Endless Obsession 2000

Overview

"The final format is a 16mm blowup from an original Super 8 film, comprised of sequences shot off of a television monitor, which in turn played a videotape of a 35mm film, Pier Paolo Pasolini's Salo or the 120 Days of Sodom. The images Fogel kidnapped are those of several young men, some nude, seemingly alone together in a small, ancient-looking bedchamber. The differences in frame-rate between camera and monitor cause black horizontal bands to strobe languidly up and down the screen; the five