In representational films sometimes the image affirms its own presence as image, graphic entity, but most often it serves as vehicle to a photo-recorded event. Traditional and established avant-garde film teaches film to be an image, a representing. But film is a real thing and as a real thing it is not imitation. It does not reflect on life, it embodies the life of the mind. It is not a vehicle for ideas or portrayals of emotion outside of its own existence as emoted idea. Film is a variable intensity of light, an internal balance of time, a movement within a given space.
Ernie Gehr, January 1971
Everything, all that I’ve written, is grey. My life, even my mental life, has been like a drizzly day in which everything is non-occurrence and haziness, empty privilege and forgotten purpose. I agonize in tattered silks. In the light and in tedium I see but don’t know myself.
Life is a process of becoming, a combination of states we have to go through. Where people fail is that they wish to elect a state and remain in it. This is a kind of death.
La vida es un proceso de realización, una combinación de estados por los que tenemos que pasar. Donde la gente falla es que en que desean elegir un estado y permanecer en él. Eso es una clase de muerte.
Angela Anaïs Juana Antolina Rosa Edelmira Nin y Culmell, a.k.a. Anaïs Nin
I cannot live with You -
It would be Life -
And Life is over there -
Behind the Shelf
The Sexton keeps the Key to -
—Emily Dickinson, zit. nach Geoffrey Hartman: Das beredte Schweigen der Literatur. Frankfurt am Main 2000, S. 38