HHK Schoenherr

HHK Schoenherr

出生 : , Nordhausen, Germany

略歴

HHK Schoenherr (Hans Helmut Klaus Schoenherr, 1936 - 2014), Swiss artist. He was born in 1936 in Nordhausen (Harz, Germany), which would later be part of the GDR. He spent his childhood in Hamburg and the Schleswig-Holstein region. Between 1956 and 1961, he studied fine arts in Hamburg. In 1967, he participated in the experimental film festival of Knokke (Belgium). Initiator and co-founder of the first European meetings of independent filmmakers in Munich in 1968. One of the inventors of the diagrams of frames (scores that direct the rhythmic shooting of the films). Independent filmmaker and producer of experimental films since 1966.

プロフィール写真

HHK Schoenherr

参加作品

Kinderkrieg & Kinderfrieden oder J.S. Bach: Die Kunst der Fuge
Sound
Kinderkrieg & Kinderfrieden oder J.S. Bach: Die Kunst der Fuge
Idea
Kinderkrieg & Kinderfrieden oder J.S. Bach: Die Kunst der Fuge
Camera Operator
Kinderkrieg & Kinderfrieden oder J.S. Bach: Die Kunst der Fuge
Editor
Kinderkrieg & Kinderfrieden oder J.S. Bach: Die Kunst der Fuge
Director
Play 33
Sound
Play 33
Editor
Play 33
Camera Operator
Play 33
Idea
Play 33
Producer
Play 33
Director
Play 28/29
Sound
The film was realized according to the formulaic concept "TAM 4/71."
Play 28/29
Editor
The film was realized according to the formulaic concept "TAM 4/71."
Play 28/29
Camera Operator
The film was realized according to the formulaic concept "TAM 4/71."
Play 28/29
Idea
The film was realized according to the formulaic concept "TAM 4/71."
Play 28/29
Producer
The film was realized according to the formulaic concept "TAM 4/71."
Play 28/29
Director
The film was realized according to the formulaic concept "TAM 4/71."
Play 22
Camera Operator
Play 22
Editor
Play 22
Sound
Play 22
Idea
Play 22
Producer
Play 22
Director
Ich hasse, ich liebe Film
Producer
A short film by Raphaela Schoenherr with HHK Schoenherr.
Ich hasse, ich liebe Film
Editor
A short film by Raphaela Schoenherr with HHK Schoenherr.
Ich hasse, ich liebe Film
Sound
A short film by Raphaela Schoenherr with HHK Schoenherr.
Ich hasse, ich liebe Film
A short film by Raphaela Schoenherr with HHK Schoenherr.
Ich hasse, ich liebe Film
Director
A short film by Raphaela Schoenherr with HHK Schoenherr.
Down Below in the Foxhole under the Cold Ground in Emmental
Sound
Emmental is lovely. To us, it looks like something out of a picture book. And this kind of landscape always has a history. And many good artists come from this landscape. And then the cows in this landscape. In Emmental, there are cows that look at passers-by sweetly, with big, pure cow eyes--and gaze after them. Long... In Emmental, each hill has a north side and a warm, beautiful south side. The filmmaker and sheep farmer, Guido Haas, live on the north side of a hill in Emmental, which is called Cold Ground and his house lies low in the valley and is a real Emmental house, with a raised driveway to the barn and a big shingle roof on top. Spiteful, rich neighbors must have gotten the idea of calling it Foxhole.
Down Below in the Foxhole under the Cold Ground in Emmental
Editor
Emmental is lovely. To us, it looks like something out of a picture book. And this kind of landscape always has a history. And many good artists come from this landscape. And then the cows in this landscape. In Emmental, there are cows that look at passers-by sweetly, with big, pure cow eyes--and gaze after them. Long... In Emmental, each hill has a north side and a warm, beautiful south side. The filmmaker and sheep farmer, Guido Haas, live on the north side of a hill in Emmental, which is called Cold Ground and his house lies low in the valley and is a real Emmental house, with a raised driveway to the barn and a big shingle roof on top. Spiteful, rich neighbors must have gotten the idea of calling it Foxhole.
Down Below in the Foxhole under the Cold Ground in Emmental
Camera Operator
Emmental is lovely. To us, it looks like something out of a picture book. And this kind of landscape always has a history. And many good artists come from this landscape. And then the cows in this landscape. In Emmental, there are cows that look at passers-by sweetly, with big, pure cow eyes--and gaze after them. Long... In Emmental, each hill has a north side and a warm, beautiful south side. The filmmaker and sheep farmer, Guido Haas, live on the north side of a hill in Emmental, which is called Cold Ground and his house lies low in the valley and is a real Emmental house, with a raised driveway to the barn and a big shingle roof on top. Spiteful, rich neighbors must have gotten the idea of calling it Foxhole.
