for research purposes
The coupling of optics and acoustics in cinema never was a natural given, but always a construction and as such highly fragile, dependent on technical equipment, and therefore also open for experimentation. The film „La Boum“ from 1980 is a particularly interesting case in point not only because it contains a surprising scene of synchronisation. … synced (for NECSUS) weiterlesen
Sirk, the artificial, and watching film history as augmented reality Playing around with an augmented reality, researching film viewing practices, and my obsession with the question of artificiality in the films of Douglas Sirk – all this coincided in this video essay in for me surprising and disturbing ways. It showed me how by obscuring … Web weiterlesen
In the films of Georges Franju the irreal lies right next to reality. It takes just a mere pan of the camera to move from the familiar to the horrible. The simplest cinematic device of the movable camera produces the most disturbing effects. A study in the uncanny that is always already there, just beyond the … close by. Georges Franju and the moving frame weiterlesen
A film has a beginning and an end and what happens in between knows only one direction: forward. That would be a banal commonplace if it were only true. But in fact, film for long was not a linear medium, but a circular one. Cinema had no start. It began with repetition. An experiment in … Practices of Viewing: Loop weiterlesen
Cinematic images never come to us directly but through mask that crop their visuals to the right format. The question of different image formats and aspect ratios is more than of just film history interest. It raises the question of visibility in general, and how images do not just have one size but could be … Practices of Viewing: Mask weiterlesen
WARNING: this video is concerned among other things with death and mortality and may not be suitable for everyone /// Alain Resnais film PROVIDENCE from 1977 – the same year I was born – is a film of twos folded into one: A film about writing and about dying; about memory and decay; an American film … Versions (on Providence) weiterlesen
In Wong Kar-Wai’s 2046 the use of music from other sources, from other films, becomes an additional layer to its multi-layered images and narrative. By musical cue the film gets into an intimate conversation with other films. The themes, topics, and obsessions of one melt and merge with the other. And one director at the … music, crystal, memory weiterlesen
In the background of all the films I watch there are these screenshots that keep accumulating on my hard drive. Hundreds, thousands. When I see them I think of all the difficulties we once had with trying to obtain these images hidden within a film. And how easy it is today. And it makes me dream about what this images could be doing together, without my knowledge.
PEYTON PLACE in one word. With help from Merriam-Webster and Gilles Deleuze.
Part of the collection TV DICTIONARY by Ariel Avissar.
Reading the 80s TV series MIAMI VICE on the basis of that word that designates its central trope, its aesthetic principle, as well as its fundamental philosophical and psychological concept. Part of Ariel Avissar’s TV DICTIONARY
On Instagram, Facebook, or Twitter the standard setting for videos is „mute“. More than 120 years after its invention silent cinema has become the default mode.
The beginning of cinema, the materiality of film, and today’s audio messaging.
The message from scholar and film theorist Jiří Anger on his research on the Czech film pioneer Jan Kříženecký made me see the things he is obsessed with. Visual research guided by a colleague’s voice.
Pause is just a click away. The fact that on our devices we can pause a film whenever we want makes us forget how unsettling this actually is. Thinking about how dangerous it once has been when the images come to halt should help us to see this practice as subversive. The ability to pause … Practices of Viewing II: Pause weiterlesen
Fast forwarding – nothing is as despised and as omnipresent among those in love with cinema. But what if we consider the speeding up of film as a reflexive practice that connects contemporary media consumption with the experimental beginnings of cinema before standardization. Instead of making our viewing quicker the acceleration of moving images can … Practices of Viewing I : F.FWD weiterlesen
In digital video, keyframes are those images which serve as anchoring points for all the other images. By removing them the video becomes unstable. A digital automaton working against cinema’s obsession. The film’s images which have turned female body into fetish shall no longer hold. A video essay on Alfred Hitchcock’s VERTIGO, inspired by the … Key / Frame weiterlesen
When watching this moment Ulrike Ottinger’s FREAK ORLANDO (1981) I always felt to be part of it and wished I could literally enter the film. Now I did.
Just one image to work on. No cuts. No explanatory words. Just gestures.
It felt right when working on the very first image from HIROSHIMA MON AMOUR. An image that I keep touching upon without ever being able to grasp it.
A cat video of a different sort. Following a cat in Alfred Hitchcock leads to other cats and other films, to radical politics and the trouble with the gaze.
Testing self-destruction. Archival images of an atom bomb test in 1955 preempt what 1970s cinema will imagine. Two pieces of uncannily similar footage illuminate and contaminate each other. [When preparing a lecture on 1950s cinema and culture I came across the eerie footage of tests by the US Atomic Energy Commission from 1955 which … Cued weiterlesen
Reading a moment from A STAR IS BORN (USA 1954) The combination of what is irreconcilable, the transition from the self to the other, the shiver between continuity and discontinuity – that is the task of philosophy. And that is the art of one of Hollywood’s greatest philosophers: Judy Garland.
What is there to see when characters turn their back on us? Back views in cinema are experienced as disturbances of their visual regime. But by hiding the faces these images point towards another presence, both familiar and uncanny to us all: there’s an off-space we all carry with us but can never look at … Reproduction Interdite weiterlesen
An essay in (un)readability. Just one novel, filmed countless times. Just one shot, watched countless times. They make me aware of how every act of reading is threatened by its reversal, the inability to understand and how repeating the same words only long enough renders them illegible. The text and the shot, turned in my … Unfold weiterlesen
Sound as matter, sculpted by the videographer’s hand. A scene from an old classic: The femme fatale’s hand touches a dangerous box. Stop the scene and she’s touching a different object – the elusive and ungraspable object of sound. Her gestures seem to mirror my own videographic practice: my fingers on the keyboard transform the … TOUCHING SOUND weiterlesen
Jerry Lewis‘ philosophy of video: Lewis‘ comedy of playback is also a meditation on the technology he relied on in the production of his films. Looping a scene from Lewis‘ film „The Patsy“ (1966) shows how the loops of the electronic video signal are included in the very illusion they helped to fabricate. The mise-en-abyme … Endless Regression weiterlesen
A man is getting cornered. The past is closing in, thightening its grip… A detail in Jacques Tourneur’s „Out of the Past“ (USA 1947) becomes visible as metaphor. For the film’s story… …and it’s mise-en-scène.
Watching John Ford …with Jean Epstein. Approaching the materiality of film …through the faces of its stars.
As far as I know, Stanley Cavell never wrote about the films of John Cassavates. But I always thought that Cassavetes’ films, so distinctly american, concerned with the ordinary and so jazzy in rhythm would speak to this thinker of the american, of the ordinary and who himself started out as a jazz musician. But … Cavell / Cassavetes weiterlesen