Peter Tscherkassky

Peter Tscherkassky – Train Again (2021) (HD)

Quote:
18 years after Kurt Kren produced his third film, he shot his masterpiece 37/78: Tree Again (1978). 18 years after I created my third darkroom film, I embarked on Train Again. This film is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard. —Peter Tscherkassky Read More »

Peter Tscherkassky – Train Again (2021)

Quote:
18 years after Kurt Kren produced his third film 3/60 Bäume im Herbst, he shot his masterpiece 37/78 Tree Again. 18 years after I created my third darkroom film L’Arrivée (an homage to the Lumière brothers and their 1895 L’Arrivée d’un train), I embarked on Train Again. This third film in my “Rushes Series” is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard! (Peter Tscherkassky) Read More »

Peter Tscherkassky – The Exquisite Corpus (2015)

Synopsis:
The Exquisite Corpus is based on various erotic films and advertising rushes. I play on the “cadavre exquis” technique used by the Surrealists, drawing disparate body parts constellating magical creatures. Myriad fragments are melted into a single sensuous, humorous, gruesome, and ecstatic dream. Read More »

Peter Tscherkassky – Outer Space (1999)

A premonition of a horror film, lurking danger: A house – at night, slightly tilted in the camera’s view, eerily lit – surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky’s dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. Read More »

Peter Tscherkassky – Ji.hlava IDFF Presents: Masterclass – Peter Tscherkassky (2014)

Quote:
Master Class of Peter Tscherkassky starts with the screening of Instructions for a Light and Sound Machine, premiered at Cannes IFF as part of the independent section, Quinzaine des réalisateurs. The Master Class itself focuses on an analysis of this film.

Peter Tscherkassky was born in 1958 in Vienna. He studied journalism and political science as well as philosophy at the University of Vienna. Tscherkassky began filming in 1979 when he acquired Super-8 equipment and before the end of the year he had scripted and started off the shooting of Kreuzritter. Tscherkassky’s deconstructions of film material reinterpret fragments from the history of cinematography, simultaneously creating entirely unique qualities. Read More »

Peter Tscherkassky – Three Short Films (1981-89)

From PT’s website:

Aderlaß is a youthful attempt to process the inheritance of the Vienna Actionists through the use of a super 8 camera. In front of the camera is a performance from Armin Schmickl Sebastiano (Peter Tcherkassky). A game with light and sound that explodes out of the calm into a delirium of movement and finally returns, after the “blood-letting”, to rigidity.

Liebesfilm is an ironic attack on one of the durables of the Hollywood clichés – the film kiss. A short take of mouths approaching each other is shown 522 times. But the kiss never takes place, merely the speed of the movement is continually increased. This excessive repetition of the theme destroys the “happy clarity” that inhabits “the film kiss” myth. Read More »

Peter Tscherkassky – Tabula rasa (1989)

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From PT’s website:
The target of Tabula Rasa is the heart of cinema. Voyeuristic desire as the pre-condition for all cinema pleasure is at stake here. What Christian Metz and Jacques Lacan have established in theory is rendered as film in Tabula Rasa. At the beginning we can recognize only shadows from which the picture of a woman undressing herself hesitantly emerges. But exactly at the point when one believes one can make out what it is, the camera is located in front of the object. Tabula Rasa takes distance, the fundamental principle of voyeurism, in so far literally, as it shows us the object of desire but continually removes it from our gaze. Read More »