by Michael SNOW
1968-1969 / 16mm / color / sound / 1S / 52' 00
‘As a move from the implications of Wavelength, Back and Forth attempts to transcend through the motion more than light. There will be less of a paradox and in a way less drama than in the other film. It is more “concrete” and more objective…Back and Forth is sculptural. It is also a kind of demonstration or lesson in perception and in concepts of law and order and their transcendence. It is in /of/depicts a classroom. I think it will be seen to present a different, possible new, spectator-image relationship. My films are (to me) attempts to suggest the mind of a certain state or certain states of consciousness. They are drug relatives in that respect. Back and Forth will be less comment and dream than the others. You aren’t within it, it isn’t you, you’re beside it. Back and Forth is sculptural because the depicted light is to be outside, around the solid (wall) which becomes transcended/spiritualized by motion-time whereas in Wavelength it is more transcended by light-time. However Back and Forth involves one’s neck as well as one’s mind-eyes…’ – M.S., letter from Film Culture n. 47.