The hero of Instructions for a Light and Sound Machine is easy to identify. Walking down the street unknowingly, he suddenly realizes that he is not only subject to the gruesome moods of several spectators but also at the mercy of the filmmaker.
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Achievement of a film made of sound and image in fury, of a clear and full inventiveness on materials/matters of (a) film. From the dramaturgies of other films,it's builded a freedom of reframing and subvertion, making images free of fictional premises and provide them with a libertarian and liberating registration of feelings and senses. Signifiers on parade without counterpoint.
Tscherkassky compresses what seems to be footage from a western into 16 minutes of a scramble of epileptic arrhythmia, nigthmarish imagery and desintegrating but intensely symbolic semantics. All in an atmosphere that resembles cold war brainwashing. Then, psychedelic patterns and industrial sound pulses. Maybe this saturation of stimuli could be a search of catharsis. Or maybe a way to cause excessive disconfort.
isolates and unfurls the macho paranoia which is the anima of the western movie tradition and weaves a spectral panorama of male ghouls lost upon a celluloid prairie without narrative or guiding myth other than the impetus of their own fear confusion bloodlust propelled by the colonialist's perpetual discomfort and violent restlessness - the most honest western ever made, then
Tscherkassy's remix of material from "The Good, the Bad and the Ugly" seems a bit too long at the end. But nonetheless there are very good parts like the sequences where he works with Sergio Leone's gunfight sounds or reflects the movements and gestures of the actors.
I feel like the film's title is the name of a document the director didn't bother reading. The whole thing felt broken and needlessly frenzied. In my opinion the message about Hollywood masculinity was conveyed in the first 2 minutes and the rest was just an exercise in discomfort.