Also Directed by Gustav Deutsch
The film is a collection of one-minute short films created by 60 filmmakers from around the world on the theme of the death of cinema.
A condensed omnibus of all twelve chapters of Film ist. by Gustav Deutsch. Chapters 1-6 consists almost exclusively, of sequences from existing scientific films, while chapters 7-12 is a collection of moving pictures from the first thirty years of a medium which was then still silent.
The pictures are burning. A house is in flames for exactly one minute. Cinema under attack: An anonymous fragment from the early days of film is turned into a reflection on reproduction and reality as well as on destruction which takes place on two levels through Gustav Deutsch’s reworking of the material.
100 film loops for 100 film-viewers. Each loop deals with one basic aspect of repetition in life and film. The essential characteristics of each aspect become evident by endless repetition in the loop. "With the Pocket Cinema project I want to trace the repetitions in life and film as an attempt at the essential elements of film - motion and time.
Mariage Blanc in Morocco means a sham marriage between a Moroccan man and a European woman in order to obtain a residence permit and thereafter the citizenship of a European country. The theme of Mariage Blanc is this very intimate form of attempted immigration which is, for Mostafa Tabbou, simultaneously fiction and reality. The film was shot in three days in July of 1996 in the Hotel de Paris in Casablanca, Morocco.
21 fragments of a feature film, made in India, found in casablance, adapted in Vienna.
A series of snapshots from the life of a fictional actress named Shirley serves to weave together thirteen paintings by Edward Hopper (e.g. "Office at Night", "Western Motel", "Usherette", "A Woman in the Sun") into a fascinating synthesis of painting and film, personal and political history. Each station in Shirley’s professional and private life from the 1930s to 1960s is precisely dated: It is always August 28/29 of the year in question, as the locations vary from Paris to New York to Cape Cod.
Twenty-eight well-known filmmakers living and working in Austria were invited by WIENER MOZARTJAHR 2006, to produce associative miniatures on Mozart. Requirement: they had to be one-minute artistic short films. The directors come from a whole range of different backgrounds, ranging from animated, experimental and short film to documentaries and feature films. The result is a multi-facetted sampler of diverse formal and contextual positions with regard to Mozart’s person and his influence on today’s society, art and culture. The contributions run the gamut from experimental-conceptual statements through socio-critical and documentary observations to pithy short feature films.
ADRIA is an artistic analysis of film as a medium and of its meaning as SCHOOL OF SEEING. The subjects of this analysis are the beginnings of the Austrian hobby and amateur film creation, restricted to holiday movies from the Adriatic Sea. The footage was analyzed according to set focal points (image detail, camera movement, etc.) then dissected according to serial aspects (tracking shots, pans, etc.) and edited into new sequences (descriptions, reactions, etc.) These sequences are liberated from their individual isolation and unified in a sequence that reflects the general situation. This general situation reflects upon two aspects. One is the first active involvement with film as a medium - in front of and behind the camera - and the other aspect highlights social contexts such as the first holiday abroad and organizing one’s leisure time.Therefore the private depiction of an individual situation becomes a document of a general situation.
Also Directed by Martin Siewert
The perception of the city in the modern era is characterized by its fleeting and momentary nature. Social and architectural constructions are fragmented and dashing past. Cityscapes attempts to make archived recordings from the Austrian Film Museum legible along these lines. Single images are isolated from the cinematographic flow in order to scrutinize their inscribed cognitive potential. For Walter Benjamin, history disintegrates into images and not stories. Cityscapes is a search along the tracks of these images.
With trans, Martin Siewert and I used the 5 act structure of classical drama to create an atmosphere of in-between-ness and levitation. I found these old photographs of a harbor that totally embodied this emotion (also the sadness and melancholy of parting and saying goodbye). So I used them as my starting images and worked through the layers of the images, scratched away the unnecessary until I reached the essence.
"Lost Destinations" is the name of a Web site dedicated to obscure locations in the USA. "Abandoned, unusual, wild and weird road trip photography and beyond" is presented for the viewer´s pleasure, including illustrations of an abandoned concrete and building-material factory in Idaho Falls (the "Monroc Facility"), which is the starting point for Michaela Grill´s video of the same name. A still image of the picturesque industrial ruin appears repeatedly throughout the half-hour work like a refrain, its stanzas comprising three independent abstract studies. The soundtrack by Martin Siewert underlines the suite´s synesthetic character, such as by casting acoustic shadows in places where the video image builds on musical parameters such as rhythm, timbre and tonality. When the color and brightness of individual images are modulated in the reprise, the three episodes independently sample a range of more abstract visual characteristics.