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30 Jahre Asifa Austria
30 Jahre ASIFA AUSTRIA | Screening 4 | Screening 3 | Screening 2 | Screening 1


Austrian Animated Experiments
30 Jahre ASIFA AUSTRIA

Historical Treasures: 10.06.2015, 22:00 und 13.06.2015, 20:00 – Tuškanac Cinema
Total: 71’10


Arnulf Rainer | Peter Kubelka

Arnulf Rainer | Peter Kubelka

AT / 1960
6 min., 35mm

Bei der Herstellung des nach dem Wiener Künstler Arnulf Rainer benannten Tonfilms verwendete Peter Kubelka vier Streifen unterschiedlichen Materials: Blankfilm, Schwarzfilm, Perfoband mit aufgenommenem weißen Rauschen und unbespieltes Perfoband. Somit setzt sich der Film aus den vier unterschiedlichen Elementen Licht, Dunkelheit, Rauschen und Stille zusammen, wobei es sich um audiovisuelle Entsprechungen handelt, denn weißes Rauschen enthält wie weißes Licht sämtliche Frequenzanteile des Spektrums mit konstant gleicher Amplitude. Der Filmton liegt also wie das Bewegtbild in seinen zwei Extremen vor: Präsenz und Absenz im stroboskopischen Wechsel substituieren die Repräsentationsfunktion des Films und machen ihn zum Ereignis…(Jan Thoben) 

This is a film composed entirely of frames of solid black and solid white, which Kubelka strings together in lengths as long as 24 frames and as short as a single frame. When he alternates between single black and white frames, a rapid flicker of motion-pictures projection; during the longer sections of darkness one waits in nervous anticipation
for the flicker to return, without knowing precisely what form it will take.
(Fred Camper)

Arnulf Rainer, an architecture built in time by cinema uses only the four essential elements of the medium: light, darkness, sound and silence.
Peter Kubelka


Hands up Mr. Rasnitchi | Hal Clay, Flo Nordhoff

Hands up Mr. Rasnitchi | Hal Clay, Flo Nordhoff

AT / 1967
9 min. 35 sec., 35 mm

Using fotos of the famous Austrian thespians Helmut Qualtinger and Tilla Hohenfels, Hands up Mr. Rasnitchi explores the experimental possibilities of analogue cut-out animation. The surreal plot suggests that many problems could be solved if one could avoid shaking hands with each other. Chasing through a collage-landscape full of art and design references, nothing seems stable or explainable; also the protagonists themselves transform in many ways and are not always what they seem to be.

Die Geburt der Venus | Moucle Blackout

Die Geburt der Venus | Moucle Blackout

AT / 1970 – 1972
5 min.

Trickfilm aus Fotografien von vier Freunden und einem toten Schwein. Hommage an eine Liebesgeschichte. Die meisten Bilder bewegen sich symmetrisch über eine Mittelachse.
Das Titelbild zeigt Botticellis “Geburt der Venus”, wobei die Gestalten links und rechts der Venus mit symmetrischen Schweinemontagen überblendet werden. Am Ende des Films erscheint ein Detail desselben Bildes auf der Packung eines Toilettengeruchsverbesserers (Snif). Als Ton unterlegte ich drei Beatles-Songs, die durch den Text das Dargestellte unterstreichen. Das Bild ist im Rhythmus des Tones geschnitten. Das Schwein ist Symbol für die Frau als Opfer. Es bedeutet aber auch Assoziationen zu Schwein wie: armes Schwein, blöde Sau, Saustall, Schweinerei, Drecksau, saumäßig, Ferkelei etc. (M. B.) 

The basic material consisted of about 30 photos showing some close friends, and a dead pig we had found on a road. The pictures of the pig are used as a symmetric motion-montage. I took proper and left/right-inverted photos which are moved back and forth symmetrically over the central axis. The introduction-scene shows Botticelli´s “Birth of Venus,” cross-fading the figures at both sides and following the title, also Venus with a symmetrical pig-montage. A detail of B.´s picture appears at the end of the film on a wrapper of a lavoratory-deodorant (snif). Three Beatles songs emphazise the performance with their text. The pig is used as a symbol for the woman as a victim. It also stands for any associations to pig as proverbial: poor swine, filthy pig, greedy pig or it may allude to a pigsty or a pig in a poke, etc. The friends appear as: two dancing women, two lovers, a cock, a sex-changing head, etc. Part of the photos were shot by Marc Adrian. (M.B.)


Selfportrait | Maria Lassnig

Selfportrait | Maria Lassnig

AT / 1971
5 min.

