manipulation of time, and in the middle it is completely broken. The first part of the film, which accelerates, signals that the rigor of the director's manipulation of time is being challenged, and in the middle of the film the continuity of time and space is broken.
Structural films are great in that they have succeeded in eliminating a cinematic realm dominated by audience and content. They have given the camera total independence. They liberated the camera.
Bill Morrison narrates the content in his form, superimposed and inverted, and we see the train pulling in and out, but this purely linear concept is shattered when the film begins to crisscross in the middle of the film to a beautiful Todd Reynolds score, and the continuity of time and space is shattered under the zoom, which is foreshadowed in the first part of the film, where the accelerating images signal a challenge to the rigor of the director's manipulation of time, and in the middle it is completely broken. The first part of the film, which accelerates, signals that the rigor of the director's manipulation of time is being challenged, and in the middle of the film the continuity of time and space is broken.
Structural films are great in that they have succeeded in eliminating a cinematic realm dominated by audience and content. They have given the camera total independence. They liberated the camera.
