RaMell Ross

The idea of the images popping up is kind of how we're dealing... We deal with images, I think, in our own head. Like, when we see something, there's an association that happens. And it flexes or accents some sort of visual thing we've encountered in the past. It helps us read that thing. And then we're off to the races. But also, in the context of the film, I think it allows the viewer...

The idea of the images popping up is kind of how we're dealing... We deal with images, I think, in our own head. Like, when we see something, there's an association that happens. And it flexes or accents some sort of visual thing we've encountered in the past. It helps us read that thing. And then we're off to the races. But also, in the context of the film, I think it allows the viewer...

if they're open enough to it, if they're not taken out by that gesture to participate in an understanding of larger image production. And specifically in this film, in the production of blackness, right? If you're showing images that Jomo and Frey and I made, And it's from a black point of view. We're using a Sony Venice. It's 6K. It's poetic.

if they're open enough to it, if they're not taken out by that gesture to participate in an understanding of larger image production. And specifically in this film, in the production of blackness, right? If you're showing images that Jomo and Frey and I made, And it's from a black point of view. We're using a Sony Venice. It's 6K. It's poetic.

if they're open enough to it, if they're not taken out by that gesture to participate in an understanding of larger image production. And specifically in this film, in the production of blackness, right? If you're showing images that Jomo and Frey and I made, And it's from a black point of view. We're using a Sony Venice. It's 6K. It's poetic.

And then you're seeing these archival images from yesteryear that were taken from a completely different context. Who knows if the people that were in the images were even asked. 99%, I would say, of all images of all black people across the history of time have been made by white people.

And then you're seeing these archival images from yesteryear that were taken from a completely different context. Who knows if the people that were in the images were even asked. 99%, I would say, of all images of all black people across the history of time have been made by white people.

And then you're seeing these archival images from yesteryear that were taken from a completely different context. Who knows if the people that were in the images were even asked. 99%, I would say, of all images of all black people across the history of time have been made by white people.

And that's not necessarily a bad thing, made by white people, but we know the history of blackness and we know the transatlantic slave trade and we know how images were used then. And so we get to do something, I think, that is an almost impossible thing to practically do. And I think we can only conceptually do it, which is like thicken time. right?

And that's not necessarily a bad thing, made by white people, but we know the history of blackness and we know the transatlantic slave trade and we know how images were used then. And so we get to do something, I think, that is an almost impossible thing to practically do. And I think we can only conceptually do it, which is like thicken time. right?

And that's not necessarily a bad thing, made by white people, but we know the history of blackness and we know the transatlantic slave trade and we know how images were used then. And so we get to do something, I think, that is an almost impossible thing to practically do. And I think we can only conceptually do it, which is like thicken time. right?

And it's like, it's an Aristotle phrase, like, how thick is time? You know? Thick is, yeah. Yeah. And how interesting, right, to be able to watch something and be engaged explicitly and emotionally in the history of that visual process.

And it's like, it's an Aristotle phrase, like, how thick is time? You know? Thick is, yeah. Yeah. And how interesting, right, to be able to watch something and be engaged explicitly and emotionally in the history of that visual process.

And it's like, it's an Aristotle phrase, like, how thick is time? You know? Thick is, yeah. Yeah. And how interesting, right, to be able to watch something and be engaged explicitly and emotionally in the history of that visual process.

That's essentially the origin of all of my work because. I filmed Hell County this morning, this evening, the documentary in the South, of course, Alabama. I think I had about 1,300 hours of footage. You lived there for 12 years? Yeah, I still live there. I have a house and go back as much as possible and still film. I'm interested in a longitudinal relationship with image making and with people.

That's essentially the origin of all of my work because. I filmed Hell County this morning, this evening, the documentary in the South, of course, Alabama. I think I had about 1,300 hours of footage. You lived there for 12 years? Yeah, I still live there. I have a house and go back as much as possible and still film. I'm interested in a longitudinal relationship with image making and with people.

That's essentially the origin of all of my work because. I filmed Hell County this morning, this evening, the documentary in the South, of course, Alabama. I think I had about 1,300 hours of footage. You lived there for 12 years? Yeah, I still live there. I have a house and go back as much as possible and still film. I'm interested in a longitudinal relationship with image making and with people.

And so I basically spent... I felt like, to some degree, both Daniel Collins and Quincy Bryant, the two main characters in the film, that I was part of their family, like nuclear family. And then when you add a camera... you also get to see moments that no one else is there for, that only the nuclear family is there for.

And so I basically spent... I felt like, to some degree, both Daniel Collins and Quincy Bryant, the two main characters in the film, that I was part of their family, like nuclear family. And then when you add a camera... you also get to see moments that no one else is there for, that only the nuclear family is there for.

And so I basically spent... I felt like, to some degree, both Daniel Collins and Quincy Bryant, the two main characters in the film, that I was part of their family, like nuclear family. And then when you add a camera... you also get to see moments that no one else is there for, that only the nuclear family is there for.