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This film is a poetic endeavor about Life and Death. A brown hen was selected to convey motion. The soundtrack is a collage of approximately 200 beginnings more
This film is a poetic endeavor about Life and Death. A brown hen was selected to convey motion. The soundtrack is a collage of approximately 200 beginnings and endings of different musical pieces. 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
Max and Mick, two brothers, have prepared for a merry spree and are actually stepping into their cab when it occurs to them they are penniless. Lots are more
Max and Mick, two brothers, have prepared for a merry spree and are actually stepping into their cab when it occurs to them they are penniless. Lots are drawn to see who shall beard stern father and make the necessary touch. The choice falls on Max who is far from successful in his mission, and he communicates the bad news to his brother Mick, who after thinking announces that he has an idea. close
In a corner of the garden we see an ornamental fountain. An old professor comes along, looking for a nice spot where he can teach his pupils. Finding more
In a corner of the garden we see an ornamental fountain. An old professor comes along, looking for a nice spot where he can teach his pupils. Finding the fountain to his liking he goes after his scholars. A mysterious person who has noticed the old man, by means of a balloon, a handkerchief and a coat, constructs a peculiar figure, doing a lot of tricks at the same time. close
The movie consists solely of a saber fight. Bernhardt plays a cross-gender Hamlet, and Pierre Magnier is her fellow duelist, Laertes. A few bystanders, more
The movie consists solely of a saber fight. Bernhardt plays a cross-gender Hamlet, and Pierre Magnier is her fellow duelist, Laertes. A few bystanders, in Rennaissance dress, stand off to the right of the screen, and in the background, next to a painted backdrop. close
This early cinematic instance of a close-up—or, more accurately, a medium close-up shot of the chest and face of the maker of this film and others like more
This early cinematic instance of a close-up—or, more accurately, a medium close-up shot of the chest and face of the maker of this film and others like it, Georges Demenÿ saying “Je vous aime”—was made at the request of Hector Marichelle, professor and director of the National Deaf-Mute Institute in France, who planned to use filmed speech to teach deaf students to speak and lip read. This required close views of the performer's lip movements. The project was given to Demenÿ by Étienne-Jules Marey, who headed the Station Physiologique in Paris and whose chronophotographic scientific research of motion is among the most important contributions to the invention of movies. Despite these educational and scientific beginnings, however, this project led Demenÿ to pursue and influence the commercialism of cinema. close