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- An Indian, when walking, never stops. An obstacle only makes him change direction. To go is like the flow of life itself, ugly as it may be. Calcutta, once one of the most beautiful cities in the world, is now one of the saddest and poorest ones. Its traffic is hell. But still, it flows.
- A journey along electric power lines. The camera, pointed skyward, takes them out of the context of everyday perception, reducing them to form, to line. Right from the beginning the unadorned images seem almost abstract, they intersect the picture, occasionally the visual planes merge. The abstraction progresses slowly until solely graphic elements are recognizable. Sound and image were created in close cooperation, and the visual lines correspond to the music, are assimilated and reflected by it. .airE can be interpreted as a study of everyday perception, though on a different level it is also an essay on abstraction.
- 0 texvertices white horizontal and vertical lines on the monitor flash in perfect synchronicity before a black background. Accompanied by fragile electro beats, these abstractly reduced animations are complemented by superimposed miniature video loops which have been integrated into the overall synthetic structure with equal perfection.
- Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)
- Every thing communicates tension when one considers it from a particular point of view. Everything. The main actor is the camera as an organ of record. One sees a reproduced reality, against which one can check one's mechanisms of perception. (Dietmar Brehm)
- 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. (Claus Philipp)
- Lotte Schreiber and Norbert Pfaffenbichler's 36 is a rigidly mathematical and graphic composition based on the number in its title. All of this video's elements, including its length, are variables of this figure. three apparently independent fields of perception are linked to Stefan Németh's synchronized soundtrack. In the left field, thirty-six vertical and horizontal white lines run through various patterns of movement according to a binary digital system (0 vertical, 1 = horizontal). They eventually unite in six squares with amorphous animated miniatures. The right section of the screen contains a palette with patches of color reminiscent of Gerhard Richter. The colors combine and recombine in ever-changing mixtures as if they were controlled by an electric relay. At the bottom of the picture are two overlapping squares which portray the video's temporal axis. They provide the underlying rhythm in a manner similar to a metronome, though they move in a linear direction toward the visible end. 36 refers to both aesthetic traditions of abstract painting and the structural approaches of early geometric films (such as those of Walther Ruttmann and Hans Richter).
- The making of pictures becomes the central issue in itself in that, with an analytical single-picture procedure, picture-taking tourists on Vienna's St. Stephen's Place are captured and their faces animated to a dance.
- Having shown us the dance of the photographing tourists in tausendjahrekino (1995), Kren shows us in snapshots uncountable visitors to Vienna, who are photographed by their neighbors as well as by Kren in front of the statue of Johann Straus jr., either individually, in families or in bus loads.
- This three-minute film was far more akin to the American-style "happening" in that the content was not particularly extreme. It was built up from items such as broken bicycle parts, a nude model, pieces of furniture, and these elements were then obscured or transformed by having a layer of paint thrown on them.
- Aderlaß is a youthful attempt to process the inheritance of the Vienna Actionists through the use of a super 8 camera. In front of the camera is a performance from Armin Schmickl Sebastiano (Peter Tcherkassky). A game with light and sound that explodes out of the calm into a delirium of movement and finally returns, after the "blood-letting", to rigidity. (Irene Judmayer)
- A collection of countless holiday films filled with clichés. The material dates from the fifties and sixties when holiday filming was more common than now. Gustav Deutsch's approach was simple and effective: He ordered the clichés systematically, and edited them into a small series. (Rotterdam Film Festival - Catalogue 1994)
- Mickey Rooney and Judy Garland perform a hellish courtship in a nightmare of the American dream, created by manipulating old film.
- A radical look into the mind of the 'man on the street.' Peter Haindl, a hospital orderly in Vienna, shot these home movies from 1993 to 1999.
