Matters Of Time

The simple combination of movements by the camera and the observer creates a hypnotic ride in which, despite a voiceover emphasizing calm and relaxation, rotating objects and lights create an unsettling physical experience and dig the viewer´s imagination deep into grogginess of unsettled look. “Hypnodrome is motion-induced delirium. A cinematographic look through the ‘egocentric camera’ and an homage to cinema as a site of contemplation and trance.” R. Wilhelmer

The first part of a seven-part adaptation of the influential 1990 book of the same name by American philosopher and art theorist Noël Carroll. In the spirit of cinematic philosophy (filmosophy), Lichter explores various aspects of the horror genre – in this part, primarily the position of the characters, the human bodies, and the types of gazes to which they are subjects – by directly manipulating the body of the film. “The Philosophy of Horror: A Symphony of Film Theory is an immersive meditation on genre theory, which aims to demonstrate the eternal beauty of Art Philosophy and Pop Culture’s interconnectedness.” B. Máté, P. Lichter    

The word 間 (ma) in Japanese expresses the awareness of interval / space, not in the traditional notion of a closed three-dimensional entity, but rather as form and non-form mediated by amplified senses. These are confronted by an experimental film that explores the notion that a film’s content is the cinematic equivalent of reality.   "SHASHIN NO MA, literally means MA(間) of photograph. It is an homage to my father, all the fathers who film their children and history of amateur cinema." T. Maruyama

The use traditional multiple exposure techniques combine with the search for formal similarities to create a lyrical work in which the outlines of rivers and plants merge together and vibrant colors alternate in a constant rhythm of overlapping and multiplication. "Colectivo Los Ingrávidos arises from the need to dismantle the audiovisual grammar that the aesthetic-television-cinematic corporativism has used to guarantee the diffusion of one audiovisual ideology." Colectivo Los Ingrávidos  

The filmmaker’s father walks wordlessly around his home. He sits in a chair, reading the newspaper. The image, veiled in dust that reflects the afternoon sun, shows only parts of the reader before eventually revealing the entire person, while the director is a silent observer of events. “Suzuki: In the beginner’s mind there are many possibilities, but in the expert’s there are few.” M. Hoolboom

The color of skin and of film become the center of discourse: The filmmaker’s mixed-race background is reflected in imprints of the landscape and ruptures within it, but also in the color of the faded Kodachrome film, whose typical visual characteristics have dissolved in time. Hues are barely visible and only with difficulty capture the image of a body that does not fall into any clear categories.  "Where does film fail or resist us? Working on celluloid I make images which affirm mixed race culture and the cultural in between." R. Storr  

Inspired by Italian Renaissance art, the filmmaker transforms news reports of protests in the Gaza Strip into a painting of people and the landscape, as if the boundaries of fields and meadows were a place for overcoming political limitations and the ability of an expansive viewpoint presented the ideal of inhabiting the visible.  "The struggle for liberation intertwines with nature rejuvenation, creating an array of reflections." G. Silberstein  

A visual miniature made of a single image strip, evokes the process of wandering through the landscape through both captured images and through images made by motion of their individual parts, resourcefully putting in use optic features of film imprint in order to let the scenes disappear in the structure of the material by blurring and slurring their outlines. “I build shutterless cameras to bypass sequential frame-by-frame recording and document reality using an uninterrupted flow of light. The world appears melted together in a single image shifting in time.” U. Petronin

This traditional film by a legend of experimental filmmaking offers a quiet testimony to autumn in San Francisco, as the rhythm and texture of the images create a melody. The ephemeral camera and meticulous editing give rise to introspective images with a focus on light and the fragile movement of visual fragments of intimately familiar surroundings. The images’ impact is further heightened by the use of Kodachrome, a colour film that Kodak produced from 1935 to 2009. Dorsky’s recent films are some of last ever to be made on this film stock.

Inspired by the analysis of movement in the studies of Eadweard Muybridge and Etienne-Jules Marey, the filmmakers depict the movement of a person going upstairs – except that they use a mirror effect to give the images a new sense of time existing outside of reality, and they replace an analysis of motion with a construction of infinite reproduction.The original chronophotography enabled the depiction of the individual stages of motion through a series of photographs. In the 1870s, such photographs were taken using a flash exposure of a thousandth of a second.

Ghostly hills and inhospitable landscapes created by physically deformed newspapers are a critical allegory of the inner workings of the contemporary media world in which, beside journalists who still hold in esteem reliable and verified information, the voice of those crooking facts and creating parallel and alternative “realities” intensify by the day. “A fact is supposed to be specific and verifiable. The fact you are willing to accept makes your reality of this world. Watch out! There are many different versions of each fact.” Y. Nishimura

A tour of botanical gardens in Bilbao, Toronto and Quito, filmed on a haptic camera as part of a project for developing a camera that will record the things its owner touches. The filmmakers explore the diversity of visual identities at a time dominated by the combination of sight and sound. “The video is a part of the collaborative ‘Haptic/Visual Identities’ project investigating ‘haptic visuality’ through film via a digital DIY prototype. The work presents ‘macro images’ of a garden in a former colonial paradise.” A. Mergler