Inspired by filmic rotoscopy and Dada traditions of making this signal processing project is an atempt to continue developing a films digital texture. The surreal slow cinema of Vincent Gallo’s The Brown Bunny (2003) contains dreamy qualities in terms of duration and immaterial character relations and dialogue. Since there is a co-existence between reel cinema and digital cinema through transcodings, remasterings, platforms, and movie sampling why does the life of a film have to stop with the print and filmmaker? This is not an atempt to restructure a movie but instead redevelope its pixels and consequent media qualities. 

Below are clips from a DVD whose image is modified using an analog video mixer and module.