Down Below in the Foxhole under the Cold Ground in Emmental
Idea
Emmental is lovely. To us, it looks like something out of a picture book. And this kind of landscape always has a history. And many good artists come from this landscape. And then the cows in this landscape. In Emmental, there are cows that look at passers-by sweetly, with big, pure cow eyes--and gaze after them. Long... In Emmental, each hill has a north side and a warm, beautiful south side. The filmmaker and sheep farmer, Guido Haas, live on the north side of a hill in Emmental, which is called Cold Ground and his house lies low in the valley and is a real Emmental house, with a raised driveway to the barn and a big shingle roof on top. Spiteful, rich neighbors must have gotten the idea of calling it Foxhole.
Down Below in the Foxhole under the Cold Ground in Emmental
Producer
Emmental is lovely. To us, it looks like something out of a picture book. And this kind of landscape always has a history. And many good artists come from this landscape. And then the cows in this landscape. In Emmental, there are cows that look at passers-by sweetly, with big, pure cow eyes--and gaze after them. Long... In Emmental, each hill has a north side and a warm, beautiful south side. The filmmaker and sheep farmer, Guido Haas, live on the north side of a hill in Emmental, which is called Cold Ground and his house lies low in the valley and is a real Emmental house, with a raised driveway to the barn and a big shingle roof on top. Spiteful, rich neighbors must have gotten the idea of calling it Foxhole.
Down Below in the Foxhole under the Cold Ground in Emmental
Director
Emmental is lovely. To us, it looks like something out of a picture book. And this kind of landscape always has a history. And many good artists come from this landscape. And then the cows in this landscape. In Emmental, there are cows that look at passers-by sweetly, with big, pure cow eyes--and gaze after them. Long... In Emmental, each hill has a north side and a warm, beautiful south side. The filmmaker and sheep farmer, Guido Haas, live on the north side of a hill in Emmental, which is called Cold Ground and his house lies low in the valley and is a real Emmental house, with a raised driveway to the barn and a big shingle roof on top. Spiteful, rich neighbors must have gotten the idea of calling it Foxhole.
Petty-Bourgeois Dracula Idyll at the Family Table
Producer
"This idyll was made for a Dracula film project by Ernst Schmidt of Vienna, who wrote to various European filmmakers in order to produce a bigger film with their participation." (HHK)
Petty-Bourgeois Dracula Idyll at the Family Table
Editor
"This idyll was made for a Dracula film project by Ernst Schmidt of Vienna, who wrote to various European filmmakers in order to produce a bigger film with their participation." (HHK)
Petty-Bourgeois Dracula Idyll at the Family Table
Idea
"This idyll was made for a Dracula film project by Ernst Schmidt of Vienna, who wrote to various European filmmakers in order to produce a bigger film with their participation." (HHK)
Petty-Bourgeois Dracula Idyll at the Family Table
"This idyll was made for a Dracula film project by Ernst Schmidt of Vienna, who wrote to various European filmmakers in order to produce a bigger film with their participation." (HHK)
Petty-Bourgeois Dracula Idyll at the Family Table
Director
"This idyll was made for a Dracula film project by Ernst Schmidt of Vienna, who wrote to various European filmmakers in order to produce a bigger film with their participation." (HHK)
Robert Walser
Producer
Robert Walser
Editor
Robert Walser
Sound
Robert Walser
Camera Operator
Robert Walser
Idea
Robert Walser
Writer
Robert Walser
Director
Das nervöse Kino
Idea
The film was realized according to the formulaic concept "TAM 4/71."
Das nervöse Kino
Sound
The film was realized according to the formulaic concept "TAM 4/71."
Das nervöse Kino
Editor
The film was realized according to the formulaic concept "TAM 4/71."
Das nervöse Kino
Producer
The film was realized according to the formulaic concept "TAM 4/71."
Das nervöse Kino
Director
The film was realized according to the formulaic concept "TAM 4/71."
Das nervöse Kino
The film was realized according to the formulaic concept "TAM 4/71."
Play 20
Editor
Play 20
Sound
Play 20
Camera Operator
Play 20
Idea
Play 20
Producer
Play 20
Director
Bildabläufe
Director
Experimental film with a doll.
Bildabläufe
Editor
Experimental film with a doll.
Bildabläufe
Sound
Experimental film with a doll.
Bildabläufe
Camera Operator
Experimental film with a doll.
Bildabläufe
Idea
Experimental film with a doll.
Bildabläufe
Producer
Experimental film with a doll.
