Morgan Fisher has long been fascinated by the materials and techniques of cinema. His earliest films, including Production Stills (1970, 11 mins, Color), Cue Rolls (1974, 5.5 mins, Color), and Projection Instructions (1976, 4 mins, B&W), explore the process of filmmaking from the moment of filming to the act of projection with wry humor and precise observation. Standard Gauge (1984, 35 mins, Color) is an autobiography told through 35mm film fragments collected over twenty years as a film editor. It is also a loving tribute to unexpected and largely unnoticed qualities of the cinematic medium; and an idiosyncratic film history, with discourses on the so-called “China girl” (used by film labs to adjust skin tones), La Chinoise, Student Nurses, Technicolor, and CinemaScope. His acclaimed recent film ( ) (2003, 21 mins, Color) was featured at the Rotterdam and New York Film Festivals. Fisher reveals, “The origin of ( ) was my fascination with inserts....Inserts show newspaper headlines, letters, and similar sorts of significant details that have to be included for the sake of clarity in telling the story. I have long been struck by a quality of inserts that can be called the alien, and as well the alienated. Narrative films depend on inserts (it's a very rare film that has none), but at the same time they are utterly marginal....I wanted to make a film out of nothing but inserts...as a way of making them visible, to release them from their self-effacing performance of drudge-work, to free them from their servitude to story.”