I hadn’t seen this film since the early 90s and so, despite some pretty clear memories of scenes and shots, I wasn’t sure what I was going to be seeing. Interestingly, the things I remembered were there as I remembered them, which surprised me, because memory is a tricky thing.
What I wasn’t expecting though were all the superimpositions and overt analogue collage aimed at creating in-frame montage. These don’t exist in today’s cinema, and when they do—meaning, when images read as “assembled”—I can’t think of a case in which they aren’t read as failures of continuity or polish. Here though, they read as discursive and meaningful. Watching the film was a different and deeply satisfying experience for this reason alone.
A quick note for later: the photo-chemical image provides a basis for collage. Does the digital? Or, as an image more closely related to animation—i.e. an iconic signifier—or even perhaps writing—i.e. a symbolic signifier—is the digital image, that string of stored 1s and 0s, however disparate it’s referent’s part, always itself, fundamentally “unified” making the notion of non-illusion or collage non-functional?