The Wrecked Cinema
Camera Operator
"In Germany, I bought an old 35mm Debrie camera. I spent several weeks working with this camera and found that its mechanics were marvelously thought out and that the way the camera was made was proof of the skilled craftsmanship back then. I developed a procedure which also allowed me to use the camera as a printing machine. The printing process is not so different from the filming process, as far as the transport of the film goes . . . It was a lot of fun to try to exhaust the possibilities of the Debrie. It was not only the mechanics that were exciting, like the works of a wonderful old clock, but the numerous possibilities for the realization of the second part of the film, too. This consists mainly of what has already been shot, but offers at least 50% more experimental manipulations in the printed part." (HHK)
The Wrecked Cinema
Editor
"In Germany, I bought an old 35mm Debrie camera. I spent several weeks working with this camera and found that its mechanics were marvelously thought out and that the way the camera was made was proof of the skilled craftsmanship back then. I developed a procedure which also allowed me to use the camera as a printing machine. The printing process is not so different from the filming process, as far as the transport of the film goes . . . It was a lot of fun to try to exhaust the possibilities of the Debrie. It was not only the mechanics that were exciting, like the works of a wonderful old clock, but the numerous possibilities for the realization of the second part of the film, too. This consists mainly of what has already been shot, but offers at least 50% more experimental manipulations in the printed part." (HHK)
The Wrecked Cinema
Producer
"In Germany, I bought an old 35mm Debrie camera. I spent several weeks working with this camera and found that its mechanics were marvelously thought out and that the way the camera was made was proof of the skilled craftsmanship back then. I developed a procedure which also allowed me to use the camera as a printing machine. The printing process is not so different from the filming process, as far as the transport of the film goes . . . It was a lot of fun to try to exhaust the possibilities of the Debrie. It was not only the mechanics that were exciting, like the works of a wonderful old clock, but the numerous possibilities for the realization of the second part of the film, too. This consists mainly of what has already been shot, but offers at least 50% more experimental manipulations in the printed part." (HHK)
The Wrecked Cinema
Idea
"In Germany, I bought an old 35mm Debrie camera. I spent several weeks working with this camera and found that its mechanics were marvelously thought out and that the way the camera was made was proof of the skilled craftsmanship back then. I developed a procedure which also allowed me to use the camera as a printing machine. The printing process is not so different from the filming process, as far as the transport of the film goes . . . It was a lot of fun to try to exhaust the possibilities of the Debrie. It was not only the mechanics that were exciting, like the works of a wonderful old clock, but the numerous possibilities for the realization of the second part of the film, too. This consists mainly of what has already been shot, but offers at least 50% more experimental manipulations in the printed part." (HHK)
The Wrecked Cinema
Director
"In Germany, I bought an old 35mm Debrie camera. I spent several weeks working with this camera and found that its mechanics were marvelously thought out and that the way the camera was made was proof of the skilled craftsmanship back then. I developed a procedure which also allowed me to use the camera as a printing machine. The printing process is not so different from the filming process, as far as the transport of the film goes . . . It was a lot of fun to try to exhaust the possibilities of the Debrie. It was not only the mechanics that were exciting, like the works of a wonderful old clock, but the numerous possibilities for the realization of the second part of the film, too. This consists mainly of what has already been shot, but offers at least 50% more experimental manipulations in the printed part." (HHK)
Portrait: Kurt Kren
Producer
"This film is an attempt in focusing. I visited Kurt Kren in Vienna. (Kurt Kren is considered to be the father of the European underground film.) Kurt Showed me lots of documents, papers and letters, all about the fights he had with many restaurant owners in Vienna. But the film I made is not about these fights; I tried to focus on the eye of the hurricane, the eye of Kurt Kren. Is this Kurt Kren or isn't it?" (HHK)
Portrait: Kurt Kren
Editor
"This film is an attempt in focusing. I visited Kurt Kren in Vienna. (Kurt Kren is considered to be the father of the European underground film.) Kurt Showed me lots of documents, papers and letters, all about the fights he had with many restaurant owners in Vienna. But the film I made is not about these fights; I tried to focus on the eye of the hurricane, the eye of Kurt Kren. Is this Kurt Kren or isn't it?" (HHK)
Portrait: Kurt Kren
Camera Operator
