Inhalte(1)
The first embodiment of (a) concept of structural activity in cinema comes in Bäume im Herbst, where the camera as a subjective observer is constrained within a systematic or structural procedure, incidentally the precursors of the most structuralist aspect of Michael Snow's later work. In this film, perception of material relationships in the world is seen to be no more than a product of the structural activity in the work. (Viennale)
(mehr)Kritiken (1)
Flickering Windows or the flicker effect went for a walk in the park, and Austria obtained its second Kubelka, thus permanently establishing itself in the history of experimental (structural) film. Already in 2/60 48 Heads from the Szondi-Test, Kren pressed the film window below the threshold of perception and thus created something that is sometimes called a retinal collage - countless individually imperceptible human faces combine to form different faces, or rather invariant human faces, in the viewer's perception. However, in 3/60, we do not find new trees or the invariant of a tree, but we move from the whole to the parts - from the tree to its leaves. Indeed, by correctly aiming the camera and reducing the number of windows in the shot, the branches themselves can become their own miniature components, i.e., leaves, with their branched veins. Or rather, a film synecdoche. But in 3/60, the flicker effect is used completely and entirely - the viewer's retina finds its reflection in the film just as the branches of trees creating new images of leaf veins double the viewer's veins in the eye.
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