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
