Instead of writing about my films, I will make a film (video)
about photographs leading (me) to moving images.
Fragments of saved up memories - my notebooks filled with
images: names, Heroes, Postcards, language (words) moving
inside that frame. Pushing towards another - scene -
Is there an obsession in these fragments? To reveal and to
hide the truth.
A photograph is fiction and as it is moving it becomes reality.
No sound - subtitles, letters and words. - Robert Frank
Frank's transition from still photography to film work was not an unprecedented or random act. In many ways, he'd been moving towards film since conceiving of The Americans as a book of carefully selected sequential images, even including a portion of the contact strip of his wife Mary and the children as the final image in the book. His early work in photojournalism ingrained in him a tendency to work in series, which is seen even in his 1952 book Black White and Things. Not long after the French publication of The Americans, Frank began work on Pull My Daisy, the first of many films he would produce during the late 1950s and 1960s.
Frank's filmmaking is characteristically non-linear and rarely directly narrative, much like the sequences of his still photography, such as that found in the 1958 series From the Bus: a sequence of images filled with movement. The work offered here, a series of negative contact strips from his work in London in 1952-53, enlarged by Frank sometime around 1970, reflects his combined experiences as a filmmaker and his more recent Polaroid pieces which incorporate image and text and show him coming full circle as he returns to still work.