Helga Fanderl will be here in person to present one of her unique screening programs from both Super-8 and 16mm projections.
For Fanderl the film is born out of the act of recording, with a certain immediacy, with the hand-held super 8 camera (some being later blown up to 16mm) and all are edited in the act of filming -the so called "in camera" technique. This limitation, particularly with super 8, provides a certain formal palette from which the decisions of the filmmaker can evolve within, whilst simultaneously reacting very intuitively to the outside.
The reactions to the subject become imbued with the nature of the medium -which in this case is alive with movement, and a rapid dynamism of both chance and prediction, instantly finalised before our eyes in a succession of repetition, or a flurry of single frames, images which speak of their sudden miniaturisation and rigid order as they condense onto an 8mm wide strip of film.
Although each individual film exists in its own right as an autonomous presence, for each screening program Fanderl assembles a selection of the works into larger reels, according to her thinking at the time. This creates a unique "montage" sequence for each occasion, and adds another layer to the way each film is percieved.
In the filmmakers' own words:
"I find my subjects being on my way with a camera and opening my mind and senses to reality. The small Super 8 camera is an appropriate instrument to react immediately to what I perceive, helping me to find out and go deeper into what interests me. Simultaneously, I try to create a particular film form in correspondence with the subject.
My films are made while I am filming. They preserve the chronological order and the intensity of my recording. There is no postproduction. What matters is the concentrated interplay with the subject. The camera is hand held. One feels the gesture like you do in a painted sketch or a drawing. The viewer senses my presence in the filmed situation and can follow all my decisions.
I am inspired by patterns of movements, rhythms, forms, textures and colours when I transform into film what I see, feel, think and imagine, shaping images, shaping time.
The individual films are shown in changing programs. Making a temporary "montage" of selected work means to create a unique ephemeral "film" for every screening. The meaning of the single films as well as the perception of time varies in relation to the surrounding films. At the same time, each program evokes essential aspects of my filmmaking in general. The viewers experience an intense film cosmos where they can easily loose their usual notion of time and space." (Helga Fanderl)
- Karussell im Jardin d’Acclimatation (Carousel at Jardin d’Acclimatation)
- Güterzüge (Freight Trains)
- Skulpturen im Nebel (Sculptures and Mist)
- Pflanzen (Plants)
- Nach dem Feuer II (After the Fire II)
- Hochzeitswalzer (Wedding Waltz)
- Kakibaum im Winter (Persimmon Tree in Winter)
- Teetrinken (Tea Time)
- Roter Vorhang (Red Curtain)
- Vögel am Checkpoint Charlie* (Birds at Checkpoint Charlie)
- Ostberlin* (East Berlin)
- Aus dem Empire State Building* (From the Empire State Building)
- Wilde Wasser* (Wild Waters)
- Eisbär* (Polar Bear)
- Laub (Leaves)
- Rost (Rust)
- Container (Containers)
- Gläser (Glasses)
- Gelbe Blätter (Yellow Leaves)
- Strom (Stream)
Silent, colour and bw*, ca. 60’