"This film is an attempt in focusing. I visited Kurt Kren in Vienna. (Kurt Kren is considered to be the father of the European underground film.) Kurt Showed me lots of documents, papers and letters, all about the fights he had with many restaurant owners in Vienna. But the film I made is not about these fights; I tried to focus on the eye of the hurricane, the eye of Kurt Kren. Is this Kurt Kren or isn't it?" (HHK)
Portrait: Kurt Kren
Idea
"This film is an attempt in focusing. I visited Kurt Kren in Vienna. (Kurt Kren is considered to be the father of the European underground film.) Kurt Showed me lots of documents, papers and letters, all about the fights he had with many restaurant owners in Vienna. But the film I made is not about these fights; I tried to focus on the eye of the hurricane, the eye of Kurt Kren. Is this Kurt Kren or isn't it?" (HHK)
Portrait: Kurt Kren
Director
"This film is an attempt in focusing. I visited Kurt Kren in Vienna. (Kurt Kren is considered to be the father of the European underground film.) Kurt Showed me lots of documents, papers and letters, all about the fights he had with many restaurant owners in Vienna. But the film I made is not about these fights; I tried to focus on the eye of the hurricane, the eye of Kurt Kren. Is this Kurt Kren or isn't it?" (HHK)
Actions of Indication
Producer
"Actions of Indication is an intermission film, which means it is a film for the intermissions in movie theaters. Get the message: FILM is caviar like BASKIN ROBBINS is ice cream." (HHK)
Actions of Indication
Idea
"Actions of Indication is an intermission film, which means it is a film for the intermissions in movie theaters. Get the message: FILM is caviar like BASKIN ROBBINS is ice cream." (HHK)
Actions of Indication
"Actions of Indication is an intermission film, which means it is a film for the intermissions in movie theaters. Get the message: FILM is caviar like BASKIN ROBBINS is ice cream." (HHK)
Actions of Indication
Director
"Actions of Indication is an intermission film, which means it is a film for the intermissions in movie theaters. Get the message: FILM is caviar like BASKIN ROBBINS is ice cream." (HHK)
Play 6
Camera Operator
Play 6
Sound
Play 6
Editor
Play 6
Producer
Play 6
Idea
Play 6
Director
Abbruch
Director
The film was found in the estate of HHK Schoenherr and digitized as part of the "Swiss Film Experiments" research project. The title is taken from the label on the film canister. The film does not appear on any HHK Schoenherr filmography. The attribution to HHK Schoenherr's films is questionable.
Supervisuell
Editor
Supervisuell
Sound
Supervisuell
Camera Operator
Supervisuell
Producer
Supervisuell
Idea
Supervisuell
Director
Play 4 & 5
Sound
The first film made in black-and-white. Made using my own printing technique. Beforehand: This film, which is basically romantic or, even more, a fairy tale film, with carriages, horses, handmade glass lanterns, as solemn as a merry wedding, with an old Rolls Royce standing at a slant completely drunk and whose magnificent big headlights sit crooked on its fenders. An atmosphere of dancing around and returning and light, lamps and life. A film that even takes its audience to Paris, past the Louvre and into the nights of the boulevards; again and again, light, lamps and life. The film is light-hearted: the sonorous tone indicates a change, difficult to under-stand, a threat or do I hear right? Again and again, the streets, the domes of the churches, the palace wings of the Louvre, the National Library and the small opening in the wall at the Palace Mazarin which leads to the small park with its Picasso statue. What happens in Paris?
Play 4 & 5
Editor
The first film made in black-and-white. Made using my own printing technique. Beforehand: This film, which is basically romantic or, even more, a fairy tale film, with carriages, horses, handmade glass lanterns, as solemn as a merry wedding, with an old Rolls Royce standing at a slant completely drunk and whose magnificent big headlights sit crooked on its fenders. An atmosphere of dancing around and returning and light, lamps and life. A film that even takes its audience to Paris, past the Louvre and into the nights of the boulevards; again and again, light, lamps and life. The film is light-hearted: the sonorous tone indicates a change, difficult to under-stand, a threat or do I hear right? Again and again, the streets, the domes of the churches, the palace wings of the Louvre, the National Library and the small opening in the wall at the Palace Mazarin which leads to the small park with its Picasso statue. What happens in Paris?
Play 4 & 5
Camera Operator
The first film made in black-and-white. Made using my own printing technique. Beforehand: This film, which is basically romantic or, even more, a fairy tale film, with carriages, horses, handmade glass lanterns, as solemn as a merry wedding, with an old Rolls Royce standing at a slant completely drunk and whose magnificent big headlights sit crooked on its fenders. An atmosphere of dancing around and returning and light, lamps and life. A film that even takes its audience to Paris, past the Louvre and into the nights of the boulevards; again and again, light, lamps and life. The film is light-hearted: the sonorous tone indicates a change, difficult to under-stand, a threat or do I hear right? Again and again, the streets, the domes of the churches, the palace wings of the Louvre, the National Library and the small opening in the wall at the Palace Mazarin which leads to the small park with its Picasso statue. What happens in Paris?
