I wanted to create a film with my Bolex 16mm camera that reflects who I am at this moment in my life. I bought my camera in 1987, used. It has lived with me for four decades, and it has witnessed pretty much every aspect of my existence. I decided to shoot my roll of black and white film one frame at a time. With 24 frames in a second, this gave me the chance to work more expansively with the Bolex, pushing its capabilities as far as they might go. The Jitters includes three very specific performative elements. My partner Mark Street and I wiggle around, watching and celebrating who we are independently and together. I also include my three pet frogs because I like the way that they wiggle in unison and on their own. These small reptiles have been part of our family's life for 19 years, they needed to be memorialized on film. Lastly, I bring two bonsai trees into the tableaux, because they too should be applauded, for their persistence and longevity. Strangely enough, they wiggle too, that's part of the magic of film.

"I love The Jitters. So playful, so fun. (Twerking! The image twerks too, as it were). I went from laughter (at the obvious playfulness of the 'models,' Mark's swivel chair performance) to being moved by the vulnerability, intimacy, and yes, the playful sexiness of your and Mark's togetherness. I liked the way the image itself got the jitters from the frogs' jitters moving the water refracting the light waves and the sun drenched nude play of the 'models.' It was just a beautiful film to look at and a really emotionally generous viewing experience. Humans, cats, frogs, plants all get the jitters."
-- Christopher Harris, filmmaker

Commissioned by A Century of 16mm at Indiana University Moving Image Archive.