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BILL MORRISON

O ARQUIVO COMO CINEMA DO FUTUROTHE ARCHIVE AS CINEMA OF THE FUTURE

If a tree falls in the wood and nobody is there to hear it does it really make a sound? (Voz-off em The Film of Her)

O cinema experimental sempre assumiu, como parte importante do seu trabalho, uma vontade de recuperar a memria do cinema. Grande parte dos cineastas trabalharam essa memria atravs do recurso a material de arquivo como fonte de reorganizao de narrativas cinematogrficas. Por isso, os filmes antigos em pelcula sempre fascinaram estes autores, numa procura pela ma-terialidade do meio e de uma manipulao estti-ca que seria possvel na fita de fotogramas desses filmes. Vrios realizadores e vrios filmes que o Curtas Vila do Conde foi exibindo ao longo destas duas dcadas demonstram essa curiosidade pela arqueologia das imagens em movimento.

O cineasta Bill Morrison est dentro desta linhagem de experimentalistas do cinema: as suas fontes primordiais so as velhas pelculas de filmes esquecidos, recuperados dos confins de armazns clandestinos e dos arquivos institu-cionais, e transformados atravs de um labor meticuloso em novas narrativas contempor-neas. A carreira do cineasta inicia-se no incio dos anos 90 e, desde ento, tem desenvolvido uma filmografia com mais de trinta projetos que tm sido exibidos em cinemas, museus, galerias e concertos, um pouco por todo o mundo. Alis, as suas obras j fazem parte de colees como Museum of Modern Art, The Nederlands Film-museum ou a Biblioteca do Congresso. O cineasta j venceu o Alpert Award, assim como garantiu bolsas de instituies como a Creative Capital, a Guggenheim Foundation, a Foundation for Contemporary Arts e a NEA.

Morrison estudou pintura e animao na famosa escola nova-iorquina Cooper Union, onde apren-deu e foi influenciado pelo artista e cineasta Robert Breer um dos nomes centrais da van-guarda americana e autor de filmes de animao experimental, precisamente realizados com base na manipulao da pelcula flmica. Depois dos seus estudos, a sua carreira iniciou-se no Ridge Theater de Nova Iorque, onde realizou pequenos filmes para produes vanguardistas de teatro.

Desde esses primeiros anos, Morrison tem surgido como um dos cultores contempor-neos da recuperao da pelcula como meio de explorao das caractersticas fsicas do cinema, mas tambm segundo uma dimenso arqueol-gica, isto , de cineasta que resgata a histria do cinema, fazendo uma leitura diacrnica dessa histria. Iremos abordar as diferentes dimenses desse trabalho, notando algumas das obras mais

If a tree falls in the wood and nobody is there to hear it, does it really make a sound? (voiceover in The Film of Her)

One important aspect of experimental cinema has always been the desire to recover the memory of cinema. Many filmmakers have worked on this memory using archive material as a source for reorganising cinematographic narratives. Old celluloid films have therefore always fascinated authors in their search for the materiality of the medium and the possibilities for aesthetic manipulation afforded by reels of old film. Several authors and films screened at the Curtas Vila do Conde Festival during the past two decades bear witness to this curiosity surrounding the archae-ology of moving images

The work of filmmaker Bill Morrison falls within this experimentalist line: his primary sources are old and forgotten filmstrips recovered from hidden warehouses and institutional archives and transformed through painstaking labour into new contemporary narratives. His career as a film-maker began in the early 1990s and since then he has developed a filmography of over thirty projects that have been screened in cinemas, mu-seums, galleries and at concerts all over the world. His works also form part of collections housed in institutions such as the Museum of Modern Art, The Nederlands Filmmuseum and the Library of Congress. He has won the Alpert Award and received grants from institutions such as Creative Capital, the Guggenheim Foundation, the Founda-tion for Contemporary Arts and the NEA.

