Dwoskin himself like Larcher, Snow and Le Grice, now works in digital formats, based on previous films in which colour, print stock and light were manipulated directly as part of the production process.
His most recent digital videos are still distinctly cinematic in their sensitivity to colour, form and process. In editing, however, he takes full advantage of the new dimensions of time opened up by digital media. While film allows for blur between frames when the camera is moving, to evoke the direct passage of time, digital editing gives greater control over time in slow motion. His new videos are studies in phased time, evoking the procedure by which the film - a domestic scene or a friend's face - comes into being. In the Pain series, by contrast, he explores a layered visual space, dissolving and superimposing images cut free of linear time, closer to the swirling visions of Anger and Rice that were in the background of his earliest films. This latest period also confirms Dwoskin as one of the great portrait filmmakers in the avant-garde cinema.
