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San Francisco Cinematheque TASCHENKINO: A POCKET CINEMA EVENT Gustav Deutsch In Person Sunday, November 2 , 19 97 —S an Francisco Art Institute Several years ago Viennese filmmaker Gustav Deutsch was given a pocket viewer as a present. In this micro- viewer was an 8mm sex film loop depicting an eternal copulation. Deutsch bought more viewers in a Hamburg sex shop and prepared his own films for an imagined mini-cinema. In the Pocketcinema Event 100 Super 8 film- loops, showing 100 scenes of repetitions in life and in film are presented in 100 micro viewers, distributed to the audience. For one hour only light will be projected on the screen, and the audience will change the viewers in a half a minute rhythm, directed by a soundsignal. The event also includes a 20 minute lecture about the film machinery of early film history, to which this project is referring to. 100 Film Loops for Everywhere 100 film loops for 100 film viewers. Each loop deals with one basic aspect of repetition in life and film. The essential characteristics of each aspect become evident by endless repetition in the loop. The various aspects have been comprised in chapters. About Repetition in Life Rhythmically repeated movements were a presupposition for the origin of our life. From our first breathing on rhythmically repeated movements of heart and lungs regulate our blood circulation and respiration—day by day, night by night. Regularly repeated phases of being awake and asleep keep us alive. Because of rhythmically repeated motions we are able to move. The repetition of everyday rituals sets our daily course. Repetitions determine our working life and characterize sports. Music and dance, poetry and rhetoric are based upon repetition. Meditation, rituals, religious acts rest upon repetition and therefore enable mind-expansion. About Repetition in Film The film loop unites the beginning with the end and in this way creates a self-contained continuum. Each single scene, endlessly self-repetitive, therefore becomes itself a perpetuum. Each element of a scene is multiplied according to its characteristics. Linear movements become flowing and gliding, circular movements become spinning and rotating. Self-contained movements (360° pan) become real loops, not self-contained ones (drive ahead) become unreal loops. Real loops simulate a veritably existing perpetuum (a pendulum), whereas unreal loops simulate a fictitious continuum. The loop combines in itself reduction and expansion. The dynamics of each isolated element generates the rhythm of the film loop. About Endless Repetition in Life and Film In film as in life endless repetition is above all a matter of material, and therefore, fiction. For a spectator of the fiction of film is at the same time a real experience, and so an opportunity to sharpen his perception and to expand his mind. A method for focused perception is reduction. A method for mind-expansion is repetition. The film loop combines both methods. With the Pocketcinema project I want to trace the repetitions in life and film as an attempt at the essential elements of film-motion and time.—Gustav Deutsch Gustav Deutcsh (1952) is a Viennese artist who draws, makes music, takes photographs, designs architecture and makes videos and films. 68