Play 4 & 5
Producer
The first film made in black-and-white. Made using my own printing technique. Beforehand: This film, which is basically romantic or, even more, a fairy tale film, with carriages, horses, handmade glass lanterns, as solemn as a merry wedding, with an old Rolls Royce standing at a slant completely drunk and whose magnificent big headlights sit crooked on its fenders. An atmosphere of dancing around and returning and light, lamps and life. A film that even takes its audience to Paris, past the Louvre and into the nights of the boulevards; again and again, light, lamps and life. The film is light-hearted: the sonorous tone indicates a change, difficult to under-stand, a threat or do I hear right? Again and again, the streets, the domes of the churches, the palace wings of the Louvre, the National Library and the small opening in the wall at the Palace Mazarin which leads to the small park with its Picasso statue. What happens in Paris?
Play 4 & 5
Idea
The first film made in black-and-white. Made using my own printing technique. Beforehand: This film, which is basically romantic or, even more, a fairy tale film, with carriages, horses, handmade glass lanterns, as solemn as a merry wedding, with an old Rolls Royce standing at a slant completely drunk and whose magnificent big headlights sit crooked on its fenders. An atmosphere of dancing around and returning and light, lamps and life. A film that even takes its audience to Paris, past the Louvre and into the nights of the boulevards; again and again, light, lamps and life. The film is light-hearted: the sonorous tone indicates a change, difficult to under-stand, a threat or do I hear right? Again and again, the streets, the domes of the churches, the palace wings of the Louvre, the National Library and the small opening in the wall at the Palace Mazarin which leads to the small park with its Picasso statue. What happens in Paris?
Play 4 & 5
Director
The first film made in black-and-white. Made using my own printing technique. Beforehand: This film, which is basically romantic or, even more, a fairy tale film, with carriages, horses, handmade glass lanterns, as solemn as a merry wedding, with an old Rolls Royce standing at a slant completely drunk and whose magnificent big headlights sit crooked on its fenders. An atmosphere of dancing around and returning and light, lamps and life. A film that even takes its audience to Paris, past the Louvre and into the nights of the boulevards; again and again, light, lamps and life. The film is light-hearted: the sonorous tone indicates a change, difficult to under-stand, a threat or do I hear right? Again and again, the streets, the domes of the churches, the palace wings of the Louvre, the National Library and the small opening in the wall at the Palace Mazarin which leads to the small park with its Picasso statue. What happens in Paris?
The Portrait of Cordua
Producer
"Location: a ballet company, Mrs. Cordua training alone, training together with another person, head exercises, body exercises, leg and arm exercises, supporting herself, working in the ballet room, taking off her makeup in the dressing room, undressing, washing herself carefully, treating all of the sweaty places of her body (armpits, anus, genitalia), getting dressed, opera house corridors, canteen, driving through the city, typical buildings, shops, factory complexes on the way; apartment—opera house and back, her husband reading the newspaper, sitting, lying down, working, smoking, cooking potatoes, eating potatoes, opening the mail, drinking coffee, filming, caring for feat, mouth, while saying something amusing, hand movement (beheading gesture meaning it is finished), a TV film, dancer relaxing in private, smoking, discussing, disparaging, a TV film, drinking tea, the end: that certain shine in Mrs. Cordua's eyes!" (HHK)
The Portrait of Cordua
Camera Operator
"Location: a ballet company, Mrs. Cordua training alone, training together with another person, head exercises, body exercises, leg and arm exercises, supporting herself, working in the ballet room, taking off her makeup in the dressing room, undressing, washing herself carefully, treating all of the sweaty places of her body (armpits, anus, genitalia), getting dressed, opera house corridors, canteen, driving through the city, typical buildings, shops, factory complexes on the way; apartment—opera house and back, her husband reading the newspaper, sitting, lying down, working, smoking, cooking potatoes, eating potatoes, opening the mail, drinking coffee, filming, caring for feat, mouth, while saying something amusing, hand movement (beheading gesture meaning it is finished), a TV film, dancer relaxing in private, smoking, discussing, disparaging, a TV film, drinking tea, the end: that certain shine in Mrs. Cordua's eyes!" (HHK)
The Portrait of Cordua
Sound
"Location: a ballet company, Mrs. Cordua training alone, training together with another person, head exercises, body exercises, leg and arm exercises, supporting herself, working in the ballet room, taking off her makeup in the dressing room, undressing, washing herself carefully, treating all of the sweaty places of her body (armpits, anus, genitalia), getting dressed, opera house corridors, canteen, driving through the city, typical buildings, shops, factory complexes on the way; apartment—opera house and back, her husband reading the newspaper, sitting, lying down, working, smoking, cooking potatoes, eating potatoes, opening the mail, drinking coffee, filming, caring for feat, mouth, while saying something amusing, hand movement (beheading gesture meaning it is finished), a TV film, dancer relaxing in private, smoking, discussing, disparaging, a TV film, drinking tea, the end: that certain shine in Mrs. Cordua's eyes!" (HHK)
