"In post-production the artist manipulated the video, speeding up and slowing down certain sequences of the footage and soundtrack so that her voice alternates between a high-pitched squeal and a funereal dirge. As Rist sings her energetic dancing causes her breasts to pop out of her dress. She bends and flails her arms and lifts her skirt above her head. She approaches the camera, flashing a wide lipsticked smile. As the soundtrack slows to a low moan, she slides down the wall almost off-camera, then re-emerges as the tempo picks up to a frenetic, cartoon-like pace. The comic sonic manipulations and endless repetition of the title phrase turn the words she is singing into a meaningless mantra.
Rist also modified the colour balance so that some sequences of the video appear as if seen through a red filter while other parts are washed in blue. As the work progresses the horizontal and vertical hold are increasingly distorted, fragmenting the image. A series of juddering freeze frames creates the appearance of a fluctuating line that punctuates the surface of the screen with the rhythmic cadence of a heart monitor. Rist intends these distortions to reflect subjective experience. She has said, ‘In I’m Not the Girl Who Misses Much, the ... use of different speeds is for me an exorcistic dance. When I present things in slow motion, I would say that’s “reality”, because our perception of time is subjective. When you’re nervous, a half hour can feel like an eternity, and when you’re feeling contemplative, it goes so fast. So time is extremely relative’ (quoted in Harris)." - Tate - Rachel Taylor