Morrison studied painting and animation at the famous Cooper Union School of Art in New York, where he was taught and influenced by the artist and filmmaker Robert Breer a key figure in the American avant-garde scene and the author of experimental animation films created by manipu-lating filmstrips. After completing his studies he began his career at the Ridge Theater in New York, making short background films for the theatres avant-garde productions.

Since these early years, Morrison has emerged as one of the contemporary exponents of the recovery of celluloid as a means of exploring the physical characteristics of film, whilst also working from an archaeological perspective or, in other words, as a filmmaker restoring the his-tory of cinema by creating a diachronic reading of this history. This article explores the different aspects of his work, focussing on some of his most paradigmatic productions which form part of the In Focus retrospective.

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paradigmticas do autor que fazem parte desta retrospetiva In Focus.

Um homem no arquivo

Como assinalmos, o arquivo , para Morrison, o lugar primordial de trabalho. Em certo sentido, o cineasta troca a funo de filmar utilizar uma cmara para captar a realidade pela de investi-gador e arquivista. Essa funo cinematogrfica de Morrison est bem patente logo num dos seus primeiros filmes, j antecipador do seu percurso subsequente: The Film of Her. O filme investiga um produto histrico dos primeiros tempos do cinema: os paper prints, documentos onde eram impressos um conjunto de fotogramas de filmes e que serviam, dessa forma, para garantir o copyright das obras. Era uma cpia fsica, passvel de arquivo, e a Biblioteca do Congresso (EUA) tem uma coleo imensa desses paper prints. A coleo tem um carter histrico muito impor-tante porque guarda todas as primeiras experi-ncias cinematogrficas do sculo XIX.

O filme estruturado como um documentrio, utilizando muito material de arquivo, mas tem como voz-off um funcionrio da Biblioteca que salvou uma destas colees1 como o espao de arquivo no infindvel, h muito material que destrudo quase no ltimo minuto. Em estilo documental (o filme um hbrido entre o docu-mental e o experimental), a obra narra a histria deste funcionrio, um quase annimo com uma paixo pelo cinema e por aquilo que se esconde nos confins de armazns. De certa forma, toca-se no centro filosfico de todos os filmes posteriores de Bill Morrison: a procura dos segredos escondi-dos nas velhas pelculas, em busca de fantasmas que o tempo condenou quase destruio. Nesse sentido, Morrison procede investigao arque-olgica com o intuito de trazer luz imagens que so importantes pela sua prpria existncia: no mostram nenhum facto histrico importante, mas so, elas mesmas, histria. A paixo do fun-cionrio pelo cinema, cultivada desde a infncia (o av era dono de uma sala de cinema), f-lo procurar a imagem perdida de uma mulher (e da o ttulo The Film of Her) que ter visto numa dessas sesses... a busca de um lugar no tempo e na memria que o cinema poder, por breves momentos, recuperar, fixar. Neste sentido, o filme e o trabalho de Morrison podem ser vistos como um estudo sobre a realidade do cinema e das imagens como apenas mais uma das camadas do nosso mundo real. Esta mulher que o fun-cionrio procura em The Film of Her traz-nos memria La Jete (1962), de Chris Marker. So ambos filmes sobre o reconhecimento do cinema como possvel salvao do mundo e atos de radical cinefilia. Sim, isso, podemos afirmar que o trabalho de Morrison um trabalho de ci-nefilia pura: um gosto absoluto pela realidade do cinema, pela sua capacidade de nos construir em vrias realidades. Neste trabalho, no anda longe dos grandes mestres da vanguarda americana, como Ken Jacobs que alis tambm trabalhou com paper prints em Tom, Tom, the Pipers

The man in the archives

As already noted, the archive is the key workplace for Morrison. In a certain sense, as a filmmaker he replaces the task of filming using a camera to capture reality with the work of the researcher and archivist. This cinematographic role emerges clearly in one of Morrisons earliest films, The Film of Her, which anticipated the course of his future career. The film is an exploration of a historic product from the early days of cinema, namely paper prints or documents contain-ing prints of each frame of a film, which served as a means of establishing copyright. They were therefore physical copies that could be archived and the Library of Congress (USA) houses a vast collection of paper prints. It is a collection with very significant historical value, since it preserves all the early filmmaking experiments of the 19th century.