Lassnig, oder genauer ihr filzstiftgezeichneter Kopf, singt Englisch mit herzzerreißendem österreichischem Akzent. Über das bisherige Leben, ihre Träume, die ewige Suche nach der besseren, männlichen Hälfte: “To look for the better half”. Doch passt mal ein Partner in Form und Farbe, nennt er sie bald schon “weak” and “woman” im gleichen Satz. (Maya McKechneay) 

Versöhnlicher Lebensüberblick der Autorin im Zeichentrick. Die Metamorphosen, denen sich die Lassnig in ihren Zeichnungen und Bildern unterwarf, sind natürlich im Film noch viel treffender herauszuarbeiten, weil sie nun nicht nur einzelne Stationen der Verwandlungen, sondern den imaginierten Ablauf zeigen kann. Ihr Selbstportrait verwandelt sich in das Gesicht der Garbo, oder es spaltet sich, und durch den Spalt schiebt sich das Gesicht ihrer Mutter in den Vordergrund. Erinnerungen und Wunschträume nehmen Gestalt an, drängen sich buchstäblich bildhaft auf. (H. St. “AZ”, Wien am 10. 6. 1973)

Lassnig, or more precisely her head, drawn with felt-tip pen, sings in English with a heart-rending Austrian accent about her life, her dreams, her eternal search for a male partner: “To look for the better half.” But whenever one which is suitable with regard to color and shape appears, he calls her “weak” and “woman” in the same verse. (Maya McKechneay)


60 Seh - Kunden II | Martin Anibas

60 Seh – Kunden II | Martin Anibas

AT / 1989
1 min.

Laufen, Gehen, Fahren. In ständiger Bewegung bleiben, jeweils eine Sekunde lang. 60 mal. Die Drum-Maschine zählt unerbittlich mit. Animation zum Thema formale Zerkleinerung. Running – walking – driving. 

Keeping in continuous motion for a second each. 60 times.
The drum-machine is keeping merciless count.
Animation concerning the topic of formal down-break.


Festival | Hubert Sielecki

Festival | Hubert Sielecki

AT / 1985
4 min. 10 sec., 16mm

Interesting encounters and conversations take place at an international animation film festival on various societal levels. Diverse films, ideas, nationalities and personal relationships communicate the typical atmosphere between the celebrations, introductory and thank you speeches, accompanied by thundering applause.

Movimento | Jurislav Tscharissky

Movimento | Jurislav Tscharissky

AT / 1986
5 min.

Movimento is a technical and aesthetical hybrid between live-action and direct-film animation. On a recorded presentation of a pantomime the tools – which in some stages become annoyances – are scratched into the film material. Subsequently the match between animation and live-action ends with the transformation of the actor into a ball for yet another game.

Raumfahrt | Renate Kordon

Raumfahrt | Renate Kordon
AT / 1989
4 min. 52 sec.

Renate Kordon umkreist den Raum ihres Wohnens mit dem Körper, die Wände an den Kanten des Bodens entlang. Durch/für die Arbeit des Filmens wird cm für cm räumlicher Bestand aufgenommen. Der Zeit-Raum der Aufnahme (in Einzelbildern) übertrifft den Bild-Raum der Filmprojektion um ein Vielfaches, während die Impression der Film-Zeit den realen Erfahrungsraum in unzählige Einzelmomente aufsplittert. (R.K.) 

Die Filmmacherin als Raumfahrerin, als Kosmonautin, deren Kamera wie auf einer Umlaufbahn durch den Ort des All-Tags gleitet, um dessen Koordinaten abzutasten. Renate Kordons Territorium ist ihre Wohnung, ein geschützter Bereich, in dem Bolex und Filmoptik autonom auf Spurensuchegehen. Kordon durchmisst den Wohnraum mit dem Körper, rutscht an den Wänden und an den Kanten des Bodens entlang: eine Bestandaufnahme, die sich Zentimeter für Zentimeter vorantastet.
(Bady Minck)

Renate Kordon encircles her living space with the body, along the walls at the edges of the floor. By/for filming, the spatial inventory is recorded cm for cm. The time-frame of the recording (in frames) exceeds the time oft he screen projection by a multiple, while the impression of the film-time is fragmenting the real space of experience into countless individual moments.(R.K.)


Kugelkopf | Mara Mattuschka

Kugelkopf | Mara Mattuschka

AT / 1985
6 min.

Hands vigorously pull scraps of paper from an antiquated printing press, while their owner remains invisible. Then Mimi Minus and a razor blade – the incident is still shocking. The shrouded head, wrapped in muslin, reappears, and black paint is daubed over the top … no image retains its integrity, for each is crossed through, painted, double-exposed, spilt, soiled. (Stephan Settele)

Duocity | Ulf Staeger

Duocity | Ulf Staeger

AT / 1994
5 min., 16 mm

Eine urbane Simultanreise durch Wien und Berlin. In einer wilden Bilder-Collage von gezeichneten, gemalten und realen Szenen verdeutlicht Ulf Staeger sowohl die Gemeinsamkeiten als auch die Unterschiede der beiden Städte in der visuellen Wahrnehmung. 

