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CinemaPRO -
Friday, December 12, 2014 - 20:30
Editing:
Peter Tscherkassky, Eve Heller
Sound:
Dirk Schaefer
Romanian premiere
Winner of Best Short Film at Venice, the latest film from master of (post)modernist experimental cinema Peter Tscherkassky, COMING ATTRACTIONS is an homage to silent film’s cinema of attractions. His celluloid manipulation of fragments from advertising footage references sequences from silent films by adhering to their respective cinematic language. A pas-de-deux of form and rhythm, Coming Attractions brings the past to the present by offering a lesson in the history of cinema that is as much food for thought as it delights the senses. (Andrei Tănăsescu, BIEFF).
Director:
PETER TSCHERKASSKY (b. 1958 in Vienna) studied philosophy and completed his doctoral studies with the thesis Film as Art. Towards a Critical Aesthetics of Cinematography. He is a founding member of Sixpackfilm Austria and has organized several international avant-garde film festivals in Vienna and film tours abroad. Since 1979 he has produced a large number of award-winning experimental films, and has released numerous publications and lectures on the history and theory of avant-garde film.
Website:
Contact:
peter[at]tscherkassky[dot]at
Festivals, awards:
- Best Short Film - Venice Film Festival 2010
- New York Film Festival 2010
- Toronto International Film Festival 2010
- Vienna International Film Festival 2010
- Festival du Nouveau Cinéma Montréal 2010
- Rotterdam International Film Festival 2011
- Cinéma du Réel International Documentary Film Festival Paris 2011
- Jeonju International Film Festival 2011
- Uppsala International Short Film Festival 2011
Director's statement:
COMING ATTRACTIONS additionally addresses Gunning's concept of a cinema of attractions. This term is used to describe a completely different relation between actor, camera and audience to be found in early cinema in general, as compared to the modern cinema which developed after 1910, gradually leading to the narrative technique of D. W. Griffith. The notion of a cinema of attractions touches upon the exhibitionistic character of early film, the undaunted show-and-tell of its creative possibilities, and its direct addressing of the audience. At some point it occurred to me that another residue of the cinema of attractions lies within the genre of advertising: here we also often encounter a uniquely direct relation between actor, camera and audience. The impetus for Coming Attractions was to bring the three together: commercials, early cinema, and avant-garde film. (Peter Tscherkassky)
COMING ATTRACTIONS additionally addresses Gunning's concept of a cinema of attractions. This term is used to describe a completely different relation between actor, camera and audience to be found in early cinema in general, as compared to the modern cinema which developed after 1910, gradually leading to the narrative technique of D. W. Griffith. The notion of a cinema of attractions touches upon the exhibitionistic character of early film, the undaunted show-and-tell of its creative possibilities, and its direct addressing of the audience. At some point it occurred to me that another residue of the cinema of attractions lies within the genre of advertising: here we also often encounter a uniquely direct relation between actor, camera and audience. The impetus for Coming Attractions was to bring the three together: commercials, early cinema, and avant-garde film. (Peter Tscherkassky)