- "We are members of society," states 18-year-old Magda before a panorama of Vienna with the apartment buildings on the Donauinsel, also called Transdanubia, on the horizon. This complex is home to the daughters of immigrant parents whom Ruth Kaaserer and her camera accompanied through the urban space for six months. balance focuses on Ewa, Magda and Andrea, who talk about growing up, their friendship and their plans for independence in short scenes which show them walking through the apartment complex, along the Danube River and at various parks. Excerpts from these conversations are juxtaposed with clips in which the girls perform their own hip-hop numbers for the camera and shots of other teenagers roller-skating, playing baseball, strolling or talking; these scenes address the topic of how female subjects adapt to society, their private lives and public spaces.
- The Sixth Sense. If two letters in the original German title of Dietmar Brehm's new film were changed, it could be translated as Glances. The result would be coordinates of a mode of vision in which subject and object oscillate: A glance triggers flashes of lightening in the brain; synaptic activity during a dream replaces the glance. A man opens his eyes. He sees a cozy room with a burning fireplace; he sees an elderly person lying in the bed and then turning to ring for a servant; he sees a woman taking a shower, and a younger one in bed asleep. Suddenly, all order is reversed. It may be that the woman is merely dreaming of a voyeur; she may be entering REM sleep. She might be dreaming herself into an altered version of Psycho. The feeling of discomfort caused by Bolts of Lightening is made possible by the relevance Brehm adds to his found footage: He permits the telling of a story which is turned completely around and, as in a dream, the story is nothing more than a subsequent synthesis of images which appear suddenly; beauty and transience are not just subjects, they are also a quality of the film's images.
- The raw material used in Blow-up comprises two shots from an old educational film about first aid: A man demonstrates mouth-to-mouth resuscitation on a life-size dummy; the dummy's chest rises and falls. Fruhauf introduces this scene into his own métier, turning the "blow-up" metaphor into an image with a false bottom. With the aid of a digital photocopier, the strip of film was reduced in size to a narrow ribbon, and Blow-up shows this transformation in reverse: The ribbon is resuscitated, swelling gradually until the initial image is recognizable and, in the end, fills the screen. And this would not be a Fruhauf work if this educational film on the cinematographic body did not conclude with a roguish smile...
- Two shots: The first abruptly zooms in on a talking, animated, and closely attentive subject pointing the technological apparatus of medical science at a small piece of meat. The second, in a long and occasionally jerky zoom which is so slow that as to be hardly noticeable, shows a red object, presumably the same piece of meat. The surgeon with severely slicked-back hair, who talks into an intercom and then to himself in Swedish before dissecting the meat, creates a somewhat odd impression, in particular due to the curve of the 'fake' wide-screen image. But the unusual object being fiddled with (or maybe not) by this sleek mad scientist reminiscent of B movies, Cronenberg and the Kingdom clinic is even more enigmatic. As a result, its visibility is at the same time legible, decipherable, for example as a jiggling, affective red which would overmodulate any video monitor filling out the structure of the meat's tissue. Or as a red galaxy fading into the microscopic detail of a foreign body. Seen, heard and read in a synthetic sense, the zoom into the amorphous body corresponds to the pathway taken by Bernhard Fleischmann's chords and percussion through an inconstant blubbering, crackling, creaking and splashing. The regular contours of the music seem to take their pointed warmth from intimate contact with the meat (the open heart).
- Marie Kreutzer's film avoids stereotypes of teenagers. Instead of proceeding from the assumption that having problems is simply part of being 14, the protagonists are shown in the context of their everyday lives. The camera follows Theres, remaining close to her body, her gestures and the objects of her attention. (Maya McKechneay)
- While Casablanca has much to do with male power and male friendship, righteousness and adventure, Dar-el-Beida concerns the feelings of the refugees/outsiders who people the background of the film. In Dar-el-Beida (the Latinized Arab name for Casablanca) Bogart asks, "Do you want my advice?" His cynical answer (in Casablanca) is the unspoken reality of Dar-el-Beida. (Tim Sharp)
- The Back Room by Regina Höllbacher is a black and white film with a vocabulary of quiet pictures of rooms, fragmentary views of the world and failed attempts to exchange glances with someone sitting opposite. A very personal film, a farewell full of longing. (Klaus Telscher)
- A pyramid, by no means static, is instead brought to ever-increasing movement by the use of camera motion, cuts and fades. The cinematic illusion jumbles the individual elements and unites them in a symbolic sketch of Adolf Loos' dynamic thought processes. A High Speed Journey through the spinal cord of this revolutionary architect.
