IN-TIMER 47:09:21, camera obscura film

The hole of the camera obscura. A well-defined nonentity. It’s basic characteristic is to create pictures and it is taken as the basis of our work. The idea not only to make single pictures with the holes fascinating attribute, but also to make motion pictures, leads us to basic reflexion about the border between two medias: film and photography. We define one year as a timeframe and start to organize our project. The definition of two phases helps us to find a firm structure: half a year to develop the technical devices and the dramaturgic structure, followed by another half year to realize the film.To find a convenient technic that gives us the expected quality we go back to the times before the discovery of the moving pictures, i.e. to the beginnings of photography. We research and test. We look, we condemn, we calculate, we measure. This leads not at least for reasons of economy to the technique of a digital camera obscura which builds a bridge between the first cameras and the modern hightech media.Two different design types allow us to move through space and time on the one hand, and to work inside a room that is turned into a camera obscura to create a local reference in the movie on the other hand. Using these types allows us to expand the room, to stretch the time and to bring both together.Work phases in unusual slowness. Quick reactions in other situations. We detect that time and space are in every nut of our work, in every single picture. This abstract structure becomes the main subject of our movie.In addition to the technical considerations we start to think about the plot structure. These considerations are motivated by intensive debates on different theories and artistic positions as well as historical connections to the topic. As a result we identify point and line as the basic dramaturgic rhythm of the movie. Essential for the process of realization is the experience of new and other rhythms that existed only as ideas so far. dvd-pal, 10:25 min