Disney Movies Condensed Into A Single Frame

Imagine, every single frame of a movie condensed into one single picture. Well imagine no more, James Shulman, a sculptor who lives in London, England, has recently done just that. James has photographed entire movies with ultra-long exposures, creating impressionist photo masterpieces in the process. His work is currently on display at The Cob Gallery in his hometown of London. James’s gallery includes several Disney movies such as; Fantasia, Dumbo, Cinderella, Alice in Wonderland, Sleeping Beaut and Marry Poppins. These condensed movie pictures can be seen below. To see a full gallery of his work you can visit his website here.

Artist Bio

Jason Shulman is a sculptor whose work extends into photography, film, and painting. Analgesia, loss and the delusions inherent in perception are some of Shulman’s areas of enquiry. He often combines scientific experimentation with more formal artistic trajectories, using optics and other basic science to expose the falsehoods that underpin our experience of reality.

Shulman has exhibited at galleries internationally including the White Cube, the Garage Museum of Contemporary Art and MONA. His work can be found in various public and private collections, including the Howard Earl Rachofsky Collection and the David Roberts Art Foundation.

Photographs of Films Exhibition: May 12 – June 4, 2017

The Cob Gallery is proud to present new work by Jason Shulman.

Photographs of Films is a series of photographs which capture the entire duration of a movie in a single exposure.

The films range from cinema classics such as Citizen Kane, The Wizard of Oz, Deep Throat and 2001: A Space Odyssey to more niche movies such as Digby, The Biggest Dog in the World and the most viewed film of all time, The Irony of Fate, a Soviet production which used to be broadcast on Russian television every Christmas.

The photographs capture something the human eye can’t ordinarily see. They collapse the totality of a movie into a single moment, a single frame. The results vary from luminous colour field abstractions to visual précis that are both a blur and a reveal. The photographs of Hitchcock films show ghostly figures emerging from an abstract background. ‘With Rear Window you can see Jimmy Stewart in his wheelchair against the fragmented lines of window frames. It could work as a poster for the film. ‘The Kubricks, on the other hand, do not show human figures. They stand out for their formal composition, almost dividing the image into a triptych.’

‘There are roughly 130,000 frames in a 90 minute film and every frame of each film is recorded in these photographs. You could take all these frames and shuffle e them like a deck of cards, and no matter the shuffle, you would end up with the same image I have arrived at. Each of these photographs is the genetic code of a film – its visual DNA.’