Theorist Jean-Paul Fargier has proposed that the most essential element of video art is its ‘live’ component: an uninterrupted, direct recording signal that can be retained or deformed in real time. Israeli-British artist Dov Eylath, active in the early 1980s, illustrates this approach in his mock-disco dance parody using electronic multiplication of images within the screen, performed to a live playback of satirical music.
– Adrian Martin
Also in this combined programme
-
Sinisukka 1948
An experimental dance choreography that goes beyond human bodies and into a micro-universe of relational aesthetics.
-
Blues
A bowl of blueberries slowly disappears: light, colour, action, time – cinema. Gottheim’s first one-take film.
-
Ultramint
A work of strange, almost perverse sensuality, organised in clusters of analogies and contrasts.
-
3 Lieder
Timeless, silent film vignettes based on songs from Robert Schumann’s Dichterliebe. A tribute to early film.
-
Fear Factor
A reflection on the perils triggered by cultural appropriation and stereotypical representations of black bodies.
-
Per una selva oscura
The dark forest beloved of poets, cinematically recreated in a timely, materialist and apocalyptic vein.
-
Kajanaqtuq
Faded Super-8 images accompany an Inuk Elder’s memories in this powerful invocation of Inuit life and mythology.
-
Untitled Part 9: This Time
Images of Bamiyan in Afghanistan alternate with children telling crazy stories. A chronicle of displacement.
-
Film details
- Country of production
- Israel
- Year
- 1981
- Festival edition
- IFFR 2023
- Length
- 4"
- Medium/Format
- Digital
You may also like this
-
YUGOTRANSPORT – Wir sitzen alle im selben Bus
Contemporary gastarbeiter comedy with a strong feminist undercurrent, an homage to Yugo-land.
-
-
A White Screen Is Visible
The sensations and perceptions experienced in parasomniac states are brilliantly rendered in this hypnotic dream exploration.
