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Köner uses sequences of images from webcams as raw material. People and their vehicles appear acoustically, but not visually. The shift from day to night and the influence of the weather gives motion to the segments. He condenses a total of 3,000 individual web images taken from the Internet into one scene. Despite the cinematic motion of the image, it seems like a still photo.
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23 min
2004-01-01
Released
English
1
5
0.0
Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.
2019-11-24 | en
6.0
Turmoil of unsheltered childhood: The dwelling as self.
2000-07-11 | fr
6.9
Lars von Trier challenges his mentor, filmmaker Jørgen Leth, to remake Leth’s 1967 short film The Perfect Human five times, each with a different set of bizarre and challenging rules.
2003-11-07 | da
0.0
"Adrift" is shot on the arctic island of Spitzbergen and in Norway. It combines time-lapse photography with stop-motion animation of the landscape. Through camera-angles and framing the film gradually dislocates the viewer from a stable base where one loses the sense of scale and grounding.
2004-01-01 | no
0.0
After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.
2019-08-09 | en
0.0
The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.
2023-12-07 | en
6.4
A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.
2002-01-24 | en
6.0
Ellie Epp’s 12-shot study of a soon-to-be-demolished public bath in London, which “maps another way out of structural film toward a cinema of delicate implication".
1976-01-01 | en
5.2
"Ryuta is 5 years old. Even though he is my son, I sometimes wonder what this small person is to me. Even though I see his joys and sadnesses and know the feel of his warmth on my skin when I hold him, there are moments when my feelings for him become vague and blank." - Takashi Ito
1993-07-29 | ja
0.0
A young woman and man are riding bikes through nature, having a good time. When she speeds up, he loses her, and after a while he stumbles across her bike without any trace of her. He stumbles through the forest looking for her, imagining how she kisses him. No dialogue, just "audio credits" instead of titles, saying the name of the film, actors and director.
1967-01-01 | sh
0.0
In the present work, the artists appears lying on his back, his eyes mostly closed, dreamingly listening to a walkman that plays, a recording of 'The Best of Lou Reed and the Velvet Underground'. The artist can hear the music through his earphones, but as viewers we are only privy to the sound of his voice that whispers the melody. As we listen to the hypnotic interpretion of the familiar songs - as emblematic for pop music history as 'Psycho' is for film - we are forced to mentally 'reconstruct' the remaining orchestration, instrumentation and vocals. We must attempt to reassemble something we already know to be a fact by negotiating the sticky mess of interpretation, meaning, and memory.
1993-11-19 | en
6.0
A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
2021-10-22 | pt
6.0
Found footage anti-war film comprising film documents of the Austro-Hungarian and Italian army on the Alpine front, and from first generation picture material by war-film pioneer Luca Comerio.
1998-01-01 | it
6.5
It shows Korea’s traditional colors and culture through the use of superimposing. It is an experimental film, which not only tries to show Korean traditional culture through the use of color, but also tries to show the modern history of Korea.
1976-01-01 | ko
3.5
'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'
1979-10-01 | de
5.5
Lights flicker & fade as focus shifts from artificial to natural light, ending on a second artificial light speeding through the blackened miasma of the night sky.
2017-02-17 | en
5.5
Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen.
1971-12-31 | en
0.0
Experimental short film by Barbara Sykes
1982-01-01 | xx
5.5
Jean-Claude Rousseau's Jeune femme à sa fenêtre lisant une lettre is not only his first medium-length film, but a chance to discover this filmmaker whom Jean-Marie Straub has called, along with Frans Van de Staak and Peter Nestler, the greatest working in Europe. With this newly restored print there is also a possibility to discover the relationship between Rousseau's art of filming and Jan Vermeer's famous painting. As Prosper Hillairet wrote in 1988, four years after Rousseau had finished Jeune femme ... (for the first time as we know today): «Without adopting the usual systematic spirit and form of cinéma structurel, Rousseau presents us with simple images and leaves it at that. Keeps the image in hand. A minimalist and ascetic expression of cinema: a shot that lasts.»
1983-01-01 | fr
5.5
1 minute experimental film.
2017-02-11 | en