Johannes Binotto: music, crystal, memory

In Wong Kar-Wai’s 2046 the use of music from other sources, and from François Truffaut’s VIVEMENT DIMANCHE in particular, becomes an additional layer to its multi-layered images and narrative.
By musical cue one film gets into an intimate conversation with another.… continue

Johannes Binotto: TV Dictionary – Miami Vice

As part of the collaborative video essay project TV DICTIONARY by Ariel Avissar this psychoanalytically inspired video essay reads the 80s TV series MIAMI VICE on the basis of a word that designates its central trope, its aesthetic principle, as well as its fundamental philosophical and psychological concept.… continue

Johannes Binotto: a message from Jiří

Early cinema, the materiality of film, and today’s audio messaging.
The message from scholar and film theorist Jiří Anger on his research on the Czech film pioneer Jan Kříženecký made me see the things he is obsessed with.… continue

Oswald Iten: Silence in THE PASSIONATE FRIENDS

David Lean’s 1949 melodrama THE PASSIONATE FRIENDS has never gained the same popularity as its similarly themed predecessor BRIEF ENCOUNTER (1945). But apart from a stellar performance by Claude Rains it has something that is practically inexistent in the earlier film: silence.… continue

Johannes Binotto: Practices of Viewing II: Pause

Pause is just a click away. The fact that on our devices we can pause a film whenever we want makes us forget how unsettling this actually is. Thinking about how dangerous it once has been when the images come to halt should help us to see this practice as subversive.… continue

Johannes Binotto: Practices of Viewing I – F.FWD

Fast forwarding – nothing is as despised and as omnipresent among those in love with cinema. But what if we consider the speeding up of film as a reflexive practice that connects contemporary media consumption with the experimental beginnings of cinema before standardization.… continue

Chloé Galibert-Laîné: A very long exposure time

Inventing a poetic path through images created with Louis Daguerre’s centuries-old photographic device, 16mm film cameras, pixelated video games consoles, early smarphones and contemporary computer interfaces, the work asks: what aspects of reality have these different technologies been designed to document?… continue

Oswald Iten: Beyond the Catchy Tunes

Audiovisual essay for the NECSUS issue Autumn 2020_#Method.

When it comes to Disney music, and The Jungle Book (Wolfgang Reitherman, 1967) in particular, most people think of character-defining songs like ‘The Bare Necessities’.… continue

Jialu Zhu: The Absent Father, Cultural Trauma

Taking “Papa was a Rollin’ Stone” by The Temptations and The Autobiography of Malcolm X as the departure point this video essays traces the theme of the absent black father as rooted in the trauma of colonialization and slavery, perpetuated by the cultural trauma of racism in America. … continue

Johannes Binotto: Key/Frame

In digital video, keyframes are those images which serve as anchoring points for all the other images. By removing them the video becomes unstable.

A digital automaton working against cinema’s obsession.… continue

Jialu Zhu e.a.: Subdue the Earth


A video essay exploring the exploitation of the American west, along the lines of Frederick Jackson Turner’s frontier thesis and western films, from THE MAN FROM LARAMIE to WESTWORLD Season 1.… continue

Chloé Galibert-Laîné: Forensickness

In an attempt to analyse Chris Kennedy’s ‹Watching the Detectives›, a researcher dives into a massive archive of media produced after the Boston attacks. Her online wanderings offer a performative exploration of the history of critical thinking and the ruthless politics of truth production.… continue

Johannes Binotto: Trace

The first image of «Hiroshima mon amour» – a trace, asking for interpretation, resisting interpretation. Feeling for the facets of just this one image is personal, visceral. Never final.… continue

Johannes Binotto: Crossings

There is this magical scene in Ulrike Ottinger’s FREAK ORLANDO which brings into play the questions of otherness and identification, of desire as queer and transgressive, and of film (and media in general) as that which is caught between transparence and opacity.… continue

Oswald Iten: The Age Of Emptiness

Video essay based on Martin Scorsese’s 1993 adaptation of Edith Wharton’s novel «The Age Of Innocence» and Bernard Herrmann’s score for TAXI DRIVER (Scorsese, 1976).

«The Age Of Emptiness» takes a look at how we might also read Scorsese’s film in our current situation of «Social Distancing».… continue