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Ernie Gehr

3月 21, 1999

Ernie Gehr has spoken of film as less representational image but “a variable intensity of light, an internal balance of time, a movement within a given space.” One of the central figures of American avant-garde cinema, Gehr has been less interested in abstraction than in opening the senses of the viewers to the interplays of color and light and shadow that exist within quotidian objects. Thus the fixed camera shots of a hallway that make up Serene Velocity; the view of Lexington Avenue in Still; the kitchen interior of Table; and the shots of Gehr’s son that comprise For Daniel. Rigorous yet free, Gehr’s films, making use of the medium’s most elemental aspects, nonetheless seem to be both recreating the cinema and the world as we watch.

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在潘诺尼亚基金会的慷慨资助下,与电影、电视和数字媒体中的创意人物(前身为 Pinewood Dialogues)的讨论成为可能。
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