The Portrait of Cordua
Editor
"Location: a ballet company, Mrs. Cordua training alone, training together with another person, head exercises, body exercises, leg and arm exercises, supporting herself, working in the ballet room, taking off her makeup in the dressing room, undressing, washing herself carefully, treating all of the sweaty places of her body (armpits, anus, genitalia), getting dressed, opera house corridors, canteen, driving through the city, typical buildings, shops, factory complexes on the way; apartment—opera house and back, her husband reading the newspaper, sitting, lying down, working, smoking, cooking potatoes, eating potatoes, opening the mail, drinking coffee, filming, caring for feat, mouth, while saying something amusing, hand movement (beheading gesture meaning it is finished), a TV film, dancer relaxing in private, smoking, discussing, disparaging, a TV film, drinking tea, the end: that certain shine in Mrs. Cordua's eyes!" (HHK)
The Portrait of Cordua
Idea
"Location: a ballet company, Mrs. Cordua training alone, training together with another person, head exercises, body exercises, leg and arm exercises, supporting herself, working in the ballet room, taking off her makeup in the dressing room, undressing, washing herself carefully, treating all of the sweaty places of her body (armpits, anus, genitalia), getting dressed, opera house corridors, canteen, driving through the city, typical buildings, shops, factory complexes on the way; apartment—opera house and back, her husband reading the newspaper, sitting, lying down, working, smoking, cooking potatoes, eating potatoes, opening the mail, drinking coffee, filming, caring for feat, mouth, while saying something amusing, hand movement (beheading gesture meaning it is finished), a TV film, dancer relaxing in private, smoking, discussing, disparaging, a TV film, drinking tea, the end: that certain shine in Mrs. Cordua's eyes!" (HHK)
The Portrait of Cordua
Director
"Location: a ballet company, Mrs. Cordua training alone, training together with another person, head exercises, body exercises, leg and arm exercises, supporting herself, working in the ballet room, taking off her makeup in the dressing room, undressing, washing herself carefully, treating all of the sweaty places of her body (armpits, anus, genitalia), getting dressed, opera house corridors, canteen, driving through the city, typical buildings, shops, factory complexes on the way; apartment—opera house and back, her husband reading the newspaper, sitting, lying down, working, smoking, cooking potatoes, eating potatoes, opening the mail, drinking coffee, filming, caring for feat, mouth, while saying something amusing, hand movement (beheading gesture meaning it is finished), a TV film, dancer relaxing in private, smoking, discussing, disparaging, a TV film, drinking tea, the end: that certain shine in Mrs. Cordua's eyes!" (HHK)
Metermass Kaputt
Producer
Metermass Kaputt
Editor
Metermass Kaputt
Sound
Metermass Kaputt
Idea
Metermass Kaputt
Director
Political Portraits
Himself
Dedicated to Dieter Meier. voice-over by Gregory Markopoulos, reading an excerpt in English translation of Paul Valéry’s L’Homme et la nuit (Man and the Night).
Play 2 & 3
Editor
"This film shows my life with my family in the Triemli high-rise in Zurich." (HHK)
Play 2 & 3
Sound
"This film shows my life with my family in the Triemli high-rise in Zurich." (HHK)
Play 2 & 3
Camera Operator
"This film shows my life with my family in the Triemli high-rise in Zurich." (HHK)
Play 2 & 3
Idea
"This film shows my life with my family in the Triemli high-rise in Zurich." (HHK)
Play 2 & 3
Producer
"This film shows my life with my family in the Triemli high-rise in Zurich." (HHK)
Play 2 & 3
Director
"This film shows my life with my family in the Triemli high-rise in Zurich." (HHK)
Autoportrait
Camera Operator
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Autoportrait
Sound
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Autoportrait
Editor
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Autoportrait
Producer
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Autoportrait
Idea
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Autoportrait
Director
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Autoportrait
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Daydream and Family
Producer
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Daydream and Family
Editor
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Daydream and Family
Sound
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Daydream and Family
Camera Operator
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Daydream and Family
Idea
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Daydream and Family
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Daydream and Family
Director
The film Autoportrait is made up of four parts: Part 1: Search, Part 2: Work, Part 3: Daydream, Part 4: Family. Each of the parts can be shown as a self-contained film.