Morrisons film is structured as a documentary, using a large amount of archive material, but adds the voiceover of a Library clerk who saved one of the collections1 since storage space is limited, much of the material is destroyed almost at the last minute. In documentary style (the film is a hybrid of the documentary and the experimen-tal), it tells the story of the clerk, which is in effect the story of an almost anonymous individual with a passion for film and for what lies hidden in the archives. In a certain way, it touches on the philo-sophical core of Bill Morrisons films (those which follow on from his initial project): the search for hidden secrets in old films, seeking out the ghosts erased by time and condemned to almost total de-struction. In this sense, Morrison undertakes his archaeological research with the aim of uncover-ing images that are important merely by the fact of their existence: they do not reveal any important historical facts yet they are, in themselves, history. The clerks passion for cinema, which dates back to his childhood days (his grandfather owned a cinema), leads him to search for the lost image of a woman (hence the title The Film of Her), which he had once seen... a search for a place in time and memory that the cinema might, for a few fleeting moments, recover and freeze. In this sense, the film and the work of Morrison may be seen as work which deals with the reality of cinema and images, as just one of the many layers of our real world. The woman the clerk is looking for in The Film of Her recalls the old memory in La Jete (1962) by Chris Marker: as radical acts of cinephilia, both films are an acknowledgement of cinema as the possible salvation of the world. In fact, it may be said that the work of Morrison is pure cinephilia: an absolute love of the reality of cinema and its ability to construct us in different realities. In this work he comes close to the great masters of the American avant-garde such as Ken Jacobs who also worked with paper prints in Tom, Tom, the Pipers Son (1969) or Bruce Conner in his found footage work2.

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Son (1969) ou Bruce Conner, no trabalho de recuperao de found footage.2

Os novos documentrios

A questo da realidade e da memria central num conjunto de filmes de Morrison que se aproximam da lgica do documentrio. Trata-se de obras que recuperam velhos filmes de atualidades, mas que, atravs do olhar de Morrison, ganham novas qualidades e dialogam com diferentes realidades histricas. Por exem-plo, em Release, o cineasta utiliza imagens, de 1930, obtidas por um operador de cmara de uma multido que espera, no exterior da Philadelphias Eastern State Penitentiary, pela sada da priso de Al Capone. O filme composto pela repetio duma mesma sequncia divida em dois ecrs com imagem repetida em espelho em que, a cada loop, desvenda-se um pouco mais a durao da sequncia. Para alm da panormica que mostra uma multido vida, em atitude de voyeur sobre a priso do conhecido criminoso, o filme vive da nsia pela revelao da pessoa que sair por uma pequena porta. Na verdade, Al Capone j havia sido libertado. A montagem em espelho duplicado acentua a magnitude da populao que se rene no local e o facto de se avanar a narrativa apenas poucos fotogramas em cada repetio, aproxima a avidez da curiosi-dade do dispositivo cinematogrfico. A repetio e o loop estratgias de montagem tpicas do cinema experimental esto tambm presentes em Outerborough, filme que recupera imagens captadas em 1899 por um operador de cma-ra da American Mutoscope & Biograph numa travessia de eltrico da Ponte de Brooklyn (o original foi recuperado pelo British Film Institute para 35mm). Morrison repete essa viagem vrias vezes, com velocidades diferentes, em ecr duplo, desta vez no em espelho mas em sentido inverso. O facto da velocidade ir aumentando cria um efeito de passagem inexorvel do tempo. A velocidade chega a atingir um efeito de sobrepo-sio quase total de todas as imagens, como um palimpsesto pictrico. O conceito de palimpsesto permite compreender, precisamente, esta ideia de sobreposio de tempos na verdade, cada momento daquela viagem o passado e o futuro de outras imagens. H um encanto visual nessa abstrao assim criada, mas, ao mesmo tempo, uma desiluso pelo carcter microtemporal daquilo que vivemos na escala macroscpica do universo.

