The Miners’ Hymns

Experimental filmmaker Bill Morrison will probably always be best known for 2002’s “Decasia,” his 67-minute meditation on the terrifying beauty of decomposing film prints. But Morrison has made many other films that take advantage of movie archives’ mysterious power to conjure up the past in ways both vividly real and distorted. Morrison’s 2011 piece “The Miners’ Hymns” is being shown with a trio of those earlier works: 2010’s “Release,” which mirrors a panoramic shot of Al Capone being let out of prison such that the assembled crowd collapses into itself; 2005’s similar “Outerborough,” which runs two old POV shots of a tram crossing the Brooklyn Bridge, side by side, at varying speeds; and 1996’s remarkable “The Film Of Her,” which combines an anecdote about a Library Of Congress flunky who saved thousands of paper prints from being destroyed with samples from some of those prints, as well as documentary footage of wood being turned into celluloid. “The Film Of Her” makes explicit what a lot of Morrison’s other films imply: When we neglect our cinematic past, we lose an essential part of ourselves and our history.