“So the camera is moving as an eater of space, or a representation of space, and it is leaping in time. And the effect is that this is an amalgam of many walks, many men.”
Collaboration with Alexander Hammid, has been one of the most influential experimental films in American cinema history. She went on to make several films of her own, including At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman
