Shirley Clarke's early experimental.... well, I'm not sure that it's right to call it a motion picture, but that's ok. One of the purposes of experiments is to give us a chance to think about the results, and Miss Clarke's collection of images, optically printed and moving about purely through the editor's art, makes me think "is this a movie? Motion picture? Example of cinema?" That's a good thing, to force me to examine how I think about things, to understand how I fit in the equation of my own aesthetic.

Eventually there is motion within the frame: clouds move, birds fly, cars whizz by after the first minute. There's even the motion of the camera as some of the images of the George Washington Bridge are taken from a moving car. Those, however, are incidental. The real point of this short film is to ask "Does the motion imposed by editing techniques render a series of images a motion picture?"

My first impression is that no, it does not, but it's a potentially useful technique to have in the film maker's grasp. But I'll have to think about that some more.

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The short form refers to creative works characterized by their brevity and concise storytelling. Unlike full-length feature films, short films have a running time of less than 45 minutes, while TV shorts have a running time of less than 22 minutes.

Benedict Cumberbatch in The Wonderful Story of Henry Sugar (2023)

Essential, integral experimental work from the late 1950s is an incredible dance of montage and super-imposition starring none other than New York City's various bridges, transforming them into an urban jungle (jazz version) or an alien landscape (electro-acoustic version)

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John Amplas, Francine Middleton, and Sara Venable in Martin (1977)

Bridges-Go-Round

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