In 1999, Bernadette Corporation (BC) adopted the catchphrase “Pedestrian Cinema” (or “Ped Cin”) as a way of describing a specific kind of fragmentation and dismantlement to be applied to the increasingly historicized role of moving imagery in the arts. Important to this approach is for something to lie stranded within a cine-conceptual framework, without technically being a video or a film.
“This slimy, slug-minded mystery thriller starts out dead on arrival and then, like three-day-old fish, gets really bad really fast. And it stays bad, ensnaring its star and every other cast member in its wretched net.”
A couple of clichéd sentences pulled from a bad film review are a reverse operation of the Ped Cin concept: their crude familiarity and redundancy, without context, produce an almost delicate emptiness.