Taking inspiration from compositions like Iannis Xenakis‘ „Concret PH“ (1958) or Horacio Vaggione’s „Schall“ (1994) this experimental video essay seeks to expand their techniques of granular sound synthesis to visual film and video material. 

The sounds and images of film history shall be dissembled, cracked to pieces so that another body can appear – an undead body of shifting materials, formats, and media.