Mobilization – Čeněk Zahradníček and Vladimír Šmejkal: A Soldier’s Story
In A Soldier’s Story silent film narrative meets avant-garde film experimentation. Čeněk Zahradníček and Vladimír Šmejkal’s joint project A Soldier’s Story (Příběh vojáka, 1934) is a pure anti-war propaganda piece whose unique symbol system is built around the multiple meanings of ambiguous images and driven by their context-dependence.
Female Body Art – František Wirth: In nuce
In Wirth’s In nuce the impermanence of the film material in analogous to the transience of the recorded scene and the transmitted emotions.
Shifting Boundaries – Kryštof Pešek: Dokumat
In Pešek’s Dokumat the unexpected images of the actual film are the results of a dialogue between person and his mechanical device, which was set to capture its environment from a human point of view.
Avoiding Labels – István Illés: track 32
There was a long and complex argument on the 10th Kecskemét Animation Filmfestival (2011) when the critics and the jury tried to categorize István Illés’s short film track32. Some said it was a dance-film, others claimed that it was a music-video, while a few outspoken viewers spoke against its inclusion in the competition’s program, since – in…
Obscene or Ethereal – Péter Lichter: Light Sleep
Light Sleep proposes several slippery subjects such as pornography, the interpretation of dreams and the theory of child sexuality. The most well known Hungarian found footage filmmaker Péter Lichter plays with the obscene and the ethereal. The 2009 film Light Sleep was presented as a found footage film. But what is found footage exactly? In…
A homage to structuralism – Drahoslav Páluš: Static Movement – Metamorphoses
Whether deliberately or not, Drahoslav Páluš follows Warhol’s footsteps by recycling the images of mass culture. In his short found footage films he trifles with the canonized qualities of television commercials.
Oldschool at its Best – Martin Slivka: Water and Labor
Although Martin Slivka produced numerous moving pictures which are famous of their innovative use of film language, this national treasure of the Slovaks is more of a folklore inspired documentary filmmaker than a „full-time” representative of the Eastern-Central-European experimental film scene.
Deliberately Damaged – Gyula Nemes: Lost World
Expired celluloid, deliberate imperfection, ten years of shooting with a handful of people – this is the making of Lost World. The poetic documentary of Gyula Nemes is a significant piece of the Hungarian (avant-garde) film scene. It recalls the innovations of the Soviet montage-theory, the canon of the lyrical avant-garde film form, caricatures the…
When In Prague – Alexandr Hackenschmied: Aimless Walk – The Prague Castle
Alexandr Hackenschmied’s city symphonies deliberately challenge the promotional attitude represented by Svatopluk Innemann in Prague at Night (1928). By turning against the dominant trends of the era and instead of glorifying the mechanized dynamism of modernity they leisurely appreciate the architectural achievements of the past and capture the beauties of nature sneaking into the metropolis.
Is the invisible visible? – Martin Blažíček: Test
“Is the invisible visible?” – was the first question addressed to Wilhelm Conrad Röntgen in the only interview the German physicist granted after his 1885 discovery of X-radiation. Recycling radiographs and incorporating them into his 1997 short film Test, Martin Blažíček repeats this question in an updated form extending it to the medium of the…
Change of Scenery – Ľubomír Ďurček: Home
A handful of volunteers sewn into a huge bag are trying escape a forest to the nearest asphalt road in one of Ľubomír Ďurček’s most complex films. Among the moving images made by a well-known representative of the (Czecho-)Slovak concept art are stills, video installations, documentaries and performances recorded on film. His 1983 work, Home…
Hungarian abstract films – Péter Klausz: Blueprint
Blueprint is a fine work. What makes it unique is its position in the Hungarian experimental film tradition that has always kept distance from pure abstraction.