filmic Archive | malenki.net

The Perfect Crime: Concerning The Murder Of Reality

Robert Schlotter — Sat, 03 Aug 2024 09:42:42 +0000

Germany is a crime fiction country. If wanted, fictional murder and manslaughter can be witnessed many times a day throughout the main television networks. There are more than 238 crime series available on Germany’s six largest broadcasting channels. Based on the overrepresentation of fictional murder on German television, The Perfect Crime investigates the effect of crime series on our perception and behaviour. The work examines the use of imaging techniques within police work and its epistemic implications, as well as the question of how fictional narratives change our perception of reality.

The work combines several photographic techniques and approaches: Staiger and Uchtmann have made photographs on the film sets of German crime series, overstageing scenes, leading to an abstraction of what is depicted contrasted with supposedly authentic imagery of corpses and crime scenes. In the portrait series various actors, who played victims and perpetrators in German crime series have been altered by artificial intelligence to create new possible versions of them, linked to the creation of phantom images in real police work. Furthermore, locations that has served as a movie set for a fictional crime scenes are documented as 3D reconstructions via photogrammetric methods.

In the book, the artistic examination is complemented with texts by Karen Fromm, Image Traces: Forensic Media and the Documentary Gaze, and sociologists Aldo Legnaro and Andrea Kretschmann, Crime narratives as narratives of order. (https://kultbooks.com/)

German Photobook Award Bronze Winner (Dummy) 2023

Der Beitrag The Perfect Crime: Concerning The Murder Of Reality erschien zuerst auf malenki.net.

BLOW-UP (#MeToo)

Robert Schlotter — Wed, 04 Jan 2023 23:12:58 +0000

In BLOW-UP (#MeToo), artist and art historian Claudia Christoffel takes a contemporary look at Antonioni’s much-cited 1967 film.
Reproducing the dialogue of the introductory scene between the photographer and the model in the film’s own font, she addresses the humiliating perspective and degrading language the photographer’s film character is using within what is actually conceived as a professional working situation.
At least since MeToo, the gender-specific power position of producers and directors in the film and creative industries has been discussed widely.

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Cinéma

Robert Schlotter — Thu, 07 Jan 2021 11:40:25 +0000

Cinéma is the publication to an earlier work, a film with the same name, Marte Aas directed in 2010. „Cinéma escorts you through the history of film, passing the chronophotography of Edward Muybridge, the Lumière-brothers’ The Serpentine Dance (1898) and Richard Serra’s Hand Catching Lead (1968). Cinéma informs you of how modern man treats movement. It shows how the gaze of the film has become our own, how we have internalized its double approach — from behind and in front of the camera lens — and unconsciously made it ours. At the same time, Cinéma disturbs the acquired obviousness in our way of seeing. It is undoubtedly a performance on film.“ — Marit Paasche

Der Beitrag Cinéma erschien zuerst auf malenki.net.

Where Can I Find A Horse in Cambodia?

Robert Schlotter — Mon, 26 Oct 2020 20:55:28 +0000

The golden age of Cambodian cinema, a period that lasted from 1960 to 1975, survives mostly in memory as many of the films were destroyed, and actors and directors killed by the Khmer Rouge shortly afterwards. This work, compiled during trips to Phnom Penh between 2017 and 2019, reimagines elements from this missing archive through reenactments and interpretations of oral remnants. A fanfiction existing at the borderlands of myth, history, and collective memories.

“I’m surrounded by landscapes of memory. The stories are still alive in their minds, but the visual source is no longer there. Absorbed by nostalgic fantasies I’m creating my own fiction, a fanfiction. Somebody else’s idea of somebody else’s world.” — Viktor van Hoof, from Where Can I Find A Horse in Cambodia?

Fanfiction is a work of fiction based on characters or settings originating in another work, created by fans of the original work rather than by its creators.

Der Beitrag Where Can I Find A Horse in Cambodia? erschien zuerst auf malenki.net.

L’Entre-Corps

Robert Schlotter — Sun, 13 Sep 2020 22:15:54 +0000

L’Entre-Corps presents recent cinematic work by Laure Cottin Stefanelli and Peter Snowdon. This books central topic is the interplay between the filmed body and the filming body in the cinematographic and photographic practices of both artists. L’Entre-Corps is a trace and an extension of a dialogue, which took place during the year of their common residence at the Conversation residency in Brussels. This program, initiated by Atelier Cinéma du GSARA and Atelier de Production, supports authors focussing on the challenges of the documentary film, its writings and variations.

Der Beitrag L’Entre-Corps erschien zuerst auf malenki.net.

Memories And How To Get Them

Robert Schlotter — Sun, 24 Jul 2011 09:08:25 +0000

With Memories And How To Get Them Robert Schlotter follows a view on memories and autobiographical memory, as a construct of latently fragmentary pictures. This work by Robert Schlotter is based on Super8 and 8mm amateur moviefilms, which he reproduces from the running projection.

“Memories and how to get them raises the question about the latent, fragmentary nature of photography. On the one hand, its shifting between reality and fiction and vice versa gives rise to a quasi-infinite participative narrative. On the other hand, the awareness of the diversity of potential openings to representation stresses the impossibility of one absolute literal image and sharpens our critical reception and the way in which we deal with images. This topic is even more relevant when photography is used as a means to reflect upon the past and on collective remembrance. Contrary to popular opinion, memory is not a stable reservoir, but is shaped by the very act of recollection. Each alteration in world view involves new means of constructing it.”

From ‘I was here’ by Michèle Walerich, published in: Tourists & Nomads Marburg 2012, ISBN 978-3-89445-464-7

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