Employing the method of single frame editing, primarily focused on sound, the realistic film image transforms into a surreal, structuralist and finally even abstract film.
- Experimental
- Non-narrative
Person
2020 16+ 8 min
by Johannes Schiehsl, Thomas Renoldner
Employing the method of single frame editing, primarily focused on sound, the realistic film image transforms into a surreal, structuralist and finally even abstract film.
2012 16+ 7 min
by Thomas Renoldner
SUNNY AFTERNOON is the confrontation of “kind of” an avantgardefilm with “kind of” a musicvideo, and consequently puts questions about the standard taboos and clichés of different film-“genres”. Both avantgardefilm and musicvideo use musicsound “typical for their genre”.
2009 7+ 5 min
by Thomas Renoldner, Nicolas Mahler
A series of cinematic miniatures about the essence of music and the process of its reception. Music is first excreted, and then received. Sausage or spherical. The resulting sound is not the actual sound of the instruments shown, but the perceived timbre of abstract music representation.
2020 16+ 8 min
by Johannes Schiehsl, Thomas Renoldner
Employing the method of single frame editing, primarily focused on sound, the realistic film image transforms into a surreal, structuralist and finally even abstract film.
2012 16+ 7 min
by Thomas Renoldner
SUNNY AFTERNOON is the confrontation of “kind of” an avantgardefilm with “kind of” a musicvideo, and consequently puts questions about the standard taboos and clichés of different film-“genres”. Both avantgardefilm and musicvideo use musicsound “typical for their genre”.
2009 7+ 5 min
by Thomas Renoldner, Nicolas Mahler
A series of cinematic miniatures about the essence of music and the process of its reception. Music is first excreted, and then received. Sausage or spherical. The resulting sound is not the actual sound of the instruments shown, but the perceived timbre of abstract music representation.
2020 16+ 8 min
by Johannes Schiehsl, Thomas Renoldner
Employing the method of single frame editing, primarily focused on sound, the realistic film image transforms into a surreal, structuralist and finally even abstract film.
2012 16+ 7 min
by Thomas Renoldner
SUNNY AFTERNOON is the confrontation of “kind of” an avantgardefilm with “kind of” a musicvideo, and consequently puts questions about the standard taboos and clichés of different film-“genres”. Both avantgardefilm and musicvideo use musicsound “typical for their genre”.
2009 7+ 5 min
by Thomas Renoldner, Nicolas Mahler
A series of cinematic miniatures about the essence of music and the process of its reception. Music is first excreted, and then received. Sausage or spherical. The resulting sound is not the actual sound of the instruments shown, but the perceived timbre of abstract music representation.
2020 16+ 8 min
by Johannes Schiehsl, Thomas Renoldner
Employing the method of single frame editing, primarily focused on sound, the realistic film image transforms into a surreal, structuralist and finally even abstract film.
2012 16+ 7 min
by Thomas Renoldner
SUNNY AFTERNOON is the confrontation of “kind of” an avantgardefilm with “kind of” a musicvideo, and consequently puts questions about the standard taboos and clichés of different film-“genres”. Both avantgardefilm and musicvideo use musicsound “typical for their genre”.
2009 7+ 5 min
by Thomas Renoldner, Nicolas Mahler
A series of cinematic miniatures about the essence of music and the process of its reception. Music is first excreted, and then received. Sausage or spherical. The resulting sound is not the actual sound of the instruments shown, but the perceived timbre of abstract music representation.
2012 16+ 7 min
by Thomas Renoldner
SUNNY AFTERNOON is the confrontation of “kind of” an avantgardefilm with “kind of” a musicvideo, and consequently puts questions about the standard taboos and clichés of different film-“genres”. Both avantgardefilm and musicvideo use musicsound “typical for their genre”.
2012 16+ 7 min
by Thomas Renoldner
SUNNY AFTERNOON is the confrontation of “kind of” an avantgardefilm with “kind of” a musicvideo, and consequently puts questions about the standard taboos and clichés of different film-“genres”. Both avantgardefilm and musicvideo use musicsound “typical for their genre”.
2020 16+ 8 min
by Johannes Schiehsl, Thomas Renoldner
Employing the method of single frame editing, primarily focused on sound, the realistic film image transforms into a surreal, structuralist and finally even abstract film.
2012 16+ 7 min
by Thomas Renoldner
SUNNY AFTERNOON is the confrontation of “kind of” an avantgardefilm with “kind of” a musicvideo, and consequently puts questions about the standard taboos and clichés of different film-“genres”. Both avantgardefilm and musicvideo use musicsound “typical for their genre”.
2009 7+ 5 min
by Thomas Renoldner, Nicolas Mahler
A series of cinematic miniatures about the essence of music and the process of its reception. Music is first excreted, and then received. Sausage or spherical. The resulting sound is not the actual sound of the instruments shown, but the perceived timbre of abstract music representation.