“It was probably inevitable, baked into the chemical essence of film, that the medium’s own ephemerality would become a metaphor for time, aging, and death. Filmed images outlive the people in them, but time’s army eventually catches up, and what we’d long thought was immortal confronts the laws of decomposition just as we do. Movie images are ghosts, but eventually the ghosts themselves begin to rot away. It may’ve been because cinema was finally a century old, or due to a leveling-up in the world of film preservation, but it was in the ’90s when artists began recycling old film not for its subject but for its nitrate collapse. Emerging around the same time as Dutch archivist Peter Delpeut, Bill Morrison quickly became this domain’s archdruid; soon, he was, and still is, America’s most viewed and most distributed avant-garde filmmaker. ...”
2012 June: Bill Morrison, 2015 October: Decasia (2002), 2017 December: The Miners' Hymns (2011), 2018 January: The Dockworker's Dream (2016), 2018 October: Dawson City: Frozen Time (2016) , 2018 November: Director Bill Morrison
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