Morrison’s shorts are violently beautiful morsels, full of ghostly imagery that’s subjected to solarizing, optical printing and other textural manipulations until they resemble the fluid pictures on the insides of eyelids, but writ large and poetical."Morrison’s shorts are violently beautiful morsels, full of ghostly imagery that’s subjected to solarizing, optical printing and other textural manipulations until they resemble the fluid pictures on the insides of eyelids, but writ large and poetical. Whales, trains, movie projectors and the lines on highways are thus transformed into stunning, hypnotic ruminations on history and memory, fate and human intervention.” – Los Angeles Weekly, April 2, 1998.
“An impressionistic fusion of film history and poetic vision. Bill Morrison achieves a lyrical examination of the process of perception and the development of motion pictures. Alternately humourous and edgy, Morrison’s rhythmic editing gives the film a visual pulse, like a heartbeat.” – Jan-Christopher Horak on Footprints.
Bill Morrison’s prize-winning films have been widely acclaimed around the world and acquired by the Museum of Modern Art in New York. In 1995-6 he received a year-long fellowship to work at Fabbrica, an Italian image studio under the direction of the Benetton group, where he produced The Film of Her. Includes:

- Lost Avenues, 1991 color 6’ - music by Zoar
- Footprints, 1992 b/w & color 6’ - music by Jim Farmer
- Photo Op, 1992 b/w 5’ - opera by Conrad Cummings and James Sienna
- The World is Round, 1994 b/w 5’ - music by Jim Farmer
- Nemo, 1995 b/w 5’ - music by Zoar
- The Film of Her, 1996 b/w 12’ - music by Bill Frisell and Henryk Gørecki