Morgan Fisher

In a static medium shot a narrator seated at a table delivers an explanation of the combinations and permutations which the sound and picture eleme...

11 de set. de 1973

29 de set. de 1975

P. Adams Sitney, Professor of Visual Art at Princeton University, wrote a short essay for Artforum International "Medium Shots: the films of Morgan...

18 de out. de 2003

Regrettably, the labour of projectionists is usually only considered by the audience when they ‘screw up’. This film offers an alternative opportun...

01 de jan. de 1976

As its title indicates, the subject in Production Stills is a series of production stills of a film that was never made, and that at the same time ...

01 de jan. de 1970

Standard Gauge is an autobiographical film that examines Morgan Fisher’s work as an editor in the film industry. The film goes through scraps of re...

14 de fev. de 1986

A static close-up of a clock. Preserved by the Academy Film Archive in 2007.

01 de jan. de 1968

"The cinematic mechanism cannot be completely deconstructed without resort to other means of mechanical image reproduction; a double system of repr...

01 de jan. de 1971

Cue Rolls suggests that the particularity of cinema is its interface of rigorous mechanical equipment and fallible human process, which is dramatis...

01 de jan. de 1974

Protective Coloration shows Fisher seated at a mottled table. He wears short-sleeved hospital garb, surgical green ‘scrubs’. Nose-clips block his n...

01 de jan. de 1979

Naturalness willfully corrupted by inevitable self-consciousness, unwittingly corrupted by unavoidable naturalness, a role played with incredible n...

01 de jan. de 1968

Experimental short shot on reel to reel video tape and preserved by the Academy Film Archive in 2008.

17 de out. de 1975

Red Boxing Gloves / Orange Kitchen Gloves was shot in 1980 in Polavision, an instant movie format that the videocassette made obsolete. The work is...

01 de jan. de 1980