Morgan Fisher. About Film and the Richness of Life. 2007. 2/8

http://www.egs.edu/ Morgan Fisher, filmmaker, painter and artist, and Yve-Alain Bois, Harvard University, talking about expressivity, richness of life, abundance, film as a medium, sound, sync, time, picture, film and cinema history. Public open video lecture with students and faculty of the European Graduate School EGS, Media and Communication Studies department program, Saas-Fee, Switzerland, Europe, 2007. Morgan Fisher

Morgan Fisher, based in Los Angeles and Santa Monica, and has been making films since the late 1960s. Fisher studied at Harvard University and UCLA, and started his career as an editor for the commercial film industry before he joined the ranks of the visual avant-garde. Fisher examines and deconstructs his experiences with the narrative of film and the industry, his knowledge and wry humour, creates an entirely unique and intimate view of cinema and its physical presentation. Since the late '60s, Morgan Fisher has made films which foreground the industrial basis of all filmmaking, ironically combining narrative and non-narrative forms and underscoring the common ground between the oft-unreconciled poles of the independently produced 'experimental' film and industrially produced commercial product. Steve Polta, SF Cinematheque

Morgan Fisher's oevre includes playful, self-referential films such as Phi Phenomenon (1968), Production Stills (1970), Picture and Sound Rushes (1973), Wilkinson Household Fire Alarm 1973, Cue Rolls 1974, Projection Instructions 1976, Standard and Gauge (1984), and his most recent artwork ( ) (2003). Fisher plays with the concepts of film, cinema, and directing and allows viewers, or the unseen man in the booth to take over the process. () was featured at the Rotterdam Film Festival, the 2004 Whitney Biennial, and Tate Gallery, the artwork, creation, video consists of insert shots that have been relieved of their original duty, taken out of the concepts of their original meanings, films, and plot developments within other movies, resembled to stand on their own, creating the space for an experience based on aesthetic and visual values.
Morgan Fisher is based in Los Angeles and has been making films since the late 1960s. His films include Production Stills 1970, The Wilkinson Household Fire Alarm 1973, Cue Rolls 1974, Projection Instructions 1976, and Standard Gauge 1984.

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