Austrian Cinema

The CinemaScope Trilogy, 1998-2002

Peter Tscherkassky’s elegantly conceived, idiosyncratically transfixing, and neuron-saturating CinemaScope Trilogy is made without a camera – a series of films entirely realized in the dark room using techniques of contact printing and variable exposure to transfer found film into unexposed film stock, then manipulated and processed to create the final works. Serving as both an… read more »

Fast Film, 2003

Experimental filmmaker Peter Kubelka reinforces the idea that film is a tactile artistic medium that, like all forms of art, not only requires hands-on, physical construction and manipulation by the artist, but also serves as a tangible archive (or archaeological artifact) for communicating and articulating a constantly evolving cultural legacy within a specific timeframe of… read more »

Copy Shop, 2001

Each morning, a fastidious and unassuming copy shop owner named Alfred Kager (Johannes Silberschneider) wakes up in his empty apartment and begins to silently perform the empty, familiar rituals of his mundane existence: a brisk facial wash, a cursory survey of pedestrians in the street, a fleeting glimpse of the pretty flower girl (Elisabeth Ebner-Haid)… read more »

tx-transform, 1998

Film is empirically defined as 24 frames per second. However, if the functional variables were to be transposed such that each frame instead represented 24 seconds of a fixed space (defined by the bounds of the frame) – the shift in perspective would capture a behaviorally dissimilar relational interval – a spatial “snapshot” that illustrates… read more »

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