Movies: Morgan Fisher

A young woman searching for her missing artist father finds herself in the strange seaside town of Point Dume, which seems to be under the influence of a mysterious undead cult....

Thom Andersen's remarkable and sadly neglected hour-long documentary adroitly combines biography, history, film theory, and philosophical reflection. Muybridge's photographic studies of animal locomotion in the 1870s were a major forerunner of movies...

“A film about control. A refinement of energy for purposes of conserving resources, materials, impetus, potential, so they might all be narrowly channeled toward an unquestioned goal of maximum profit with minimum waste. Capitalism, in this example, ...

In a static medium shot a narrator seated at a table delivers an explanation of the combinations and permutations which the sound and picture elements of the conventional monochromatic sound motion picture afford, as the film itself undergoes them....

Regrettably, the labour of projectionists is usually only considered by the audience when they ‘screw up’. This film offers an alternative opportunity. Preserved by the Academy Film Archive in 2014....

An actor and director screen a film and comment on it....

Standard Gauge is an autobiographical film that examines Morgan Fisher’s work as an editor in the film industry. The film goes through scraps of rejected material along with commentary on the meaning of all the scrapped images. This film is an accoun...

A static close-up of a clock. Preserved by the Academy Film Archive in 2007....

Documentary on the making of "Messiah of Evil," the surreal horror cult classic written by Willard Huyck and Gloria Katz, directed by Willard Huyck. Includes interviews with Huyck and Katz as well as cinematographer Stephen M. Katz, editor Billy Webe...

Morgan Fisher has long explored the space that segregates art cinema from industrial movie making. The one-minute-thirty-second-long Wilkinson Household Fire Alarm, an eye-blink homage to Marcel Duchamp, is more obviously engaged with conceptualism t...

As its title indicates, the subject in Production Stills is a series of production stills of a film that was never made, and that at the same time is the film we are watching. A perfectly enclosed narrative of its own production: the image is one lon...

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P. Adams Sitney, Professor of Visual Art at Princeton University, wrote a short essay for Artforum International "Medium Shots: the films of Morgan Fisher" in which he describes the film "()." "Fisher's most recent film, (), succeeds astonishingly wh...

In 1963, living a routine life on Norma Place in Los Angeles, recluse writer Dorothy Parker and bisexual husband Alan Campbell recall their often-rocky relationship, started thirty years earlier....

Experimental short shot on reel to reel video tape and preserved by the Academy Film Archive in 2008....

Protective Coloration shows Fisher seated at a mottled table. He wears short-sleeved hospital garb, surgical green ‘scrubs’. Nose-clips block his nostrils while a mouth-guard that looks like fake lips covers his mouth. Over the course of 11 minutes h...

A 1980 video art piece by American artist Morgan Fisher, a multi-projection work featuring floating spheres of different colors (green, red, blue) projected simultaneously....

Cue Rolls suggests that the particularity of cinema is its interface of rigorous mechanical equipment and fallible human process, which is dramatised by the juxtaposition of the precision mechanics of the visuals and Fisher’s somewhat halting narrati...

Morgan Fisher’s Screening Room (1968–) is a tracking shot of the movie theatre in which the film is exhibited, and thus must be remade each time it is shown in a new location. —Erika Balsom...

Red Boxing Gloves / Orange Kitchen Gloves was shot in 1980 in Polavision, an instant movie format that the videocassette made obsolete. The work is in the form of a pendant pair, a convention that arose in seventeenth-century Holland. The pendant pai...