Videoessays

for research purposes

Versions (on Providence)

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

music, crystal, memory

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

Practices of Viewing IV: Screenshot

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.

TV Dictionary – Peyton Place

PEYTON PLACE in one word. With help from Merriam-Webster and Gilles Deleuze.

Part of the collection TV DICTIONARY by Ariel Avissar.

TV Dictionary – Miami Vice

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

Practices of Viewing III: Muted

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.

a message from Jiří

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.

Practices of Viewing I : F.FWD

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

Key / Frame

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

Crossings. On FREAK ORLANDO

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.

Trace

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.

Follow the Cat

  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.

Cued

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

Thinking in Ruptures

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.  

Reproduction Interdite

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

Unfold

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

TOUCHING SOUND

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

Endless Regression

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

Turning the Screw

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.

FACING FILM

Watching John Ford …with Jean Epstein. Approaching the materiality of film …through the faces of its stars.

Cavell / Cassavetes

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