--- W A X W E B --- { 02:20 / 1:25:00 } --- { Cinema : The Gate } ---

Cinema : The Gate

The Spring of 1915 found James Hive-Maker in France, where gas warfare had begun at the Battle of Ypres.

	X-ray vision takes us into the secret heart of the mechanical stomach. Here you can see, stripped bare by the screw driver, some of the most basic elements of this mechanical life. The rotary cam at bottom frame is also going round and round, like earth seen from above one of its poles. Invisible to earthlings, but somehow clearly apparent from outerspace, is a nearby and linked piece of super-planetary and perhaps holy metal, called the Maltese Cross. Through their close connection, the happy Newtonian motion of the Globe is converted to stopped motions, which are communicated through the authority of the Maltese cross to the great astral realms which surround the earth in clock-like brilliance. There, this power is used to run blenders (which mix missing souls into composite doughs), toasters (which bake and make the bodies of future Christ-like humans), and wrappers (which place new people in pre-printed packages that have clear warnings and monopoly-set pricings printed in very small letters on the outside).

02:20

Hive-Maker and Ghosts:

Through the lens of a projector, we enter a film.

The year is 1914, and James Hive-Maker, a Spiritualist Cinematographer, has traveled to the Antarctic in order to gather images of the dead. The next year, he travels to the Battle of Ypres, where he finds them floating above clouds of poison gas.

Hive-Maker search is motivated by a belief that the Dead live near to us, illuminated by a moral decay similar to the glow of a radium watch. This light, and their Land, can be made photographically visible. By extension, Hive-Maker hypothesizes that these living lights can visit our world (and that in reverse, we can visit their world).