This essay will outline the ways in which my two films, Magic Mirror (2013) and Confessions to the Mirror (2016) manifest the characteristics of the intermedial. Through the re-imagining of photographs by the Surrealist artist Claude Cahun alongside voices from her writing, the films create an interstitial space between photography and film. I will outline how the stitching together of Cahun’s writing and photographs occurs through the movement of sound as voice, and the holding of still images in time while the film camera continues to roll. Stillness is present in the movement, as images are layered in combination with the sounds of objects and voices speaking. My practice in these films interrogates authorship, in the ambiguity between the original image and its extension and elaboration across other media in a different time period. This blurring of authorship creates a coming together between the artists, the frame imaged and its technology.