Quote:
18 years after Kurt Kren produced his third film, he shot his masterpiece 37/78: Tree Again (1978). 18 years after I created my third darkroom film, I embarked on Train Again. This film is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard. —Peter Tscherkassky

1.34GB | 20m 08s | 1920×1080 | mkv

https://nitro.download/view/CAC30949674F016/Train.Again.2021.1080p.AMZN.WEB-DL.DD+2.0.H.264-Fxe.mkv

Language(s):No dialogue
Subtitles:None

The post Peter Tscherkassky – Train Again (2021) (HD) first appeared on Cinema of the World.

Quote:
18 years after Kurt Kren produced his third film 3/60 Bäume im Herbst, he shot his masterpiece 37/78 Tree Again. 18 years after I created my third darkroom film L’Arrivée (an homage to the Lumière brothers and their 1895 L’Arrivée d’un train), I embarked on Train Again. This third film in my “Rushes Series” is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard! (Peter Tscherkassky)

1.47GB | 20m 03s | 1480×1080 | mkv

https://nitro.download/view/658DB0F53B5DE34/Train_Again_(Peter_Tscherkassky,_2021).mkv
or
https://tezfiles.com/file/d8f1964448dd6/Train_Again_%28Peter_Tscherkassky%2C_2021%29.mp4

Language(s):None
Subtitles:None

The post Peter Tscherkassky – Train Again (2021) first appeared on Cinema of the World.

Synopsis:
The Exquisite Corpus is based on various erotic films and advertising rushes. I play on the “cadavre exquis” technique used by the Surrealists, drawing disparate body parts constellating magical creatures. Myriad fragments are melted into a single sensuous, humorous, gruesome, and ecstatic dream.

637MB | 19mn 0s | 986×720 | mkv

https://nitro.download/view/2AB53142B06A2F6/The_Exquisite_Corpus_(Peter_Tscherkassky,_2015).mkv

Language(s):None
Subtitles:None Needed

The post Peter Tscherkassky – The Exquisite Corpus (2015) first appeared on Cinema of the World.

A premonition of a horror film, lurking danger: A house – at night, slightly tilted in the camera’s view, eerily lit – surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky’s dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. It removes the ground from under the viewer’s feet and splits faces, like in a bad dream. From the off, from outer space, foreign bodies penetrate the images and cause the montage to become panic stricken. The outer edges of the film image, the empty perforations and the skeletons of the optical sound track rehearse an invasion…

335MB | 9 min 54 s | 2048×858 | mkv

http://nitroflare.com/view/91A087D43715DD8/Outer.Space.%28Peter.Tscherkassky.1999.Austria%29.1080p.WEB-DL.x264-KnightsOfNi.mkv

Language:English
Subtitles:None

The post Peter Tscherkassky – Outer Space (1999) first appeared on Cinema of the World.

From PT’s website:

Aderlaß is a youthful attempt to process the inheritance of the Vienna Actionists through the use of a super 8 camera. In front of the camera is a performance from Armin Schmickl Sebastiano (Peter Tcherkassky). A game with light and sound that explodes out of the calm into a delirium of movement and finally returns, after the “blood-letting”, to rigidity.

Liebesfilm is an ironic attack on one of the durables of the Hollywood clichés – the film kiss. A short take of mouths approaching each other is shown 522 times. But the kiss never takes place, merely the speed of the movement is continually increased. This excessive repetition of the theme destroys the “happy clarity” that inhabits “the film kiss” myth.

The target of Tabula Rasa is the heart of cinema. Voyeuristic desire as the pre-condition for all cinema pleasure is at stake here. What Christian Metz and Jacques Lacan have established in theory is rendered as film in Tabula Rasa. At the beginning we can recognize only shadows from which the picture of a woman undressing herself hesitantly emerges. But exactly at the point when one believes one can make out what it is, the camera is located in front of the object. Tabula Rasa takes distance, the fundamental principle of voyeurism, in so far literally, as it shows us the object of desire but continually removes it from our gaze.

https://nitro.download/view/3ACA65FF20D9CA1/Aderlass_(1981).mkv
https://nitro.download/view/BCA63B0015D018B/Liebesfilm_(1982).mkv
https://nitro.download/view/CDDF2DE00889FD5/Tabula_Rasa_(1987).mkv

Language(s):Some German and French
Subtitles:Not really needed

The post Peter Tscherkassky – Three Short Films (1981-89) first appeared on Cinema of the World.

