<\/p>\n
PETER KUBELKA: THE ESSENCE OF CINEMA
\nThursday 11 October 2012, at 6pm
\nLondon ICA Cinema 1<\/strong><\/p>\nMOSAIK IM VERTRAUEN
\nPeter Kubelka, Austria, 1955, 35mm, b\/w & colour, sound, 17 min
\n<\/strong>Kubelka\u2019s motives for making the film lie in his belief that commercial films do not fully exploit cinematic possibilities. He declares that the place of the plot and its ostensibly disparate scenes is the screen, and the time shall be any time at which the film is shown. (Alfred Schmeller)<\/p>\nADEBAR
\nPeter Kubelka, Austria, 1957, 35mm, b\/w, sound, 2 min
\n<\/strong>Here, at last, is a filmmaker\u2019s ear that creates in contrapuntal accord with his eye in the making. If the projection of Adebar<\/em> is perfectly synced, the experience is an indescribably new one for any with eyes and ears to see\/hear it. (Stan Brakhage)<\/p>\nSCHWECHATER
\nPeter Kubelka, Austria, 1958, 35mm, b\/w & colour, sound, 1 min
\n<\/strong>Kubelka\u2019s achievement is that he has taken Soviet montage one step further. While Eisenstein used shots as the basic units and edited them together in a pattern to make meanings, Kubelka has gone back to the individual still frame as the essence of cinema. (Fred Camper)<\/p>\nARNULF RAINER
\nPeter Kubelka, Austria, 1960, 35mm, b\/w, sound, 6 min
\n<\/strong>Arnulf Rainer<\/em> is an architecture built in time by cinema. It uses only the four essential elements of the medium: light, darkness, sound and silence. (Peter Kubelka)<\/p>\nUNSERE AFRIKAREISE
\nPeter Kubelka, Austria, 1966, 16mm, colour, sound, 13 min
\n<\/strong>Unsere Afrikareise<\/em> is about the richest, most articulate, and most compressed film I have ever seen. Kubelka\u2019s film is one of the cinema\u2019s few masterpieces and a work of such great perfection that it forces one to re-evaluate everything that one knew about cinema. The incredible artistry of this man, his incredible patience, his methods of working, and the beauty of his accomplishment, makes the rest of us look like amateurs. (Jonas Mekas)<\/p>\nPAUSE!
\nPeter Kubelka, Austria, 1977, 16mm, colour, sound, 12 min
\n<\/strong>Arnulf Rainer\u2019s face art, which constitutes the source of imagery of Pause!<\/em>, is a chapter of modern art in itself. Kubelka had to consume and to transcend not only Arnulf Rainer but also to transcend the entire genre of contemporary art known as face art. Both Rainer and Art disintegrated and became molecules, frames of movement and expression, material at the disposal of the Muse of Cinema. Pause!<\/em> is an ecstatic work. (Jonas Mekas)<\/p>\nDICHTUNG UND WAHRHEIT
\nPeter Kubelka, Austria, 2003, 35mm, colour, silent, 13 min
\n<\/strong>Dichtung und Wahrheit<\/em> features 12 stories; 12 sequences, each composed of one shot that is repeated in three, or five, or a dozen variations. Each take captures a movement from a stasis to motion and back again. For Kubelka, the repetition of physical movement \u2013 as in dance, as in film, as in life \u2013 is the fundamental law of the universe, from which even civilization\u2019s most complex systems derive. (Alexander Horwath)<\/p>\nBack to top<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[61],"tags":[9,163],"class_list":["post-1748","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2012","tag-london-film-festival","tag-peter-kubelka"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1748","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1748"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1748\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1748"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1748"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1748"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}