O tempo, sempre o tempo no trabalho de Bill Morrison, acentuado em projetos como Who By Water e The Highwater Trilogy. No caso do primeiro trata-se da utilizao de imagens do-cumentais dos passageiros de um navio. As suas faces olham diretamente para a cmara e a recu-perao deste material, no contexto contempo-rneo, coloca sobre estas personagens uma nova aura. Estas so fantasmas que param o tempo, mas que, ao olharem diretamente para a cmara, desafiam a audincia contempornea. Muitos dos rostos so tristes, outros speros, e esse olhar do

The new documentaries

The question of reality and memory is central to a series of films by Morrison which approach the idea of the documentary. These works recover old newsreels which, under Morrisons scrutiny, take on new qualities and engage in a di-alogue with different historical realities. Release is a prime example of this: the filmmaker uses im-ages created by a 1930s cameraman trying to film a crowd waiting outside the Philadelphia Eastern State Penitentiary for the release of Al Capone. The film is composed of the repetition of a single sequence mirrored on a split screen in which each loop reveals a little more of the sequence. In addition to the panning shot of the prison that housed the famous criminal, showing an avid, voyeuristic crowd, the film is fuelled by their anxiety to watch Capone exit by a small door. In reality, Al Capone had already been released. The split-screen mirrored montage accentuates the size of the crowd gathered at the scene and the fact that the narrative only advances by a few frames in each loop means that it approaches the avid curiosity of a cinematographic device. Repetition and looping montage strategies typical of experi-mental cinema also feature in Outerborough, a film that recovers images captured in 1899 by an American Mutoscope & Biograph cameraman travelling by trolley across the Brooklyn Bridge (the original was restored on 35mm film by the British Film Institute). Morrison repeats this journey several times, using different speeds, in this case in reverse motion on a split screen rather than mirrored. As the speed gradually increases, it creates the effect of the passing of time, culminat-ing in the almost complete superimposition of the images in a kind of pictorial palimpsest. The concept of palimpsest enables this idea of the superimposition of different times to be under-stood in fact, each moment of the journey is the past and future of other images. This creates a certain abstract visual charm, but at the same time a disillusion with the split-second nature of lived experience within the macroscopic scale of the universe.

Time features over and over again in the work of Bill Morrison and is highlighted in projects such as Who By Water and The Highwater Trilogy. The former involves the use of documentary images of passengers on a ship: their faces look directly into the camera and, in a contemporary context, the recovery of this material creates a new aura around them. They are ghosts who freeze time but, by staring straight into the camera, also challenge contemporary audiences. Many of the faces are sad, others severe, and this gaze from the past evokes a feeling of nostalgia for a lost time, reinforced by the continuous sensation of slow-motion created by Morrisons montage. The second film, The Highwater Trilogy, uses newsreel footage of water and its terrifying effect on civilisations. The film is divided into three sequences: the sea flooding the coast road of a city, icebergs at one of the arctic poles, and severe floods in towns and cities. In this case, time serves

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passado obedece a um sentimento nostlgico de um tempo perdido. Tal nostalgia reforada pela contnua sensao de slow motion provocada pela remontagem de Morrison. Por outro lado, o segundo filme, The Highwater Trilogy, mostra imagens de atualidades sobre gua e a forma como esta amedronta a civilizao. O filme di-vidido em trs sequncias: o mar a invadir a mar-ginal de uma qualquer cidade, grandes blocos de gelo num dos polos e inundaes catastrficas em vilas e cidades. Neste caso, o tempo serve apenas como ciclo infindvel de repeties da histria: o homem na sua luta constante com a natureza e com as suas foras gigantescas.

