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"Extracted from rolls of 35mm film on which I had made exposures using the photofinish technique. That is, images intended as photography, and therefore as still images. My inclination is to animate [still images] at the very limit of technical impossibility. Scanning these rolls of figures in a state of agitation, shooting one frame at a time, I wanted to extract a film from what was not a film, where frames precisely do not exist and where the process of hand-cranking exposures was indeed equivalent to that of a movie camera, without, however, being a movie camera. Of interest to me was the collision among images dispossessed of sequence, to which the possibility of motion had been given, a motion towards a kinetic narrative, no longer a photographic one, which narrates the end of the images themselves." Paolo Gioli
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6.4/10"Extracted from rolls of 35mm film on which I had made exposures using the photofinish technique. That is, images intended as photography, and therefore as still images. My inclination is to animate [still images] at the very limit of technical impossibility. Scanning these rolls of figures in a state of agitation, shooting one frame at a time, I wanted to extract a film from what was not a film, where frames precisely do not exist and where the process of hand-cranking exposures was indeed equivalent to that of a movie camera, without, however, being a movie camera. Of interest to me was the collision among images dispossessed of sequence, to which the possibility of motion had been given, a motion towards a kinetic narrative, no longer a photographic one, which narrates the end of the images themselves." Paolo Gioli
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