tcherkassky studies his characters with the dispassion of an entomologist. their sole reality is their imprint on the reel and it ends there. his sole fascination with them is for their being interesting mechanical ensembles functioning despite anomalies like dreams, pain, emotions. arachnids wearing jeans and sighing at the moon.
I'm growing tired of artists using sex and violence as the alpha and omega of imagistic chaos. Perhaps we
could dig a little deeper, which I believe Man Ray and
Marcel Duchamp were doing by inquiring and building an individual myth of imagery. I like Peter
Tscherkassky's work a lot: the optical printing in
Scope B&W is complex and glorious. But sex has lost much of its razzmatazz for me reflecting a dull premise
Third Instalment of the CinemaScope Trilogy. It uses footage from the same original movie that was the raw material of Outer Space. In a way, the images selected here are more intense, graphic. But the atmosphere is more subtle, of an oniric, fantasmatic nature. Oposing the neurotic, emergency energy of Outer Space. The two films go well together. And they form a strange intriguing trilogy with the short L'Arrivée.
The title says it all - a work of fragmented, dream-like sequences. Dream Work reinforces the importance of film as a visual art form, and the incredible sound design creates a singular cinematic experience.
A film experimentation about the black and white film medium and its possibility of expression. What is interesting is the extreme use of different image planes to create a 3D effect by mixing different recordings.