Sonata: Gray Picture/Woman's Picture/Blue Picture & White Frame
Producer
"An attempt to make a portrait of my wife." (HHK)
Sonata: Gray Picture/Woman's Picture/Blue Picture & White Frame
Editor
"An attempt to make a portrait of my wife." (HHK)
Sonata: Gray Picture/Woman's Picture/Blue Picture & White Frame
Camera Operator
"An attempt to make a portrait of my wife." (HHK)
Sonata: Gray Picture/Woman's Picture/Blue Picture & White Frame
Idea
"An attempt to make a portrait of my wife." (HHK)
Sonata: Gray Picture/Woman's Picture/Blue Picture & White Frame
Director
"An attempt to make a portrait of my wife." (HHK)
Play
Director
As a word, play stands for playing, playful, giving full play to your imagination, play-acting style, play at passion, playground, manner of playing, playing for time, phase of play, playing a joke, play document, playing field, playroom, and everything that has to do with film, the film stock, with its color and black/white. Unexposed, overexposed and double-and multiple-exposed film, waste material and the creations of fancy.
Thaler’s, Meier’s, Sadkowsky’s Life in the Evening
Editor
"I wanted to make a portrait of three artists that would show them by primarily using their surroundings. Therefore, the artists themselves would not be in the picture but rooms, objects, where they walk to and where they drive, and personal and impersonal things around the artists would be described. Through the rhythm of the takes, I tried to achieve a poetic flow that would smoothly compliment their personalities. I told myself at the time that pictures and the rhythm of the pictures should be enough to characterize the three." (HHK)
Thaler’s, Meier’s, Sadkowsky’s Life in the Evening
Music
"I wanted to make a portrait of three artists that would show them by primarily using their surroundings. Therefore, the artists themselves would not be in the picture but rooms, objects, where they walk to and where they drive, and personal and impersonal things around the artists would be described. Through the rhythm of the takes, I tried to achieve a poetic flow that would smoothly compliment their personalities. I told myself at the time that pictures and the rhythm of the pictures should be enough to characterize the three." (HHK)
Thaler’s, Meier’s, Sadkowsky’s Life in the Evening
Camera Operator
"I wanted to make a portrait of three artists that would show them by primarily using their surroundings. Therefore, the artists themselves would not be in the picture but rooms, objects, where they walk to and where they drive, and personal and impersonal things around the artists would be described. Through the rhythm of the takes, I tried to achieve a poetic flow that would smoothly compliment their personalities. I told myself at the time that pictures and the rhythm of the pictures should be enough to characterize the three." (HHK)
Thaler’s, Meier’s, Sadkowsky’s Life in the Evening
Idea
"I wanted to make a portrait of three artists that would show them by primarily using their surroundings. Therefore, the artists themselves would not be in the picture but rooms, objects, where they walk to and where they drive, and personal and impersonal things around the artists would be described. Through the rhythm of the takes, I tried to achieve a poetic flow that would smoothly compliment their personalities. I told myself at the time that pictures and the rhythm of the pictures should be enough to characterize the three." (HHK)
Thaler’s, Meier’s, Sadkowsky’s Life in the Evening
Producer
"I wanted to make a portrait of three artists that would show them by primarily using their surroundings. Therefore, the artists themselves would not be in the picture but rooms, objects, where they walk to and where they drive, and personal and impersonal things around the artists would be described. Through the rhythm of the takes, I tried to achieve a poetic flow that would smoothly compliment their personalities. I told myself at the time that pictures and the rhythm of the pictures should be enough to characterize the three." (HHK)
Thaler’s, Meier’s, Sadkowsky’s Life in the Evening
Director
"I wanted to make a portrait of three artists that would show them by primarily using their surroundings. Therefore, the artists themselves would not be in the picture but rooms, objects, where they walk to and where they drive, and personal and impersonal things around the artists would be described. Through the rhythm of the takes, I tried to achieve a poetic flow that would smoothly compliment their personalities. I told myself at the time that pictures and the rhythm of the pictures should be enough to characterize the three." (HHK)
The Old Woman's Face, The Soup Tureen, Vreni Keller Speaks and Madame's Fanny
Producer
"I did the takes for this film in the fall of 1966 and in the summer of 1967. I came to know and love the 'old woman' who gave her 'face' in one of the city-run dining halls in Zurich to the first part of the film. I was looking for poets for the film 'Robert Walser' and was hoping to find one in one of the places Robert Walser used to go to decades before, but it proved to be a complete failure. The woman who gave her 'face' attracted my attention because she bad something radiant about her and, despite her advanced age, still had a roguish way of looking at the world. She must have seen me several times before during test takes, because she told me later that she had seen me getting thrown out ('Filming not permitted') and that this had happened at another city-run dining hall. Because the woman appealed to me so much, I asked her on the spur of the moment if she would be willing to let herself be filmed, even though I did not actually know what I wanted to film." (HHK)
