See You Later / Au Revoir
Michael Snow
Presented only in theatres
“The action depicted here is simplicity itself; a man (Snow himself) rises from his desk, puts on his coat, says goodbye to a woman typing at a nearby desk, and leaves the room. But what took a mere 30 seconds in ‘real’ time had been recorded with a Super Slo-Mo video camera (developed for sports broadcasting) and further processed before the final transfer to film, being expanded to a full 18 minutes.
“The staged action is intentionally mundane, so the extreme slowness of the change focuses attention on the subtlest of details, to reveal an exceptional grace and beauty, normally hidden.
Audio is also integral, consisting only in the sound of the typewriter (slowed, of course, to a deep and mysterious rumble) and the words exchanged by the two protagonists (he: ‘Goodbye,’ she: ‘See You Later’).
“The idea for this film came to Michael Snow as early as 1968, when he saw it complete in his mind, almost as a vision. It was the fortuitous offer of access to the Super Slo-Mo camera in 1990 that finally made its completion possible.” – Peggy Gale
This film is part of the FIFA EXPERIMENTAL section program FOCUS MICHAEL SNOW.
“The action depicted here is simplicity itself; a man (Snow himself) rises from his desk, puts on his coat, says goodbye to a woman typing at a nearby desk, and leaves the room. But what took a mere 30 seconds in ‘real’ time had been recorded with a Super Slo-Mo video camera (developed for sports broadcasting) and further processed before the final transfer to film, being expanded to a full 18 minutes.
“The staged action is intentionally mundane, so the extreme slowness of the change focuses attention on the subtlest of details, to reveal an exceptional grace and beauty, normally hidden.
Audio is also integral, consisting only in the sound of the typewriter (slowed, of course, to a deep and mysterious rumble) and the words exchanged by the two protagonists (he: ‘Goodbye,’ she: ‘See You Later’).
“The idea for this film came to Michael Snow as early as 1968, when he saw it complete in his mind, almost as a vision. It was the fortuitous offer of access to the Super Slo-Mo camera in 1990 that finally made its completion possible.” – Peggy Gale
This film is part of the FIFA EXPERIMENTAL section program FOCUS MICHAEL SNOW.
| Editing | Michael Snow |
Session
• Université Concordia - J.A. de Sève, LB-125, Pavillon J. W. McConnell
Saturday, march 25, 2023, 05:00 p.m. — 07:15 p.m.
Production
Michael Snow
Michael Snow worked in many mediums: film, photo-work, holographic work, music, bookworks, video and sound installation, sculpture, painting, drawing. His visual artworks are broadly collected and have been exhibited worldwide, including solo exhibitions at the National Gallery of Canada (Ottawa), The Hara Museum (Tokyo), The Museum of Modern Art (New York) and Centre Pompidou (Paris). His films have been shown extensively in festivals (London, New York, Rotterdam, Berlin) and are in such collections as the Oesterreichisches filmmuseum (Vienna) and Royal Belgian Film Archives (Brussels).
Snow was also a professional musician since the 1950s, and for thirty years focusing on free improvisation, with concerts in Canada, USA, Europe, Japan — usually with Toronto-based CCMC — and many recordings. Snow’s solo releases include compositions using multi-track studio recordings (The Last LP,1987, re-released as The Last LP CD, 1994) among others.
His work includes digital works such as the film *Corpus Callosum (2001) and interactive DVD ROM Anarchive 2‑Digital Snow (2002), an encyclopedia of Snow’s work in all mediums.
Snow considers his work “sensuous philosophy”. He asks, “What essential aspects of a medium distinguish it from other mediums?” The materials of cinema, for example, are light and duration, not movement or narrative.
He passed away on January 5, 2023.
Biographical notes provided by the film production team
Snow was also a professional musician since the 1950s, and for thirty years focusing on free improvisation, with concerts in Canada, USA, Europe, Japan — usually with Toronto-based CCMC — and many recordings. Snow’s solo releases include compositions using multi-track studio recordings (The Last LP,1987, re-released as The Last LP CD, 1994) among others.
His work includes digital works such as the film *Corpus Callosum (2001) and interactive DVD ROM Anarchive 2‑Digital Snow (2002), an encyclopedia of Snow’s work in all mediums.
Snow considers his work “sensuous philosophy”. He asks, “What essential aspects of a medium distinguish it from other mediums?” The materials of cinema, for example, are light and duration, not movement or narrative.
He passed away on January 5, 2023.
Biographical notes provided by the film production team
Other films:
Cityscape (2019)
Inside the Art (2017)
Snow in Vienna (2012)
Cinématon (2011)
Puccini Conservato (2008)
SShtoorrty (2005)
WVLNT: Wavelength For Those Who Don’t Have the Time (2003)
Cityscape (2019)
Inside the Art (2017)
Snow in Vienna (2012)
Cinématon (2011)
Puccini Conservato (2008)
SShtoorrty (2005)
WVLNT: Wavelength For Those Who Don’t Have the Time (2003)
