October 20 , Wednesday, 7:30PM, 2004 (reception at 7PM)
BIG BALAGAN: Peter Kubelka (in person)
METAPHORIC FILMS
Location: Coolidge Corner Theatre, Moviehouse II (250 seats)

and

October 21 , Thursday, 6:30PM, 2004
BIG BALAGAN: Peter Kubelka (in person)
METRIC FILMS
Location: Museum of Fine Arts (MFA), 640 Huntington Ave., Boston

Two lecture/screenings with Peter Kubelka, one of the most distinguished figures in the history of 20th century avante-garde and independent filmmaking. His films are an innovative demonstration of cinematic possibilities. Moreover, as an artist or theoretician he has also worked in architecture, literature, music, painting and cuisine. He has been also a curator at the Austrian Film Museum in Vienna that he founded in 1964. His teaching on the topic of food preparation as an art form at the Frankfurt School of Fine Arts led to an extension of his title as Professor of Film to that of Film and Cuisine. Over the past 40 years he has lectured at museums, universities and institutions throughout the world, and has been awarded the Austrian State Prize for his life's work.

"Peter Kubelka is the perfectionist of the film medium – the world's greatest filmmaker which is to say, simply: See his films! ...by all means/above all else..." – Stan Brakhage

"Kubelka's cinema is like a piece of crystal, or some other object of nature: it does not look like it was produced by man." – P. Adams Sidney

Stan Brakhage about Peter Kubelka: "I mean, what sort of praise can I give that will really serve to distinguish these five films of his from all that only passes for the Art of Film in current affairs by means of some football tactic or other? His films exist outside the art-as-a-game scramble. Each of his films is what it is — and to perfection... and with, yes, feeling; but of such a nature as to render "sentiment" a hard word or else a word hard to use in relationship. There is no sentimentality in his works such as would divide the emotional and sentimental responses to them. Each works, as he did work to make each one an expression of his whole being at the time of making: And thus, no two of his films are in any way alike — each film being as distinct from every other as any moment of a man’s life may be if he lives it fully... which is to say: To perfection! His, thus, is opposite to that "perfection" the academics lay claim to (and can have) through formal imitation. His is: "I only make what I like! — not what I might think appropriate or ideal or perfect, and so forth — but just what I like as I look at it again and again in the making: And I know that film is made of 24 still pictures every second — so there must be no frame of it left in the film which is not absolutely necessary to the whole work: Because that frame will detract from the total, will have its effect in weakening my experience of the moment" ... and Peter Kubelka takes a very long time making each film a lasting experience of the moment of enjoyment — so that each can be seen again and again for increasing fulfillment of the initial experience.

And his works are sound films. Here, at last, is a film-maker’s ear that creates in contrapunctual accord with his eye in the making. He achieves this, too, through his sense of the perfect — so much so that if, for instance, Adebar is projected even one frame out-of-sync the whole track becomes exceptional "background music" but in no sense the experience of his making... and if the projectioning is perfectly sync-ed (the distance between gate and sound-reader exactly 26 frames) the experience is an indescribably new one for any with eyes and ears to see/hear it. He has even created a film (called ARNULF RAINER) whose images can no more be "turned off" by the closing of the eyes than can the soundtrack thereof (for it is composed entirely of white frames rhythming through black interspaces and of such an intensity as to create its pattern straight thru closed eyelids) so that the whole "mix" of the audio-visual experience is clearly "in the head", so to speak: And if one looks at it openly, one can see ones own eye cells as if projected onto the screen and can watch ones optic physiology activated by the soundtrack in what is, surely, the most basic Dance of Life of all (for the sounds of the film do resemble and, thus, prompt the inner-ear’s hearing of its own pulse output at intake of sound).

These films must, very truly, be seen and very truly seen and heard to be believed!"

METAPHORIC FILMS | METRIC FILMS

Mosaik im Vertrauen (1955)

"Experience has shown that the film is meaningful to an impartial observer; yet the intellectual Alpbach audience found that it was "a sequence of images having no meaning, accompanied by music and noises that do not fit with the images." Some people even expressed the view that it was the decadent work of the devil. It is true that the sequence of images is discontinuous (disjointed) and that the sound and image do not run synchronously, i.e. the spoken word does not need to come from the mouths of the performers. The emotional tensions which arise here, and which Kubelka orchestrated with absolute mastery, are incomparably stronger than any "normal" film. The sequence of images leaps associatively, is sometimes interrupted by secondary events, sometimes unfolds in the reverse order to the way things ordinarily occur, and thus the story is put together enigmatically like the stones of a mosaic. Neither can there be any other film in which the sound has such a powerful autonomous existence as it runs parallel to the image. One has to listen very precisely in order to differentiate between the foreground, middle ground and background of the sound. Kubelka's 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, 1958

Pause! (1977)

