“The viewers’ bodies are the only real organisms in cinema. For me as a filmmaker, they become the object of influence through intense visual sensory overload. The audience inserts itself with its perceptual capacity into the totality of the cinematic corpus. The aim is to evoke an intoxicating state in the maelstrom of images. I also like to compare what I do to distilling liquor, distilling cinematic essences. ̋ (Siegfried A. Fruhauf)

Attending: Siegfried A. Fruhauf

© Siegfried A. Fruhauf, Wk=mMv2/2

The lecture program:

Wk=mMv2/2 (1997 – 2006) 4 min

Wk=mMv2/2 is the physical formula for the kinetic energy of a molecule. Randomly photographed people on picture postcards are strongly abstracted by the extreme magnification, and the grid of the card printing becomes clearly visible.

Blow-up (2000) 2 min | 35mm

In the blow-up, a narrow film strip is “blown up” onto a 35mm film strip via an optical system. A man demonstrates mouth-to-mouth resuscitation on a female mannequin. The filmic body, i.e. the film material as a body-in-itself, becomes one with the depicted human body.

Exposed (2001) 9 min | 16mm

A man observes a dancing woman through a keyhole – this is the source material that is only fragmentarily revealed to the viewer’s gaze. As the perforation of a film strip moves in front of the projector, the scene is re-exposed, exposed.

Structural Filmwaste. Dissolution 1 (2003) 4 min

Scraps from the darkroom are superimposed and re-exposed in such a way that the edges of the frame become visible, the splices, scratches, image lines, perforation holes. Homage to the avant-garde film art of Kurt Kren and Peter Tscherkassky.

Mirror Mechanics (2005) 5 min | 35mm

The film as a mirror and, by extension, the phenomenon of identification, which is inherent above all in the feature film. The essence of what a film can be.

bled (2007) 3 min

A mantra from Attwenger’s “BLED” forms the textual framework for the desirous triangle of gaze of camera, viewer, and the recorded character.

Palmes d’Or (2009) 6 min | 35mm

Cannes. A concentrate of over 800 photographs, until only schemata remain, which appear in a flash and just as abruptly withdraw from the eye again.

Tranquility (2010) 7 min | 35mm

Vacation daydream, which occurs in a state of complete relaxation, as if you were lying on the beach itself.

HEAVY EYES (Schwere Augen) (2011) 10 min | 35mm

The material has gone through many recopying and different moving image formats. From 16mm found footage to DV cam to VHS, from VHS to files of different codecs, to an exposure to the final 35mm format.

Etude (2011) 2 min

The utopia of absolute film: hearing images, seeing music.

FUDDY DUDDY (2016) 6 min

A volatile and frenetically-changing painting of a grid of squares that fill the image space at different angles and in varying sizes and quantities. Drawing on the tradition of structural film, this experiment sees the director working with the materiality and space of the movie, for which the solid contours of the lines cease to be sufficient. The result is a fundamentally compelling, almost physical experience. (Hubert Poul)

THORAX (2019) 8 min

Deep inside an immaterial torso beats the heart of a cinema machine reminiscent of Cern’s tunnel vault. Accelerated light particles collide to fathom the structures of space and time.

Dissolution Prologue (Extended Version) (2020) 6 min

An absolute film, almost “film without film” that works only with the pure means of cinema, a cinematic admission about boundaries and dissociations that stages opening and closing – two essential characteristics of analog film exposure.

Attwenger – REAL (2021) 3 min

Pulsating to the driving Attwenger beat are the traces of light from Workers Leaving the Lumière Factory, those remnants of digitized exploding.

Distance Film (2020) 18 sec

100 analog 35mm frames of a transparent ruler measuring the frames vertically. As a film strip, these 100 frames would be exactly 191 centimeters long – the distance to be maintained in Corona times. | The UNDERDOX Trailer 2020 & 2021!

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