Psycho (1960) by Alfred Hitchcock and Psycho (1998) by Gus Van Sant collide in a frame-by-frame editing that assaults the eyeballs and assassinates the normative consciousness of the viewer. The footage seems to penetrate us, as though it was a knife or a threatening phantasmagorical entity. The fast succession of single frames and extremely short audio files produce afterimages and aftersounds—entoptic and endaural phenomena—creating a film that does not happen on the screen, but in our brain cells
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