The mechanism by which T.J. Wilcox’s imagery comes to us is familiar. Shot in Super 8, either as original footage or from preexisting film playing on a video monitor, it is transferred to video for editing, and then onto 16 mm film for presentation. The visual noise necessarily introduced at each of these stages adds character and interest. There is no danger of us succumbing to the illusion of transparency, of believing that we are sharing any kind of simple present, either with the characters on the screen or the subject matter in general. Instead, the sequence of successive transfers between