Shadows and Fog

From "Bambi", 1942.

Bambi opens quietly with a slow pan across the forest in the morning, lullingly drawing the viewer into the space of the film.  This is a world far outside of the human world.  The artists give only enough detail to suggest nature, leaving something for the viewer's imagination. 

The next two shots appear later in the film.

This shot is motionless, appearing on screen for about a second and a half.  It's pretty, but also a little odd as the grass seems to be bowing in the wind.

The shot reminds me of Sam Kieth's illustrations in The Maxx, though I can't seem to find a good one online to post here.

Inner "Outer Space"

Eleven consecutive frames from the forty-third second of Peter Tscherkassky's "Outer Space", 1999.  

This monumental ten-minute film begins with the coruscating image of a house at night, an effect created using a contact printer; Tscherkassky illuminates different portions of the same "found" footage image in each frame.  The resulting stroboscopic montage is beautiful and ominous, disjointed and unsettling.

An archetypal horror image:  the exterior of the victim's house from the perspective of an unknown, presumably malicious force lurking in the darkness.  The house is brightly lit—all the better to be seen from the shadows.  The interior of the house is also dark, its inhabitants unaware and vulnerable.  The refracted image of the facade hints at the ensuing sublimation of the female resident.

These frames pass before the eye in just under half a second.

Doom Generation

From the opening credit sequence of Doom Generation.  Araki likely intended this footage of a mosh pit under strobe lights to conjure the chaotic, inarticulate violence of the youth culture he would then broadly satirize.  In doing so he inadvertently captured a swatch of pretty abstractions.

Note:  the film was not very good.  I wouldn't recommend it.