Screening Series in the Mûcsarnok and in the Örökmozgó,
the Film Museum of the Hungarian Film Institute,
throughout the duration of the exhibition

Projected Perspectives

The discovery, development and standardization of movie picures radically changed not only our habits but also the ways of image-making and thus our entire concept and perspective of the world. Naturally, this process started earlier than the discovery was announced and it is also true that the changes did not become apparent immediately. It took several years of research, especially within the fields of experimental film and video whose consciously used media resulted in the present situation, i.e. that today the instrumental features and possible uses of the moving image function as some kind of knowledge that is known to all of us. This process eventually established the foundations of a non-linear, interactive, virtual media world, which has already even reached beyond the borders of its earlier described and further analyzed limits.
Within the period between the late 1910s and early 1980s a radical shift occured in both the concept of perspective as well as in image-making techniques. A parallel in the history of image-making could be drawn with the period of the Renaissance if we want to understand the relevance of these changes by means of an analogy. While there and then fixed perspective and that of the picture world beyond an open window encouraged the eye-sight directed toward the easel painting to find more similarities between the image and the world (which was even more emphasized by the growing interest of painterly practice to gradually adjust an exact reconstruction of space to visual experience), in the recent past our concept of time went through similar changes. Before the time of movie pictures it would not have made much sense to render more detail about time to the image than the date of creation - most often it was sufficient to know whether a given piece was old or new. Cinematography has radically changed this attitude. It became more important to know how long a video piece or a TV broadcast was than details about their "size". The duration of a film must be viewed in relation to real-time experience and it is not only important for reasons of time-measurement or a comparison of real time relations and the time of representation. The length of a film also has its own rules, by which an efficient technique of setting limits to time was created despite that earlier it was believed to be impossible. Even if this did not make the definition of time easier it opened possibilities of its manipulation and analysis. Our notion of time is similar to the extent of knowledge we are able to depict and construct space making it more tangible and transparent by means of perspective.

The limits to our ability to understand time are similar to the extent to whi h we are able to depict and construct space-making it more tangible and transparent through the use of perspective.In the case of audio-visual media, especially in linear-narrative films and videos, the concept of a central-perspective timeline was initiated recently. Time flows always in the same forward direction, with the same speed between two fixed points (i.e. the beginning and end of the given movie), and within this anything can happen: to quote Dürer again "we are free to take a view through the "canvas-window"-that is through projection. The gaze always rests on the point in front of it -the center - and this same point, meanwhile, wanders through the whole film along the horizon of projection, thus drawing a horizon of meaning while the film winds out. This wandering point, i.e. the point of sight is followed by the two eyes while the head is motionless. (For monocular perspective one eye would be enough). It constructs the istoria as the plot was once called by L.B. Alberti, which is the depicted scene in the central perspective of the picture. The image is ready when time is over, the lights are switched on and the empty canvas appears in front of us. Projection is not a space phenomenon: it can only be taken home as a memorial of time.


Screening Series in the Mûcsarnok

30 July 1999, 10.00 18.00
MEDIA MAGICA (1986-97)
A Film Series by Werner NEKES (1995)
Beyond the Image, Pictures Come to Life,
Multi-Thousand Picture Show,
The Ambigous Image and Spece, The Magic Drum

Discussion with Werner Nekes following the screenings


Thursday, 15 July 1999, 18.00
Peter WEIBEL: Über die Grenzen des Realen
(Ars Electronica'92, ORF, 2 hours)

Thursday, 22 July 1999, 18.00
PERSPECTIVE selection:
BÓDY Gábor: Novalis - Walzer (1985, 4)
SÁROSI Anita: Tér-kép (3)
SZEGEDY-MASZÁK Zoltán: Real-Time IV. (5)
WALICZKY Tamás: Trilogy (1992-95, 15)
Thierry KUNTZEL: Buena Vista (27)
Valie EXPORT: Syntagma

Thursday, 29 July 1999, 18.00
CD presentations: The Butterfly Effect, C3 CD, Perspective

Thursday, 5 August 1999, 18.00
John WYVER lecture and presentation: Illuminations Television

Thursday, 12 August 1999, 18.00
Michael Klier: Der Riese (The Giant)

Wednesday, 18 August 1999, 18.00

Sunday, 22 August 1999, 10.00 - 18.00
MEDIA MAGICA (1986-97)
A Film Series by Werner NEKES (1995)
Beyond the Image, Pictures Come to Life,
Multi-Thousand Picture Show,
The Ambigous Image and Space, The Magic Drum


Screening Series at the Örökmozgó,
the Film Museum of the Hungarian Film Institute

Opening Screening: Sunday, 4 July 1999, 18:30

The works of Zbigniew RYBCZYNSKI: Square, New Book, I Can't Stop, Media, Tango, Steps, Kafka

Followed by a discussion with Zbigniew Rybczynski

Friday, 9 July 1999, 18.30

David LARCHER: Granny's Is, VideØVoid: Trailer and Text
Ich Tank

Followed by a discussion with David LARCHER

Friday, 16 July 1999, 18.30

René CLAIR: Entr'acte
Ferdinand LÉGER: Ballet Mechanique
Luis BUNUEL: Un Chien Andalou
Jean COCTEAU: The Blood of a Poet

Dziga VERTOV: Man with a Movie Camera (Kino-Glas)

Friday, 23 July 1999, 18.30

Fritz LANG: Metropolis

Walter RUTTMANN: Berlin, The Symphony of a Big City

Friday, 30 July 1999, 18.30

Patrick Bokanowski: L'Ange" (The Angel), (France, 1982, 70", 35mm)

Brothers Quay: Anamorphosis (De Artificiali Perspectiva), (1991, 15', 35mm), Rehearsals for Extinct Anatomies (1987, 14', 35mm), The Comb (1990, 18', 35mm), Street of Crocodiles (1986, 21', 35mm)

Followed by a discussion with the Brothers Quay
(moderated by György Horváth)

Friday, 6 August 1999, 18.30

Peter GREENAWAY: The Draughtsman's Contract

Werner NEKES: Der Tag des Malers (The Day of the Painter)

Followed by a discussion with Werner NEKES

Friday, 13 August 1999, 18.30

Gábor BÓDY: Psyche I-II-III

Thursday, 19 August 1999, 18.30

Gábor BÓDY: Motion Studies (Homage à Eadweard Muybridge)
Gábor BÓDY: American Torso

Alain RESNAIS: Toute la mémoire du monde (All the Memory of the World) (1956, 16mm, 22')
Alain RESNAIS/Alain ROBBE-GRILLET: Last Year at Marienbad

Friday, 27 August 1999, 18.30

Orson WELLES: Citizen Kane

Jacques TATI: Playtime