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PRINT April 1979

Snow-bound Camera

SINCE THE SUCCESS OF HIS Wavelength, 1966–67, at the Fourth International Experimental Film Festival at Knokke-le-Zoute, in the winter of 1967–68, followed by his three other major films to date, , 1968–69, La Région Centrale, 1970–71, and Rameau’s Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen, 1972–74, Michael Snow has come to be known in the U.S. and Europe primarily as a filmmaker. Yet in Canada, his homeland, he is still thought of for his earlier work as a painter and sculptor and for his continued pursuit of jazz improvisation on trumpet and piano. Perhaps now in Europe the consideration of Snow as a “filmmaker” exclusively will change, or at least broaden, in light of his long-traveling exhibition, entitled “Michael Snow,” which opened in Paris at the Centre Pompidou from December 13th to January 29th, and is now making its way to museums in Lucerne, Rotterdam, Bonn

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