Elizabeth Cohen
In Double Exposure, a 1950s detective film made for TV is projected onto the screen of a monitor, at the same time that images come up to the monitor from a tape I compiled, alternating images of Reagan being questioned at the Iran Contra Hearings with Air Force training films for WWII and Vietnam. I employed a somewhat random process to compose each frame of juxtaposed images appearing on the screen—I never started both pictures rolling at the same point. In the detective film, a model American Family, very much like the one featured in Leave It to Beaver, is pictured. The father of the family is the detective and he brings the teenage troublemakers around. The yellowish color images are the film and the bluish images are from the tape. I was interested in the collapsing of time and the collapsing of fiction and reality. The density of one image delimits the visibility of the other, therefore unexpectedly highlighting different features of each into one composite image.