Testing formula of the cinematic illusion

Deleuze’s The Movement Image is sitting on a strange mount in the middle of the stage, before the film screen, numbly facing the audience. Once it squeezed under philosophers’ arms, imprinted its great ideas into the minds of film enthusiasts, fed its hermetic theories to the masses of film scientists and other scholars. Its name spilled across the lists of references below countless texts, from distinguished essays to theses and ambitious student papers. And now it dwindles in the dark of a screening room, scruffy and wrinkled like an alcoholic in rehab, exposed to the public view, but nevertheless too far to communicate anything.

The person sharing the stage is not interested in its grand ideas. The person is interested why the book is missing its cover – more accurately, the piece of black cardboard placed as a replacement for the back cover which, when the book turns 24 times in one second, combined with the white front cover, produces a hypnotic flicker effect.

Ladies and gentlemen, welcome to the cinema without film, brandishing film theory literally, physically, with cinematography and projection equipment slashed in public view like at an anatomy class, only to reincarnate it in wondrous new forms. In his Hit Parade, Christof Migone will conduct the audience, whose microphone beats inside the French Pavilion will produce an authentic soundscape. With audio-visual fanfare comprising the performance Fraudulent Projection, Alex Mendizabal will try to create a space of cinematic illusion by way of acoustic force. Julien Maire, whose lecture/performance Open Core corresponds to the aforementioned atrocity over Deleuze’s book, will submit technological concepts of moving image production to abstract filters and materialise them through various media. Such ‘media archaeology autopsy’ will finally result in a new form of moving image, without film tape’s mediation.

Experiments in the expanded cinema programme this time take a step away from film, but remain in a theatre and focus on details forming the illusion of film. Finally, anything can be called film, while cinema – our distinguished performers claim – is the place where we go to get our fix of thoroughbred cinematic experience.

Danijel Brlas