en Cuevana 3. At first viewing PACIFIC TIME appears to be a departure from the more abstract and more purely visual delights of Hock's preceding efforts. Considerably longer, it employs actors, dialogue and 'plot.' Upon closer examination, however, it proves to be of a kind with his earlier output - only more ambitious and perhaps, more mature. Again, distortion of time conventions is at the forefront of Hock's array of stylistic devices. But, rather than the 'magic,' highly assured time-lapse photography of STUDIES IN CHRONOVISION or MISSISSIPPI ROLLS, here Hock employs radical slow-motion sound and brilliantly inventive written subtitles. [Source: Douglas Edwards 'FIlm Commentary: Louis Hock', Gosh!, 1978]