Da decadncia

O culminar da obra de Morrison a sua obra--prima, Decasia: The State of Decay, que tanto o crtico J. Hoberman (o mais aclamado filme americano de vanguarda do fim do sculo) como o cineasta Errol Morris (talvez o melhor filme jamais feito) exaltaram. O projeto nasce como uma encomenda para um filme que acompa-nhasse uma nova sinfonia de Michael Gordon. Morrison inicia o trabalho a partir do arquivo da Fox Movietone, cujas pelculas em nitrato esta-vam j em avanado estado de decadncia fsica.3 A utilizao deste tipo de permite que Morrison traga luz do cinema contemporneo um con-junto de filmes que, se assim no fosse, estariam perdidos. Neste sentido, quase uma apologia da preservao de uma histria desconsiderada e do found footage. Por outro lado, a decadncia da pelcula transforma as imagens, colocando sobre elas um constante rudo: quer sejam manchas de cor, quer sejam desvanecimentos impressionis-tas da mise-en-scne. Por vezes, seres humanos e objetos parecem surgir dessas manchas, acentu-ando uma degradao inexorvel. Como assinala Matt Levine: O material original est para alm da possvel restaurao e, se no tivesse sido du-plicado em Decasia, no teria sobrevivido por muito mais tempo. A extino destas imagens imanente, mas como elas esto beira da morte, atingem uma beleza inquietante. Em grande medida, as imagens dependem de um feliz acaso, tendo em conta que a decadncia visual posi-cionada com uma incrvel preciso para encobrir ou interagir com as figuras no ecr.4

Aquilo que descreve o crtico est patente numa das mais intrigantes imagens do filme, quando vemos um lutador de boxe, no lado esquerdo do enquadramento, a lutar ferozmente contra o lado direito, onde est uma mancha de decadncia um rudo intermitente que torna visvel a tira da pelcula flmica (aquela que parece inexistente pelo efeito tico do cinema). Esta luta incansvel parece ser contra o prprio apagamento da hist-ria: contra a efemeridade dos objetos fsicos.

Tambm inseparvel das imagens em toda a obra de Morrison a presena da msica, que amplifica e adensa aquilo que as imagens esto a dizer. Em Decasia, a msica toma um padro repetitivo, por vezes quase trgico e sinfnico,

only as an endless cycle of repetitions of the same story: man in his constant struggle against the gigantic forces of nature.

On decay

Morrisons work reaches its high point in his mas-terpiece Decasia: The State of Decay, which has been highly praised by both the critic J. Hoberman (the most widely acclaimed American avant-garde film of the fin-de-sicle) and the filmmaker Errol Morris (this may be the greatest movie ever made). The project was commissioned to accompany a new symphony by Michael Gordon. Morrison began his work at the Fox Movietone ar-chives, where the nitrate films were already in an advanced state of physical decay3. The use of this type of material enabled Morrison to present a set of films to contemporary cinema that otherwise had no chance of being preserved and would have been lost. In this sense, it is almost an apologia for the preservation of a history that has been ignored, and for found footage. On the other hand, the decay affecting the film footage transforms the images with its contrasting interference, either in the form of discoloured blotches or the impres-sionistic fading of the mise-en-scne. At times it seems as if humans or objects are emerging from these patches, highlighting the inexorable decay. As Matt Levine notes: This original footage is beyond restoration and, had it not been dupli-cated in Decasia, would not have survived much longer. The extinction of these images is imma-nent, but perched as they are at the brink of death, they attain an unsettling beauty. To a great extent the images depend on serendipity, as the visual decay is positioned with uncanny precision to cloak or interact with onscreen figures4.

What the critic describes here is evident in one of the most intriguing images in the film, a boxer on the left-hand side of the screen sparring fiercely with blotch on the right-hand side a growing interference that eventually reveals the actual filmstrip (something which usually appears nonexistent due to the optical effects of cinema). This tireless fight seems to be directed against the erasure of history itself and the frailty of physical objects.

The presence of music in all of Morrisons work is also inseparable from the images, amplifying and adding density what they convey. In Decasia the music takes on a repetitive, at times almost tragic and symphonic, pattern, heightening the latent melancholy of the images. Sometimes it is almost uncomfortable, yet it is through this dis-comfort that Morrisons decaying images live on.

