While on one level, Standard Gauge is Fisher’s homage to 35mm and to the diverse cinematic world it made possible, the irony of its having been filmed in 16mm reveals a conceptual paradox central to the film, and which unites it with the webs of irony and paradox evident in his earlier work. …As Fisher explains in his program notes, the thirty-two minute shot “…is virtually the maximum length of a scene in 16mm, and is longer by far than 35mm is capable of”. For all its potentials and accomplishments, standard gauge is limited, and in ways that a non standard gauge - a gauge quite marginal to mainstream film history - is not.

Scott MacDonald

An autobiographical account of Fisher’s experiences as an editor in the commercial film industry during the early seventies. Filming a succession of divergent film scraps rejected at the editing stage, Fisher comments on the origin and meaning of each image, thus exploring the mechanisms and conditions of film production, in both its materialistic and institutional aspects.