By 1918 Hollywood productions like The Married Virgin already utilized common editing strategies. By compressing a second or two worth of frames into a single (still) image, I was hoping that some of these long-exposure photographs would show such relationships between shots while others may reveal a new intensity in the old images. How the original images have been translated from one medium to the next is dependent on recent technologies, a long wandering from analog to digital. But perhaps these long-exposures are more striking for their ghostly qualities—a haunting combination of what is and is not recorded—reminding us that indeed they are full of ghosts.Cinema Project. She is a writer, photographer, and videographer and holds an MA in Cinema Studies from NYU.