Films of films

Other sources used by Bill Morrison in the case of found films are old stories from the days of silent film, which the filmmaker re-edits to create a new narrative. Both Light is Calling and The Mesmerist come from the same original material a damaged copy of The Bells (1926) by James

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acentuando uma melancolia latente nas imagens. Por vezes, a msica quase desconfortvel, mas tambm a partir desse desconforto que vivem as imagens decadentes de Morrison.

Os filmes de filmes

Outra fonte de Bill Morrison no caso de filmes encontrados so velhas histrias do cinema mudo que o cineasta reedita para contar uma nova narrativa. Tanto Light is Calling como The Mesmerist provm do mesmo material original uma cpia deteriorada de The Bells (1926), de James Young mas desenvolvem--se para novas histrias. Como assinalmos em Decasia, a deteriorao da pelcula permite novas interpretaes. Nestes casos, o filme tem um tom acastanhado que reconhecemos ser tpico das fotografias velhas e gastas e a imagem est desvanecida em manchas que permitem ver a mise-en-scne do filme original. Em Light is Calling, por exemplo, a remontagem e as vagas imagens que se conseguem reconhecer revelam o encontro entre uma mulher que vagamente podemos associar idealizao de The Film of Her e um cavaleiro. Numa das imagens mais impressionantes do filme vemos esse cavaleiro resgatar a mulher, levantando-a da mancha ilegvel onde estava deitada: parece que a resgata de um mundo perdido da pelcula degradada; nesse sentido quase um alter-ego de Morrison, porque, de facto, a retira do apagamento para uma nova apario. Em todo o caso, a msica, melanclica e triste, parece manter o paradoxo entre este trazer vida e uma espcie de lugar perdido aonde no se pode regressar. tambm a msica que estabelece o ritmo da narrativa, em crescendo at ao clmax: quando o homem encontra a mulher. Assim, Light is Calling parece uma aproximao a fantasmas da pelcula degradada, que aparecem como fragmentos de uma outra era.

Concluso: influncias e futuros

O trabalho de Morrison encaixa numa longa tradio do cinema experimental, em particular do cinema de vanguarda americano e da sua uti-lizao do material perdido do cinema: o found footage. Para alm dessa utilizao de material que estaria esquecido, a reflexo de Morrison e destes cineastas sobre a prpria funo do cinema enquanto arte do tempo, algo que est ontologicamente ligado prpria circunstncia de o cinema s existir por poder ser visto numa durao temporal. A remontagem e edio quase num sentido eisensteiniano permitem adicionar sentido, como os mais clssicos cineas-tas j mostraram: Bruce Conner e o seu A Movie (1952) ou Ken Jacobs com Tom, Tom, the Pipers Son (1969). Alis, tanto Conner como Jacobs j foram diversas vezes exibidos no Curtas Vila do Conde.

O olhar de Morrison e destes cineastas assim uma nova abordagem da histria, que no simplesmente a histria dos factos, mas a histria

Young but have been developed into new stories. As with Decasia, the deterioration of the film allows for new interpretations. In these examples, the film has a brownish hue which we recognise as typical of old, battered photographs and there are faded patches in the images, allowing only glimpses of the original mise-en-scne. In Light is Calling, for example, the indistinct reassem-bled images that can be perceived indicate a film about an encounter involving a woman which we may vaguely associate with the idealisation of The Film of Her and an officer. In one of the most striking images in the film, the officer is rescuing the woman, lifting her straight out of the indecipherable blotch where she lies. It echoes the rescue of the lost world of decaying film and in this sense he almost seems to be an alter-ego of Morrison, retrieving her from the point of erasure to reappear once again. Throughout this, the melancholic, wistful music seems to sustain the paradox between this bringing to life and a kind of lost world to which there is no return. It is also the music that sets the pace for the narrative, rising in a crescendo to the climax the moment when the man finds the woman. Light is Calling therefore appears to be an encounter with ghosts from decaying filmstrips, which emerge as frag-ments from another time.