The Old Woman's Face, The Soup Tureen, Vreni Keller Speaks and Madame's Fanny
Editor
"I did the takes for this film in the fall of 1966 and in the summer of 1967. I came to know and love the 'old woman' who gave her 'face' in one of the city-run dining halls in Zurich to the first part of the film. I was looking for poets for the film 'Robert Walser' and was hoping to find one in one of the places Robert Walser used to go to decades before, but it proved to be a complete failure. The woman who gave her 'face' attracted my attention because she bad something radiant about her and, despite her advanced age, still had a roguish way of looking at the world. She must have seen me several times before during test takes, because she told me later that she had seen me getting thrown out ('Filming not permitted') and that this had happened at another city-run dining hall. Because the woman appealed to me so much, I asked her on the spur of the moment if she would be willing to let herself be filmed, even though I did not actually know what I wanted to film." (HHK)
The Old Woman's Face, The Soup Tureen, Vreni Keller Speaks and Madame's Fanny
Music
"I did the takes for this film in the fall of 1966 and in the summer of 1967. I came to know and love the 'old woman' who gave her 'face' in one of the city-run dining halls in Zurich to the first part of the film. I was looking for poets for the film 'Robert Walser' and was hoping to find one in one of the places Robert Walser used to go to decades before, but it proved to be a complete failure. The woman who gave her 'face' attracted my attention because she bad something radiant about her and, despite her advanced age, still had a roguish way of looking at the world. She must have seen me several times before during test takes, because she told me later that she had seen me getting thrown out ('Filming not permitted') and that this had happened at another city-run dining hall. Because the woman appealed to me so much, I asked her on the spur of the moment if she would be willing to let herself be filmed, even though I did not actually know what I wanted to film." (HHK)
The Old Woman's Face, The Soup Tureen, Vreni Keller Speaks and Madame's Fanny
Camera Operator
"I did the takes for this film in the fall of 1966 and in the summer of 1967. I came to know and love the 'old woman' who gave her 'face' in one of the city-run dining halls in Zurich to the first part of the film. I was looking for poets for the film 'Robert Walser' and was hoping to find one in one of the places Robert Walser used to go to decades before, but it proved to be a complete failure. The woman who gave her 'face' attracted my attention because she bad something radiant about her and, despite her advanced age, still had a roguish way of looking at the world. She must have seen me several times before during test takes, because she told me later that she had seen me getting thrown out ('Filming not permitted') and that this had happened at another city-run dining hall. Because the woman appealed to me so much, I asked her on the spur of the moment if she would be willing to let herself be filmed, even though I did not actually know what I wanted to film." (HHK)
The Old Woman's Face, The Soup Tureen, Vreni Keller Speaks and Madame's Fanny
Idea
"I did the takes for this film in the fall of 1966 and in the summer of 1967. I came to know and love the 'old woman' who gave her 'face' in one of the city-run dining halls in Zurich to the first part of the film. I was looking for poets for the film 'Robert Walser' and was hoping to find one in one of the places Robert Walser used to go to decades before, but it proved to be a complete failure. The woman who gave her 'face' attracted my attention because she bad something radiant about her and, despite her advanced age, still had a roguish way of looking at the world. She must have seen me several times before during test takes, because she told me later that she had seen me getting thrown out ('Filming not permitted') and that this had happened at another city-run dining hall. Because the woman appealed to me so much, I asked her on the spur of the moment if she would be willing to let herself be filmed, even though I did not actually know what I wanted to film." (HHK)
The Old Woman's Face, The Soup Tureen, Vreni Keller Speaks and Madame's Fanny
Director
"I did the takes for this film in the fall of 1966 and in the summer of 1967. I came to know and love the 'old woman' who gave her 'face' in one of the city-run dining halls in Zurich to the first part of the film. I was looking for poets for the film 'Robert Walser' and was hoping to find one in one of the places Robert Walser used to go to decades before, but it proved to be a complete failure. The woman who gave her 'face' attracted my attention because she bad something radiant about her and, despite her advanced age, still had a roguish way of looking at the world. She must have seen me several times before during test takes, because she told me later that she had seen me getting thrown out ('Filming not permitted') and that this had happened at another city-run dining hall. Because the woman appealed to me so much, I asked her on the spur of the moment if she would be willing to let herself be filmed, even though I did not actually know what I wanted to film." (HHK)
Malfilm
Director
A short film by HHK Schoenherr