"History creates narrative out of the shattered fragments of what is left of an event after it has occurred. Similarly, films reconstruct time from a series of discrete shots, each an incomplete fragment severed from ongoing time. Both history and cinema are structured by what is missing and by the resulting gaps and elisions that can only be imagined or inferred. Conventional histories and films often work to hide the fragmented nature of their narratives through elaborate formal means that create seamless movements through time. (...) Meaning accrues through the constellation of bits and pieces and the spaces between them, rather than the illusory totality of a seamless whole. As cinematic figures, shadows, specters, and shards refer to the ephemeralities of moving images, and paradoxically to the ways the very indexicality of film images can open onto what is nonvisual. (...) I point to the unique combination of film's immateriality and the very material force of its affective impact on the body and mind that renders cinema such a powerful medium for the making of history." » Shadows, Specters, Shards: Making History in Avant-Garde Film {2005, Jeffrey Skoller}

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