Conclusion: influences and futures

The work of Morrison forms part of a long tradition of experimental cinema, in particular American avant-garde cinema, and the use of lost film material or found footage. In addition to this use of otherwise forgotten material, the focus of Morrison and these other filmmakers is on the function of film itself as the art of time, something ontologically linked to the nature of cinema itself, which only exists to be seen in a given period of time. Reassembly and editing in an almost Eisen-steinian sense enables meaning to be added, as the classic filmmakers have demonstrated: Bruce Conner and his A Movie (1952) or Ken Jacobs in Tom, Tom, the Pipers Son (1969). The work of both Conner and Jacobs has been screened several times at the Curtas Vila do Conde Festival.

The perspective of Morrison and these other film-makers therefore represents a new approach to history which is not simply the history of facts, but the secret history of humanity, a history which cinema knows so well and which it has perhaps captured better than any other art. It is history as seen by the cinephile which, for these authors, has almost become a way of understand-ing our world, or our history. In addition and above all in the case of Morrison there is a pro-found link between the decaying filmstrips and a kind of melancholia for the inexorable end of this world particularly evident in the music that accompanies the projects. Thus the ghosts that people these films appear merely as fragments of something unattainable.

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secreta da humanidade, uma histria que o cinema conhece to bem e que talvez tenha cap-tado como nenhuma outra arte. uma histria vista pela cinefilia que se torna, assim, para estes autores, um modo de conhecer o nosso mundo, um modo de conhecer a nossa histria. Para alm disso e sobretudo no caso de Morrison h uma ligao profunda entre a decadncia da pelcula e uma espcie de melancolia pelo fim inexor-vel desse mundo sobretudo pelo tom musical destes projetos. Os fantasmas que habitam estes filmes parecem ser, assim, apenas fragmentos de algo que jamais seria alcanvel.

Daniel Ribas

1 Trata-se de Howard L. Walls, um funcionrio da Biblioteca do

Congresso que salva da destruio os paper prints. Morrison

dir mesmo que: Assim The Film of Her tornou-se acerca dele

[Howard L. Walls]. Foi uma analogia de mim prprio, um tipo de

futilidade em fazer este tipo de filme.... Habib, Andre (2004).

Matter and Memory: A Conversation with Bill Morrison. In

OffScreen (Volume 8, Issue 11). Disponvel em: http://www.

offscreen.com/index.php/phile/essays/morrison2/

2 Estas referncias so notadas pelo prprio autor que as assume

em entrevista revista Offscreen (ver nota 1).

3 Como assinala Matt Levine: as pelculas de nitrato, apesar

de serem altamente inflamveis, forneceram a indstria do

cinema com imagens cintilantes at introduo do filme

de acetato, mais seguro, em 1948. Levine, Matt (2013). A

Poetic Archaeology of Cinema: The Films of Bill Morrison.

In Magazine Walker Art Center. Disponvel em: http://www.

walkerart.org/magazine/2013/bill-morrison-decasia-film

4 Matt Levine (ver nota 3).

1 Howard L. Walls, a Library of Congress clerk who saved the

paper prints from destruction. Morrison has stated, So The

Film of Her became about him. It was an analogy of myself,

the kind of futility of making this kind of film). Habib,

Andre (2004). Matter and Memory: A Conversation with Bill

Morrison. In OffScreen (Volume 8, Issue 11). Available at:

http://www.offscreen.com/index.php/phile/essays/morrison2/

2 These references have been noted by the author himself, who

acknowledged them in an Offscreen magazine interview (see

footnote 1).

3 As Matt Levine notes, nitrate film, though lethally flammable,

provided the film industry with its sparkling images until a

new safety acetate film was introduced in 1948. Levine, Matt

(2013). A Poetic Archaeology of Cinema: The Films of Bill

Morrison. In Magazine Walker Art Center. Available at: http://

www.walkerart.org/magazine/2013/bill-morrison-decasia-film

4 Matt Levine (see footnote 3).

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