Plot
The apparent vertical scratch in celluloid that opens Presents literally opens into a film within the film When its figure awakens into a woman in a real unreal set the slapstick satire of structural film begins It is not the camera that moves but the whole set in this first of three material investigations of camera movement In the second the camera literally invades the set a plexiglass sheet in front of the dolly crushes everything in its sight as it zooms through space Finally this monster of formalism pushes through the wall of the set and the film cuts to a series of rapidly edited shots as the camera zigzags over lines of force and moving fields of vision in an approximation of the eye in nature Snow pushes us into acceptance of present moments of vision but the single drum beat that coincides with each edit in this elegaic section announces each moment of lifes irreversible disappearance