- A sequence of shots with a linear and temporal continuity. Each shot is motionless, with no panning or traveling of the camera. The camera's position keeps moving to the right throughout the entire film. In this way a topographical recording of the area is created apparently without consideration of what is going on there.
- The video shows my face. The camera does not move and there are no cuts. My eyes gaze into the camera until I faint. The Sleep of Reason does not document the blows staged in October of 1998. This was the realization of an image. As an art historian, I am interested in text production which allows space for bodies. Art history is a discipline which has traditionally bound the writer to disembodied and neutral consideration. It was this framework, with its repressive image of language, which allowed me to understand my body as a borderline between a history of art (my self) and art (my object). The use of my body is part of the text. I consider this strategy an opportunity to go beyond the borders of the discipline, the body and the intellect. As a video and performance artist, I work both with and at borders. By border I understand a dividing line drawn in our culture between things which are included and excluded, the clearly defined self and "the Other", the intellect and the body. I like borders as places of neither-nor or both-and, as places where seemingly unambiguous positions must be reconsidered. The Sleep of Reason asks questions. Its subjects include the act of seeing, which strives to be an act of understanding. And a gaze into nothingness which is also a look inside one's self. (Michaela Pöschl)
- Autobiographical notes about bringing up children. A birth, the bite in the umbilical cord, a baby between sheets of music. Mimi fiddles educationally on a violin without strings, offers her breast and enjoys the little king with an improvised hysterical performance, and suddenly starts with Dadaistic oracles, letting the blead dance and carrying the child out into big wide world.
- Titania, a clumsy adolescent, sits in the tub, on the top of the plug-hole, the entrance to a murky world full of filth, bugs and hazards, which connects her to all the ass-holes in the world. Elements of this world now hover like Ghosts on the surrounding tiles, while Mimi Minus ruminates on the impossibility of love. (Peter Tscherkassky) "Nobody understands love better than a woman, who enjoys it for the last time." (Mara Mattuschka)
- Der zärtliche Dienst consists of approximately 10 single films edited only in the camera. The only editorial activity undertaken after the film has left the camera was in establishing the order of the pieces. "Night, storm, difficult path and fierce pain, every trouble, it is characteristic of the gentle duty". (Ovid "The Art of Love")
- Paito seems to lie on the edge of Taipei. At least, we see mostly hilly countryside and meadows, with a wind which permits life to take form, and Schreiner in the foreground, surrounded by the wind, as he reacts, and then later as he remembers, seeing things in a new light through his material: layers of experience, the beauty between experience and memory, taking on meaning in this fracture.
- To evade the incomprehensible world of adults seven-year-old Natascha creates her own world, influenced by her impressions of sexuality and religion. It is a world of mainly catholic imaginations and symbols - a world between frightening bogey men and flying Christ children.
- In quiet, continuous cadence they sweep past the celluloid perforated frame, without cutting, breaking or concession they glide through sceneries like Triditium, a city concept wrapped around three fingers, continually crossing the area of Archonage, thanks to the spiral shaped ground plan of modern architecture. (W. Podgorschek)
- I made a search for Ljiljana, my childhood, my homeland, in other words my past; it seemed that something insoluble was blocking my way. Sentimental images and memories clouded my view somewhat as I traveled through Bosnia-Herzegovina toward the sea. While tracking down our common past, I paid a visit to my homeland for the first time in eight years. The characters in this film are searching for a place of their own, a home, in the same way that I was searching for my childhood friend. My countrymen and women who fled to Vienna carry the burdens of their escape on their backs, and they later visit Bosnia in the futile hope of finding a part of their past and their homeland.
