Cornell employs clips from 1931's jungle melodrama East of Borneo – more specifically, clips of its lead actress, Rose Hobart – to disquieting effect. Through Cornell's collage editing, Hobart becomes a singular object of desire and dread, trapped in an exotic paradise.
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
From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, more
From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, and he's accompanied by a dog. His labors continue. There is no soundtrack. Images rush past - water, trees, and surfaces too close up to distinguish. He struggles. A fire burns. Nature, in long shots and magnified, is formidable and silent. It's tough going; he carries on. In a capillary, blood flows. close
A compilation of images co-creator Frank Mouris had collected from magazines interwoven with two narrations, one giving a mostly linear autobiography more
A compilation of images co-creator Frank Mouris had collected from magazines interwoven with two narrations, one giving a mostly linear autobiography and the other stating words having to do with the images, the story the first voice is relating, or neither. Preserved by the Academy Film Archive. 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
Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle.
Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle. close