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Adebar is the first of Peter Kubelka's 'metric films', in which every element of the composition is precisely ordered and in relation to the gestalt. more
Adebar is the first of Peter Kubelka's 'metric films', in which every element of the composition is precisely ordered and in relation to the gestalt. The film is made up of single units---13, 26 and 52 frames long---which are subjected to a complex rule-system, including a strict use of positive and negative space, that determines their structure within the film. close
In 1957, Peter Kubelka was hired to make a short commercial for Schwechater beer. The beer company undoubtedly thought they were commissioning a film more
In 1957, Peter Kubelka was hired to make a short commercial for Schwechater beer. The beer company undoubtedly thought they were commissioning a film that would help them sell their beers; Kubelka had other ideas. He shot his film with a camera that did not even have a viewer, simply pointing it in the general direction of the action. He then took many months to edit his footage, while the company fumed and demanded a finished product. Finally he submitted a film, 90 seconds long, that featured extremely rapid cutting (cutting at the limits of most viewers' perception) between images washed out almost to the point of abstraction — in black-and-white positive and negative and with red tint — of dimly visible people drinking beer and of the froth of beer seen in a fully abstract pattern. close
An experimental film, the last in Peter Kubelka's trilogy of “metric films”. Each frame of Arnulf Rainer is composed of darkness or light and silence or sound.
An experimental film, the last in Peter Kubelka's trilogy of “metric films”. Each frame of Arnulf Rainer is composed of darkness or light and silence or sound. close
The first embodiment of (a) concept of structural activity in cinema comes in Kren's Bäume im Herbst, where the camera as a subjective observer is constrained more
The first embodiment of (a) concept of structural activity in cinema comes in Kren's Bäume im Herbst, where the camera as a subjective observer is constrained within a systematic or structural procedure, incidentally the precursors of the most structuralist aspect of Michael Snow's later work. In this film, perception of material relationships in the world is seen to be no more than a product of the structural activity in the work. Art forms experience. close
Based on a Muehl Happening. The almost convulsive use of juxtaposition reappears here, but the captured gesture assumes a more erotic sensitivity, though more
Based on a Muehl Happening. The almost convulsive use of juxtaposition reappears here, but the captured gesture assumes a more erotic sensitivity, though the "action" itself was primarily a gradual destruction of the erotic. close
Originally commissioned by an Austrian couple in 1961 to photograph a travel diary documenting their wild game hunt, Kubelka shot three hours of film more
Originally commissioned by an Austrian couple in 1961 to photograph a travel diary documenting their wild game hunt, Kubelka shot three hours of film and recorded fourteen hours of audio. Over the next few years, Kubelka toiled in the editing bay, producing a work charged with intricate, ironic brutality. close
Kren frames the image to suggest a proscenium, with a view to the harbor that conveys a literal sense of “tele-vision”. The static framing of the image more
Kren frames the image to suggest a proscenium, with a view to the harbor that conveys a literal sense of “tele-vision”. The static framing of the image and the clearly stratified mise-en-scène can hardly provoke interpretation. The sight of the girls does so all the more. Kren, the gentle voyeur - who turns the viewer into a secret accomplice - observes three teenagers, and probably like them, awaits a rendezvous. (Thomas Trummer) close
A meadow, a lake, the silhouette of a hill, trees. 21 days of the same view in Saarland. 21 days with five different cut-outs in a mask before the camera, more
A meadow, a lake, the silhouette of a hill, trees. 21 days of the same view in Saarland. 21 days with five different cut-outs in a mask before the camera, which finally reveals a complete panorama. The landscape changes with the advancing seasons and becomes slowly delirious in its technical alienation. close
At the center are takes which do not change - a tree in a field in Vermont, U.S.A. Since the film was shot over a period of fifty days, the single frame shots create a storm of pictures.
At the center are takes which do not change - a tree in a field in Vermont, U.S.A. Since the film was shot over a period of fifty days, the single frame shots create a storm of pictures. close
Lisl Ponger creates an imaginary map of the twentieth century on which the stories of emigration are engraved like well-worn tracks of occidental memory. more
Lisl Ponger creates an imaginary map of the twentieth century on which the stories of emigration are engraved like well-worn tracks of occidental memory. The pictures, made by observant tourists, are revealed, in their tensile relationship to the soundtrack, as a post-colonial journey. A journey through exactly those countries which long ago have been shrunk together in space and time. Finally the wonderful neon signs of the “Hotel Edison” and “Radio City” remind one of the origins of this form of appropriation of the world, of the time of great expeditions, of Benjamin‘s shop-windows and passages, and of the time when technical apparatus and means of transportation fundamentally altered the perceptions of modern man. close
Mariage Blanc in Morocco means a sham marriage between a Moroccan man and a European woman in order to obtain a residence permit and thereafter the citizenship more
Mariage Blanc in Morocco means a sham marriage between a Moroccan man and a European woman in order to obtain a residence permit and thereafter the citizenship of a European country. The theme of Mariage Blanc is this very intimate form of attempted immigration which is, for Mostafa Tabbou, simultaneously fiction and reality. The film was shot in three days in July of 1996 in the Hotel de Paris in Casablanca, Morocco. close
In a deconstruction of classic Hollywood codes, using repetitive single frame images, the re-editing of teenager movies produces an intense Oedipal drama.
In a deconstruction of classic Hollywood codes, using repetitive single frame images, the re-editing of teenager movies produces an intense Oedipal drama. close
The first of Peter Tscherkassky's Cinemascope trilogy of short films is a fragmented glimpse of images pulsating with chaotic rhythm as they fight white more
The first of Peter Tscherkassky's Cinemascope trilogy of short films is a fragmented glimpse of images pulsating with chaotic rhythm as they fight white margins for room in his palette. Mirrored frames being split by white margin and trying to reassemble again like the poles of a magnet, a train approaching station and colliding with itself in white-hot blistering chaos. close
A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, more
A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky's dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. It removes the ground from under the viewer's feet and splits faces, like in a bad dream. From the off, from outer space, foreign bodies penetrate the images and cause the montage to become panic stricken. The outer edges of the film image, the empty perforations and the skeletons of the optical sound track rehearse an invasion... close
Wordless story about a man who awakes in his bed wearing his clothes (including a check vest). He rises, washes his face, combs his hair, and heads for more
Wordless story about a man who awakes in his bed wearing his clothes (including a check vest). He rises, washes his face, combs his hair, and heads for work across the street at a copy shop. He inadvertently makes a photocopy of his hand, and then the machine beings turning out copies of photographs of himself, the street outside, and his apartment. He unplugs the copier and heads home. He repeats the scene we saw earlier. Copies of himself emerge from bed; baffled, he watches them go to work. Soon, it seems, he's part of a society in which everyone looks like him and wears check vest. Can he get things back to normal? close
A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through more
A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through classic cinematography. An homage to Man Ray, dedicated to the beginning of the European avant-garde film within the surrealist movement. close
The Exquisite Corpus is based on various erotic films and advertising rushes. Myriad fragments are melted into a single sensuous, humorous, gruesome, and ecstatic dream.
The Exquisite Corpus is based on various erotic films and advertising rushes. Myriad fragments are melted into a single sensuous, humorous, gruesome, and ecstatic dream. close
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow more
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow that pulsates off the screen into our physical space with blinding intensity. The presence of light is almost felt as we are sucked into the image to become its ghostly accomplice. As we leave the theatre, the optical vibrations continue to haunt us. close
In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms more
In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms of evolution and allow artificial life to develop on Earth. close
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