Pain, Gain: The Sublime Stations of the Cross

How would you transpose 14 sequential artworks on canvas that hail back to the 15th century to contemporary technology and artistic sensibilities? The closest approximation might be a group of photographs, or a film comprised only of a series of fixed shots. Stringing together the individual tableaux would create a slightly disjointed narrative disregarding conventions that have been in effect for sequences for over a century. Even though each shot could stand on its own, there is a flow to the whole. Continuity is implicit, not laid out neatly with eye-line matches, shot-reverse shot set-ups, and cutting from establishing shots […]

from Filmmaker Magazine http://ift.tt/1HeXx81