Summary

Part III: In the Gallery opens with a chapter titled “Killing Orson Welles at Midnight” and consists largely of Smith’s analysis of the movie The Clock. The movie is a 24-hour movie compiling scenes of other movies that reference the time, in chronological order. She describes how the music running through the background transforms the scenes, which would otherwise seem like sharp cuts, into “semicolons, bracketing the visual sentence in between, bringing shape and style to what we imagined would have to be… necessarily random” (155).

Smith notes too that in reality, “time is not on our side. Every minute more of it means one more minute less of us” (157). In films, however, humans are able to craft narrative and to “bend time to our will” (157). Thus she...