“The linear logic of editing with one frame following the other was a part of my frustration. My reality wasn’t linear. It was fractured like my sense of time and space. Reinventing the apparatus was my way of liberating it and of representing an experience closer to my own.” Nida Sinnokrot
Nida Sinnokrot is an American and Palestinian filmmaker and artist, except, he doesn’t live in America but in Jerusalem, has never lived in Palestine as he grew up in Algiers in forced exile and doesn’t make films in the traditional sense but more like artistic, documentary films.
This sense of contradiction and dislocation in his upbringing would cause him to feel frustrated with the linearity of traditional film making and invent a new way of making and watching films by deconstructing the process and editing equipment itself, coining the term ‘horizontal cinema’ for the resulting type of film.
In his ‘horizontal cinema’, Sinnokrot would film something a few times and display the film through a series of modified projectors, simultaneously. For an added level of interactivity, the film would go slower or faster, oscillating between 0 and 100 frames per second depending on the number of people and their movements within the gallery itself.