A short impression of two cities’ silhouettes: In Duocity Ulf Staeger compares – by means of graphically reduced cel-animation – Vienna and Berlin. In a direct confrontation of urban trams, street lamps and staircases one thing is clearly visible in the film: Vienna is round and Berlin a square.


Liebe | Sabine Groschup

Liebe | Sabine Groschup

AT / 1988
2 min. 30 sec.

Music: Elisabeth Kraschl, Claudius Jelinik

„Look at me…“ This bright figurative visualization of a love song has it all: The hearts, the clouds, the kissing and the trust that love between two people is still the best and most important thing in the world.

Wieder Holung | Nana Swiczinsky

Wieder Holung | Nana Swiczinsky

AT / 1997
8 min., 35 mm

Wieder Holung beginnt als Alptraum und changiert in der Folge zwischen apokalyptischen Fantasien. 

WIEDER HOLUNG is four times three letters, four syllables or two words; four fields, two lines, black or white, moving drawings.
WIEDER HOLUNG can be described as a sprouting series of differentiations and reversals. The basis is simple, while simultaneously the consequences are comprehensive. Everything is drawn, everything is animated, everything is either black or white. Within these guidelines for the film, all fixed qualities are abrogated, even a constant like the woman, the “heroine” of WIEDER HOLUNG is subject to transformation and transforming moods. This may be read as threatening. WIEDER HOLUNG begins as a nightmare and subsequently switches between apocalyptic phantasies (things and spaces breathe, bodies are formless masses, wounds bleed and shrieks explode) and the commonplace, to some extent documentary, observation of details and movements such as lighting a cigarette from the pilot light of the gas water heater or replaying the calls on a telephone answering machine.
One thing soars into the other. Flying fork attacks are echoed later in those just quietly wriggling. Room decoration finds its counterpart in the drain of the shower. Deputising, the mixer attacks the toaster. The heroine gives birth to her own double.
Just as complex sequences of movement are communicable through minimal changes in black and white (leaving a room is marked by a flash of white in the darkness and the descent of a lift by a black stripe, from a crack in the door, moving downwards), the ever-present opposites of dream and reality, man and woman, young and old, living and dead resist one another until the redemptive transformation of the repetition. (Isabella Reicher)


Evening Star | Daniel Suljic

Evening Star | Daniel Suljic

AT / 1993
4 min., 10 sec.

A bunch of similar photographs cut out of daily newspapers. The nature of the photographs and movements are determined by the mass quantities of their reproductions. Taken together they are attractive.

Die Jagd | Josef Nermuth, Paul Braunsteiner

Die Jagd | Josef Nermuth, Paul Braunsteiner

AT / 1992
6 min.

Corrupted by his thirst for power, the hunter brakes all barriers, becoming a defenseless victim. To hell with him.

Attwengers Luft | Bady Minck

Attwengers Luft | Bady Minck
AT / 1994 – 1995
3 min.

Written & Directed by Bady Minck, Music: Attwenger, Acting Musicians: Hans-Peter Falkner, Markus Binder, Photos: Eva Kern, Bady Minck, Rudolf Danielczyk, Drawings & Coloration: Sabine Groschup, Stefan Stratil, Design & Animation: Bady Minck, Pop-promo & Filmpart to the Attwenger-Documentary, by Wolfgang Murnberger & Florian Flicker, Production: Erich Lackner, Lotus Film Vienna

Austrias neo-folcloristic pop stars Attwenger are the heroes of this fast and funny animation film. The film combines Attwenger’s real life heads with drawn bodies and animates the hair of singer Hans-Peter Falkner. The imagery changes in perfect synchronization to the staccato delivery of the music.

I’m a Star! | Stefan Stratil

I’m a Star! | Stefan Stratil

AT / 2002
4 min., 50 sec., 35mm

Music: Louie Austen & Mario Neugebauer

A lonely man, a cigarette, a hotel hallway – this is the setting for an ironic take on Sinatra Lore.
In “I’m A Star!” two related worlds come together: the comic strip “frankieboy” by Stefan Stratil and Peter Friedrich, and the music of Louie Austen. Animation and montage have been synchronized frame by frame to fit perfectly with the sound and form a basic structure around
which diverse film techniques and experiments have been deployed. Macro shots, optical distortions, multiple exposures all combine to produce an intoxicating atmosphere, in which Frankieboy’s universe is assembled step by step.There is no linear action; everything spins around the main character’s chaotic associations and his fatal love for Ava Gardner. Thereby Frankieboy’s contrariness exposes the absurdity of his old-fashioned macho-image.
Fueled by the contents of his flask, he staggers for all eternity through the corridors of a hotel whose name he has forgotten.

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Projektleiter/Kuratoren/curated by: Franziska Bruckner, Holger Lang, Stefan Stratil