Production Stills (1970, 11 mins); Picture and Sound Rushes (1973, 11 mins); The Wilkinson Household Fire Alarm (1973, 1-1/2 mins); Cue Rolls (1974, 5-1/2 mins); Projection Instructions (1976, 4 mins), and Standard Gauge (1984, 35 mins).

For Morgan Fisher, the material is the medium and the message in one; like a painter whose canvas is about his paint, Fisher is a filmmaker whose subject is celluloid and, by extension, the cinema as a machine with which people interact--if they are lucky, with the same intense physicality and familiarity that Fisher shares with film and image alike. Fisher's earlier films initiate the viewer, often with wry humor, into the process of filmmaking; Projection Instructions is a virtual performance piece for projectionist, at once banishing film illusion and creating film theater.
In Standard Gauge (“Fisher's first film in a decade and worth the wait” J. Hoberman), Fisher shares with us bits of 35mm film he has collected over some twenty years as a professional film editor, expanding the concerns of his previous works into a film of greater depth (and length). We see fragments (sometimes just a single frame) of many films, from La Chinoise to the so-called China Girl herself (the image labs look to for their color guide), while Fisher's voice-over narration turns his associations with each fragment into a scenic tour of film history. It is both an autobiography of a career and a biography of an art form. “Standard Gauge is a work of great ambition and incredible richness...a major work of avant-garde cinema” (Alan Williams, Film Quarterly, Fall ‘85). Selected for the Whitney Museum Biennial and the New York Film Festival ‘85.