"His triumph is really quadruple. First triumph: Pause! is an ecstatic work. Second triumph: With the perfection and intensity of his work he dissolved the audience’s swollen-up expectations which had grown out of normal proportions during the ten years of waiting. He enabled us to receive his new work in its newborn nakedness. Third triumph: His dissolving of Arnulf Rainer. Arnulf Rainer himself is an artist of unique originality and intensity. His face art, which constitutes the source of imagery in Pause!, is a chapter of modern art itself. I have a particular aversion to film-makers who use other artists and their art as materials of their films. These films never transcend their sources. During the first few images of Pause! I had an existential fear. Kubelka had to consume and to transcend not only Arnulf Rainer but also — and this constitutes his fourth triumph — to transcend the entire genre of contemporary art known as face art. A few more images, and my heart regained itself and jumped into excitement: Both Rainer and Art disintegrated and became molecules, frames of movements and expressions, material at the disposal of the Muse of Cinema. I am not saying this to diminish the person and art of Arnulf Rainer: His own greatness cannot be dissolved, in his art. But here we speak about the art of Peter Kubelka, and in a work of art, as in the heavens so on earth, there is only one God and Creator." – Jonas Mekas

Unsere Afrikareise (1966)

"Kubelka’s most recent film before Pause! is Unsere Afrikareise, whose images are relatively conventional "records" of a hunting-trip in Africa. The shooting records multiple "systems"— white hunters, natives, animals, natural objects, buildings — in a manner that preserves the individuality of each. At the same time, the editing of sound and image brings these systems into comparison and collision, producing a complex of multiple meanings, statements, ironies... I know of no other cinema like this. The ultimate precision, even fixity, that Kubelka’s films achieve frees them to become objects that have some of the complexity of nature itself — but they are films of a nature refined and defined, remade into a series of relationships. Those rare and miraculous moments in nature when the sun’s rays align themselves precisely with the edge of a rock or the space between two buildings, or when a pattern on sand or in clouds suddenly seems to take on some other aspect, animal or human, are paralleled in single events of a Kubelka film. The whole film is forged out of so many such precisions with an ecstatic compression possible only in cinema." – Fred Camper

Dichtung und Wahrheit (Poetry and Truth) (2004) Boston Premiere!

"Dichtung und Wahrheit"contains collected pieces from publicity films with a common element: they show actors before they start and then begin to play what they are directed to represent. Repeated ready-made takes create cycles of symbolic significance, glorified glimpses of the contemporary human condition: the beauty from a hair conditioner, courting and insemination by chocolate-feeding, labourless birth onto a varnished floor, animal and inanimate companions. It was my aim not to shape the found material perfectly into an unambiguous message but to preserve the full richness of archaeological information. My point of view has changed from the contemporary artist into an observer looking into the distant past." – Peter Kubelka

METAPHORIC FILMS | METRIC FILMS

Adebar (1957)

"Kubelka's achievement is that he has taken Soviet montage one step further. While Eisenstein used shots as his 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. The fact that a projected film consists of 24 still images per second serves as the basis for his art. This idea has different materializations in different Kubelka films. In Adebar, only certain shot lengths are used — 13, 26 and 52 frames — and the image material in the film is combined according to certain rules. For instance, there is a consistent alternation between positive and negative. The film’s images are extremely high contrast black-and-white shots of dancing figures; the images are stripped down to their black-and-white essentials so that they can be used in an almost terrifyingly precise construct of image, motion, and repeated sound." – Fred Camper

Schwechater (1958)

"In 1957, Peter Kubelka was hired to make a short commercial for Scwechater beer. The beer company undoubtedly thought they were commissioning a film that would help them sell their beers; Kubelka had other ideas. He shot his film with a camera that did not even have a viewer, simply pointing it in the general direction of the action. He then took many months to edit his footage, while the company fumed and demanded a finished product. Finally he submitted a film, 90 seconds long, that featured extremely rapid cutting (cutting at the limits of most viewers’ perception) between images washed out almost to the point of abstraction — in black-and-white positive and negative and with red tint — of dimly visible people drinking beer and of the froth of beer seen in a fully abstract pattern. This "commercial" may not have sold any beer in the twenty years since it was made, but I (as someone who hates beer) have vowed that if I’m ever in Austria I’ll drink some Swechater, in tribute to what i consider one of the most intense, most pure, and most perfect minutes of cinema anyone has ever achieved." – Fred Camper

Arnulf Rainer (1960)

"Arnulf Rainer’s images are the most "reduced" of all — this is a film composed entirely of frames of solid black and solid white which Kubelka strings together in lengths as long as 24 seconds and as short as a single frame. When he alternates between single black and white frames, a rapid flicker effect is produced, which is as close as Kubelka can come to the somewhat more rapid flicker of motion-picture projection; during the long sections of darkness one waits in nervous anticipation for the flicker to return, without knowing precisely which form it will take. But Arnulf Rainer is not merely a study of film rhythm and flicker. In reducing the cinema to its essentials, Kubelka has not stripped it of meaning, but rather made an object which has qualities so general as to suggest a variety of possible meanings, each touching on some essential aspect of existence." – Fred Camper