Continuous Action and Time

During Cliff's session, I began to sidetrack myself by visualizing the construction method of my "Blowing Up Blow-Up" project. The main roadblock at the moment is how to correctly render each still so that it implies a space, like a sequence of actions, interpolated by stills that progress through time. For example, if Vanessa Redgrave's character runs across the field and her action is captured by a continuous camera pan, do I stitch together all these frames so that there is a time-based extrusion of Redgrave's character running down the field? Or do I eliminate her all together?

This makes me think about how action relates to space. Action is transient, it is the information in before still moments of being. In a sense, if I were to convey the park's space with multiple, messy extrusions of all the characters' actions, then I have captured a large summation of a motion. It is a moment that spans a larger than expected period of time, but a moment non-the less. If I were to pick one frame of Redgrave, one frame of Hemmings, and one frame of the man with whom Redgrave is having an affair-like relationship, then I have captured a smaller, but more specific moment – which is problematic, since the piece is not about a particular point in the narrative, and my selection of that one moment, if I were to do make a selection, would be somewhat arbitrary (something I don't want to do). Which leads the final option: the removal of characters altogether, which leads to all sorts of issues of the removal of identity through the removal of actions, of time, of the referentiality to the film, etc.