Last Tango in Paris
Classical fiction features, whether from the Hollywood factory or elsewhere, usually tell their stories along familiar lines. Often they reinforce the myths of the respective society and cultural systems because they are trying to project the desires of people to repeatedly fulfill the same wishes. On the other hand, avant-garde production using archival material is in opposition to the prevalent stories and their conventional mise-en-scène. As the artists realign the context of images and sounds, they open spaces for contemplation reaching beyond the original meaning and illusionist effect of films.
Sometimes it is enough to rework one sequence to bring out the artificiality and social determinism of a character, as in the family breakfast scene reconfigured by Martin Arnold or with the famous excerpt from RASHOMON used by Nicolas Provost.
The stereotypes found in melodramas and their emotional forms of expression etched into gestures and faces are particularly suited for deconstruction – especially the voyeuristic gaze directed at female stars, like in the works of Matthias Müller and Joseph Cornell. But there is also the option of deliberately frustrating expectations, instead foregrounding painterly or abstract qualities of film and video material, as demonstrated by WESTERN SUNBURN, LAST TANGO IN PARIS and LA PETITE ILLUSION. The production of commercials is another dream factory: Peter Kubelka purposefully edits outtakes and despite abstaining from aesthetic interventions elevates the material to the level of absurd parody. (B.B.U.)
All retrospective films that will be shown at the Filmmuseum after the Viennale - from 2.11. - can of course also be reserved as usual at filmmuseum.at or by calling 01/533 70 54 and purchased at the box office of the Austrian Film Museum. The prices of the Austrian Film Museum apply.