4 Cornell, of course, made several “movies,” although they aesthetically share more with his own assemblages and boxes than they do with cinema. In this regard, they also presage common aesthetic elements of QuickTime “movies.” Annette Michelsen, in her seminal essay, “Rose Hobart and Monsieur Phot: Early Films from Utopia Parkway,” Artforum , vol. 11, no. 10 (June 1973), lists twelve characteristics of Cornell’s work, ten of which are also characteristic of QuickTime “movies”: affirmative use of the frame; use of found materials; assemblage or montage as the organizing principle; play with and variation on scale; the implication of temporal flow and its arrest; narrative tension; rhythmic use of compositional elements; repetition and variation; the use of color to make space ambient; and the use of other artworks as material (p. 54).