Stan Lawder's Runaway is 16mm "copy" of a 16mm? or 35mm? film shot off of a
video monitor, with video-to-16mm frame-rate-phase-interference lines featured
as part of the looping rhythmics.
Gary Beydler's Hand Held Day and Pasadena Freeway Stills demonstrates the
animation of still photos, as does, profoundly, Thom Andersen's Muybridge film.
Lots of Michael Snow's other work besides Wavelength plays with remediation,
e.g. One Second in Montreal.
A nice topic--it's no wonder there's so much of it, since we're constantly
under remediation alert.
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