Films byTexts by 1992
John Smith, 1992, 1’

“London artist John Smith uses light-hearted humour to explore theoretical concerns – Gargantuan, for instance, is both pleasantly silly and acutely conscious of how imagery depends entirely on its framing.

Nicolas Philibert, 1992, 99’

“The film implicitly reflects on three different kinds of language – the different languages spoken in movies, the so-called language of cinema, and Sign, specifically the language of the deaf.

article EN

In almost every instance of this kind – that is to say, where there’s simply a difference of taste between your editing and mine – I have resigned myself to the futility of discussion, and will spare you my comments. In most cases, I can see, or guess, the point of view which has motivated the change, even when I don’t happen, personally, to agree with it. But in some few instances, the point of view remains completely mysterious to me, and in those cases where the improvement is not apparent, and where I cannot fathom the reasons for alteration, I’m registering, as I do here, my objections.