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Mit dem Projekt The Formative Years wird ein Bereich der Filmgeschichte sichtbar und zugänglich gemacht, an dem sich angesichts der Umbrüche von einer analogen in eine digitale Welt höchst aktuelle Entwicklungen diskutieren lassen.
Atelier Impopulaire Split #1 consists of an original text by Bruce McClure, an architect and performer based in New York. It is titled Know Thy Instrument, and based on a lecture given by Hollis Frampton on 30 October 1968, then published as A Lecture. Both with his text and projection performance, McClure aims at reflecting upon the body/technology dynamics, the relation with the whole projection apparatus, and the implications deriving from the removal of some of its parts. This all results in a modification of its mechanical structure, thus provoking a systemic abstraction of the obscurity/light duality in the guise of sound patterns.
What does it mean to recognize a documentary gesture in Kren´s films? What is being documented?
The documentary images that Kren uses in his works do not arise out of a plan, but instead, come from the right moment, a coincidence, a momentary observation
Boston's living legend and a master of small gauge filmmaking! This is volume one and only a drop on the bucket of masterpieces which Saul Levine has produced over the decades.
Der österreichischen Filmavantgarde gelang es immer wieder,
internationale Reputation zu erlangen. In den 80er und 90er Jahren
konnte vor allem Dietmar Brehm eine Vielzahl an nationalen und
internationalen Preisen erlangen. Laut Peter Tscherkassky sind seine
Filme das Ergebnis eines Arbeitsprozesses, in dem das Bildmaterial so
lange der Bearbeitung ausgesetzt wird, bis es seine größte Verdichtung
erreicht hat. Dieses Buch geht von Interviews mit dem Künstler aus, die
die Entstehungsgeschichte der Filme erhellen, es untersucht in
A Man Whose Life Was Full of Woe Has Been Surprised By Joy is about transformations—about transformations of imagery through collage and montage, about history as transformation, about eros as a transformative power, and, most of all, about the transformations of the self. It rejects modernity's inhumane technological order and seeks to reconnect the body and the self.
La historia del cine experimental en nuestro país tiene pocos nombres y filmografías breves. José Val del Omar inicia esa lista. Su caso ha sido el de una admiración crecida lenta y constantemente. No existe otra figura en nuestra historia como la de Val
Jordan Belson is one of the greatest artists of visual music. Belson creates lush vibrant experiences of exquisite color and dynamic abstract phenomena evoking sacred celestial experiences.
These images are clearly marked by the use of devices to create them. Winkler may briefly show the unaltered image in the beginning of a film. But inevitably processing will occur, and Winkler’s “low-tech invention pushes the possibilities of comparativel
This epic documentary subtly introduces the complex world view of iconic filmmaker and theoretician Peter Kubelka (born 1934, Vienna). While Kubelka's radical and pioneering body of films is a highly condensed work of about an hour focussing on the essence of cinema, his legendary lectures often unfold over many hours. These lectures on "what is cinema" and "cooking as an art form" are frequently illuminated by the presentation of archaeological objects from Kubelka's eclectic collection. He considers his ongoing collecting to be an expanded film practice which explores the evolution of humanity. Martina Kudlácek has carefully woven an open-ended portrait which goes beyond the biographical to reveal fresh insights into the phenomenon of film.
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