His early films, such as the groundbreaking Blues (1969) and Fog Line (1970), are meditative works composed of a single shot that explore the subtleties inherent in the unfolding of light and nature. In the early 1970s, Gottheim moved beyond his cinematic investigations of stasis and began incorporating complex editing structures into his films. TheElective Affinities cycle, a series of four feature-length films addressing the relationship of images to sound, features patterned editing with repetition and permutation of elements. More than simply formal cinematic play, however, Gottheim’s films present personal, evocative imagery, and attend to subjects such as family, identity, memory, and nature.