- Somewhere in a subtropical country white visitors crowd around dark-skinned plantation workers emptying their harvest baskets. They look curious, as if wanting to test the quality of the tea leaves. Everywhere tourists take out their cameras whether in front of large animals in the wild or camel riders, whether in the face of decorated human bodies or daily work routines. Now and again they look into the camera themselves. For later, for when they will proudly show their 'exotic' finds at home. This posing contains a model of western travels and picture making which is over a century old. The fascinated gaze on the foreigners fixes them in pre-formed frames. Lisl Ponger follows the trail of that gaze by taking amateur found footage material and linking it together in new ways. She summons up atmospheric background sounds and adds a series of voices. With a subtle distance to the visual foreground, those people who are pictured in the west as much more homogeneous than they are have the word in the diverse languages of the 'other'.
- The future is radioactive: Television, as fantasized in low-budget science fiction, and the images it presents become omnipresent, forcing their way into private homes, cars, sports, work and play. A young couple spends a day which will be considered typical in the near future, from breakfast in their sterile home to bedtime, the entire time never unaccompanied by television and tele-transmissions which supply the sound and picture for the consumer's kick-on and chill-out.
- The film tells the story of a woman who lives alone in a wild and untamed environment, apparently with neither fixed habits nor acknowledgement of conventional behaviour. Her feelings and sensory impressions are dictated by the landscape that both surrounds her and holds her prisoner. She feels neither good nor bad. She has no comparisons, but she does have dreams. Suddenly a man appears. Too much is demanded of her, she has no idea how she should behave, she has very strong feelings which seem to be convincing to him too... (Lisi Frischengruber)
- Entrée is a reflection on the fusion of viewer and visual world in hi-tech cinema locations. The raw stock of the videotape is grainy film footage shot in the Parc d'image in Poitiers: the spherical and crystalloid monumental architecture on green fields, oversize screens and dark arenas reserved for audiences. Originally representational in character (with a brief glimpse of the title-giving Entree to the futuroscope), the footage is fragmented through digital editing into abstract visual elements. Multiple visual echoes, double images and the industrial staccato of sound samples on the soundtrack represent the technical subsumation of people subjected to the diktat of a robot-controlled event machinery that consigns the viewers, unconsciously, from one experimental world to the next, and causes them ultimately to vanish in the process.
- The title refers to the sublime possibilities of film which can be shown from the front, from the bottom, backwards, from the top or even turned around. the film is a single un-cut piece and is committed to the colour of the material. (Hans Scheugl)
- One can determine a line in Tscherkassky's oeuvre which turns around a game with filmic presentation, with degrees of recognizability - with the only-just and the not-any-more. Just to see desire. An example of this is Erotique. One sees swirling pictures, parts of a woman's face, red lips, eyes in cyclical fragments of movement. Often it is difficult to tell which part of the body one actually sees (whoever wants to can see/imagine/think sexual organs and sexual acts.) The gaze gets hung up on partial objects, no integral, whole body to think about. No body, whose representation was always one of the problems in cinema. (Michael Palm)
- An idyllic summer scene: A sleeping woman reclines between two trees, a straw hat covering her knees and her double circling her form. The woman's figure is somewhat unclear, as if her image had faded with time, as if this were a memory from the distant past. But who is remembering whom? The woman stands up and gazes into the camera intently, and the background seems to be a theater backdrop. Again and again, the two ghostly figures (in fact the same woman) flit past, apparently looking for something or examining their surroundings closely, without ever meeting. The last image resembles the first, though it is possible that the two women have changed places.
