In the current environment film can be now reshaped into any number of alternative cinematic forms, whilst preserving intact the original itself. What used to be a physical intrusion with consequences, a knife to the emulsion, the cut has now become a rhetorical gesture in a ubiquitous digital work flow. Audience and artist alike are accustomed to the limitless non-destructive dispersal of infinitely malleable digital packets. As result, the quotidian film frame must surely now be perceived in a fundamentally changed way.
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