We are looking forward to the second part of Centrum's Kunst Film Fest #2 which features a lineup of supercuts. The term supercut was coined by blogger Andy Baio in 2008 as a "genre of video meme, where some obsessive-compulsive superfan collects every phrase/action/cliché from an episode (or entire series) of their favorite show/film/game into a single massive video montage."
Matthias Müller’s 'Home Stories' from 1990 is a classic in the genre of the serial found-footage film. This video was montaged as a collage of Hollywood melodramas from the 1950s and 1960s filmed directly from the television set. In it, Hollywood stars such as Grace Kelly, are shown in scenes of uneasy sleep, getting up, listening at the door, turning on the lights, being startled, looking out of the window, etc. Accompanied by Dirk Schäfer’s soundtrack, the repetitive suspenseful motifs make it possible for the montage to move seamlessly between the different protagonists and plots. Katharina Arndt’s 'James' (2007) is the deconstruction of a sex symbol. In this video collage of kissing scenes from Bond-Movies, we see James kiss 38 different women without interruption. Katharina Arndt’s second video, 'I ♥ NY' (2010), consists of footage from eighteen different Hollywood movies in which New York City is shown to be destroyed by earthquakes, meteorites, fire-storms, and a deluge. These movies were produced by Hollywood to serve as a projection screen for fears and desires both before and after 9/11. To most Europeans, New York represents the gate to the New World and the USA as a world power. In these movies, it is shown at its most vulnerable. It seems that maximum vulnerability also implicates maximum sensation and maximum catharsis. Using a selection of scenes from different Hollywood movies from the 1950s and 1960s, Eli Cortiñas’ 'Confessions with an Open Curtain' (2011) explores the construction of female identity. Scenes of sweeping curtains are a reference to Catholic confessionals, where the penitent is separated from the confessor by a curtain for the sake of anonymity. These alternate with scenes of the ‘penitent’. Alongside a range of faceless blonde Hollywood heroines we gaze out of the window. We look into the distance, into the past, and into the future while listening to their accounts of what it means to be a girl and a woman. Finally, in Keren Cytter's Video 'Art Manual' (2011), supercut is one of many different techniques, which the artist utilises in her manual for both the production, and the perception of contemporary video art. The video follows the narrative of an imminent threat of heightened solar activity and a subsequent global power cut. We see a range of common filmic techniques deconstructed and gender stereotypes, clichéd patterns in relationships, and conventional media imagery unmasked. The boundaries between video, cinema, television, news reports, and real life are blurred. This is achieved through alternating between original scripted footage and appropriated and manipulated clips from the internet and cable news networks. Finally, In Crying for the March of Humanity (2012) Jankowski recreates an episode of a Mexican telenovela shortening the dialogue to scenes of crying. The actors express their emotions and communicate only through various forms of drama. Jankowski takes the title from the world’s largest mural, La Marcha de la Humanidad en la Tierra y hacia el Cosmos (The March of Humanity on Earth and Toward the Cosmos), by Mexican muralist David Alfaro Siquieros.
Join us this Friday for some riveting videos and a mug of Glühwein, and stay tuned for further invitations!