- Interesting encounters and conversations take place at an international animation film festival on various societal levels. Diverse films, ideas, nationalities and personal relationships communicate the typical atmosphere between the celebrations, introductory and thank you speeches, accompanied by thundering applause.
- 24 formula on the medium film. 24 sound quotes on film history. 25 frames of a blink of an eye. Cinema is a battlefield and an amour fou, a time between two blinks of the eye and an artificially delineated territory between two signal beeps.
- Film ist. consists almost entirely of excerpts from various scientific films. This footage shows the flight of pigeons, intelligence test performed on apes, upside-down worlds and stereoscopic vision, hurricanes and effect of shock waves. How glass breaks, how small children walk and a Mercedes crashing into a brick wall in slow motion.
- Filmart Takes Position is the name of an international appeal for artistic contributions issued and organised by Sixpack Film every two or three years. Each time there is a new theme concerning a social and political topic in the widest sense of the term. Alien/Nation has been chosen as the theme of the first film reel to enable film artists publically to state their position. The upsurge of problems of social exclusion, migration, prejudice, political and governmental repression and the global feeling of threat and alienation have been the themes of the films submitted throughout 1996.
- The heroine of the title grows up. Slights, dance school, a cinema of glances, of tender moments, of trivial pop songs. A cinema which takes time, makes observations and which continuously finds or invents opposite picture sequences for loneliness and breaking free. (Christian Cargnelli)
- Franziska is a hand-made blow-up - single Super 8 frames are fixed into windows cut in 16mm black and white film... The flickering, emphasized by alternating picture/no picture, brutally chops apart the flowing continuity of the original take, but has the simultaneous effect of gently stretching the time component of human movement in the picture.
- Freeze Frame is an example of a filmic significator from which the transparency and invisibility has been removed. Material which has been repeatedly re-filmed (a construction site, a rubbish incinerating plant, industrial graveyards, an antenna and line-drawing like frame that continually falls over) are exposed on top of each other. The result is that an unambiguous reading of the picture, to say nothing of their positioning in a fictive room cannot even be attempted. This type of calculated picture removal is carried to the point where the film strip is stopped in the projector (and hence the title) and burns. (Michael Palm)
- The summer of 1978 in Vienna. The 9 year old Tondo spends his holidays in the inn belonging to his parents. The friends on holiday. Summer hits from the jukebox. Observing. Fitting in with what's going on. Being there, but not taking part. In what? In the life of the adults and older brothers and sisters. But all of them exclude him. Loneliness. Boredom. Only music and, above all, football (the World Cup in Argentina) are common ground but belong specially to Tondo.
- The one time Reithoffer factories reveal themselves as a huge building complex, an industrial monument, four empty floors - an object per se. A "single frame tour" and the photographs of the individual floors are woven into another through multiple exposure, so that the individual parts of the building - inner and outer spaces - can be experienced simultaneously and a more complex viewpoint is created which nullifies the normal rules of perspective.
- A found footage film about oral rituals, about festive occasions and about a married couple who understood how to enrich and enliven their cosy togetherness. We see the pair pouring drinks, cutting cakes, making toast. Finally the exuberant movement of the dancing woman freezes. It is a deeply ambiguous moment that, from the expression on her face, allows one to think of something close to despair. On something like a modern, alienated, baroque vanity motive, which is still present in the Austrian tradition, and whose abrasion with the sensual certainty of the moment of drinking an egg liqueur gives Happy End a wider meaning.
- We are at war - a sortie through numerous action-genres. Its destillate of over-speed "High-speed-cuts", endlessly multiplied car crashes, voyeuristic sequences of brutalities, chaotic layering of sound-patterns and colour-flashes, all condense into a bombardment of visual aggressions.
- The oath sworn on homeland and nation dripped with pathos (from the Nazi propaganda film "Homecoming") is dismantled and confronted with writing on the screen. The text refers to the structure and composition of the fragmented speech. Plan and Pathos are alienating each other. (Institut für Evidenzwissenschaft)