The hero of Instructions for a Light and Sound Machine is easy to identify. Walking down the street unknowingly, he suddenly realizes that he is not only subject to the gruesome moods of several spectators but also at the mercy of the filmmaker. He defends himself heroically, but is condemned to the gallows, where he dies a filmic death through a tearing of the film itself.
Our hero then descends into Hades, the realm of shades. Here, in the underground of cinematography, he encounters innumerable printing instructions, the means whereby the existence of every filmic image is made possible. In other words, our hero encounters the conditions of his own possibility, the conditions of his very existence as a filmic shade.
Instructions for a Light and Sound Machine is an attempt to transform a Roman Western into a Greek tragedy.

Peter Tscherkassky (translation: Eve Heller)

	
Instructions.for.a.Light.and.Sound.Machine.2005.Peter.Tscherkassky.DVDRip.DD2.0.x264.mkv

General
Container:  	Matroska
Runtime: 	16 min 30 s
Size: 	241 MiB
Video
Codec: 	x264
Resolution: 	718x324 ~> 761x324
Aspect ratio:  	2.35:1
Frame rate: 	25.000 fps
Bit rate: 	1 742 kb/s
BPP: 	0.300
Audio
#1:  	2.0ch AC-3 @ 256 kb/s (Stereo)

https://nitro.download/view/8DD17E2ECA680B9/Instructions.for.a.Light.and.Sound.Machine.2005.Peter.Tscherkassky.DVDRip.DD2.0.x264.mkv

Language(s):None
Subtitles:None

The post Peter Tscherkassky – Instructions for a Light & Sound Machine (2005) first appeared on Cinema of the World.

_L’Arrivée_

L’Arrivée is Tscherkassky’s second hommage to the Lumiére-brothers. First you see the arrival of the film itself, which shows the arrival of a train at a station. But that train collides with a second train, causing a violent crash, which leads us to an unexpected third arrival, the arrival of a beautiful woman – the happy-end.
Reduced to two minutes L’Arrivée gives a brief, but exact summary of what cinematography (after its arrival with Lumiéres train) has made into an enduring presence of our visual enviroment: violence, emotions. Or, as an anonymous american housewife (cited by T. W. Adorno) used to describe Hollywood’s version of life: “Getting into trouble and out of it again.”

(Peter Tscherkassky)

_Outer Space_

A young woman, night, an American feature film. She enters a house, a dark corridor, a thriller. While she forces her way into an unknown space together with the viewer, the cinematographic image-producing processes go off the rails all around her. The rooms through which she goes telescope into each other, become blurred, while at the same time the crackling of the cuts and the background noise of the sound track – the sound of the film material itself – becomes louder and more penetrating.
The pace becomes frenetic, the woman is being pursued by invisible opponents, she is pushed against a mirror, walls of glass burst, furniture tilts and the cinematographic apparatus which the heroine begins to attack in blind fury also suffers. The images jump and stutter, the perforation holes tilt into the picture, the sound track collapse inwards in a will o’ the wisp destruction scenario – something which only film can do so beautifully. In ten minutes ‘’Outer Space’’ races through the unsuspected possibilities of cinematographic errors – a masterpiece.

Stefan Grissemann

_Dreamwork_

A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through classic cinematography.

“Dream Work” is – after “L’Arrivée” und “Outer Space” – the third section of my CinemaScope Trilogy. The formal element binding the trilogy is the specific technique of contact printing, by which found film footage is copied by hand and frame by frame onto unexposed film stock. Through this, I am able, in a literal sense, to realize the central mechanism by which dreams produce meaning, the “dream work,” as Sigmund Freud described it: displacement [Verschiebung] and condensation [Verdichtung]. The new interpertation of the text of the original source material takes place through its “displacement” from its original context and its concurrent “condensation” by means of multiple exposure.

Moreover “Dream Work” positions itself as an hommage to Man Ray, who, in 1923 with his famous rayographs in “La retour á la raison” was the first artist to use this technique for filmmaking, exposing the image by shining light through physical objects onto the film stock.

(Peter Tscherkassky)

https://nitro.download/view/1A86BD4369A04CC/Peter_Tscherkassky_-_I_Cinemascope_Trilogy_-_L_Arivee_(1997-98).avi
https://nitro.download/view/3BE4033BC65FC55/Peter_Tscherkassky_-_II_Cinemascope_Trilogy_-_Outer_Space_(1999).avi
https://nitro.download/view/9C040453CA16C18/Peter_Tscherkassky_-_III_Cinemascope_Trilogy_-_Dreamwork_(2001).avi

No pass

The post Peter Tscherkassky – Cinemascope Trilogy (1997 – 2001) first appeared on Cinema of the World.