The interval is also a kinetic event: the gap between two frames filmed concurrently represents the omission of an image of that fraction of time, the two frames differ slightly – it is this difference (created by wind on sunflowers in a field for example) that, when the frames are projected in succession, gives the impression of continuous movement.
The intervals are located in the spaces between the 24 frames that make up a second of filmic time. The final chapter analyses the films made as part of this project and the application of the thesis proposed. The close analysis prompts practical experimentation and then rigorous analysis of the resulting films in order to identify and apply a distinctly intervallic approach to editing. Each chapter includes a close Interval Analysis of a film sequence by each of the filmmakers, examined frame-by-frame. This project investigates the appearance of intervals, shots and frames in the work of three filmmaker/theorists: Dziga Vertov, Stan Brakhage and Rose Lowder.
