聽老師說，Michael Snow是個很偉大的filmmaker，若看過他的片子別人都會讚好，我試著從網絡上找多一點關於他的資料，卻發現關於他的記載不是很多，現在先擱著，遲些讓我再找找看關於這個Michael Snow的資料；我對他確實是蠻有興趣的，他的想法總是有趣。
Michael Snow: A Brief Introduction
By Peter Rist, November 30, 2002
The top of Michael Snow’s curriculum vitae reads, born: Toronto, Ontario, 10 December, 1929. Occupation: filmmaker, musician, visual artist, composer, writer, sculptor. As Canada’s best-known living artist, Snow is also one of the world’s two most highly acclaimed experimental filmmakers (the other being Stan Brakhage, US). Although Michael Snow practiced as a visual artist in Toronto in the 1950s, Canadian art critics as a whole only began to champion his work after he moved to New York City with his wife, Joyce Wieland, in 1962. In the 1960s, he developed a reputation for being an important innovator in the fields of Pop and Minimalist art, with his “Walking Women” series, and with his film work. Retrospectively, his second film, New York Eye and Ear Control (1964), is now viewed as being a key to the important contrapuntal complexities of Snow’s oeuvre. In it, the improvised, spontaneous, “expressionist” and “emotional” music of avant-garde jazz musicians Albert Ayler, Don Cherry, John Tchicai, Roswell Rudd, Gary Peacock and Sonny Murray “coexists” with the “classical,” measured, “composed,” and “intellectual” filmed images (in Snow’s own words).
那倒不如說說看過michael snow的wavelength之後有何感覺。
起初是感覺很有趣，有點吸引，有點像舞台劇的做法，感覺平靜。
然後卻出現了視覺上的強烈對比，利用光與顏色，做到contrast的效果，
觀畢全片不是易事，因其內容老實說頗為沉悶，需要花一些精神邊看邊想artist到底想表達些什麼……
閱全片後第一個感覺是：到底過了多少時間？四十五分鐘？還是我剛才到底於畫面上經歷了多少天多少年月，這樣的時空重疊，加上整套作品的深度，令我一時間腦子需要思考的很多，整套片跟wavelength又有著些什麼關係？
Wavelength，波長，是既有一直存在但我們不去留意的事物，或者說，是我們看不到觸不到的事物，只有透過機器，我們才能看得見。
機器的眼睛，和我們人類的眼睛不同，從機器聽到的聲音、看到的顏色、光影的捕捉，都跟我們所看所聽的不同，這就是攝影機，把攝影機作為一種工具的特性發揮出來，去模仿現實，把機器的特性突顯表露出來，這是頗有趣的一個做法，是一種新的方法去看事物。
