Martin Arnold
История
Martin Arnold (born 1959 in Vienna, Austria) is an experimental filmmaker known for his obsessive reworkings of found footage. He is also a founding member of the Austrian film distributor Sixpack Film. Arnold studied psychology and art history at the University of Vienna. He has taught filmmaking at the University of Wisconsin–Milwaukee, the San Francisco Art Institute, the Academy of Fine Arts in Frankfurt, the Kansas City Art Institute, Bard College, and at SUNY Binghamton. His films are distributed by Canyon Cinema in the United States and by Sixpack Film in Austria.
Source Wiki
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color, silent, 2:50 loop
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color, sound, 2:14 loop, 2020
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In a later group of short film loops such as Soft Palate (2010) and Whistle Stop (2014),[5] Arnold seems to discover psychoanalytic underbellies in the most popular form of post-war family entertainment, animation, and its most iconic characters such as Mickey Mouse (using two of Mickey's shorts, one of them Mickey's Delayed Date), Tom And Jerry, Daffy Duck (Draftee Daffy) and Goofy (How To Play Golf).
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color, sound, 3:00 loop, 2016
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cel animation, repetition, and disappearance... color, sound, 5:20 loop, 2015
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"It had to be me."
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Recomposing teeth gestures.
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Parts of a comic strip are animated.
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Parts of a comic strip are animated.
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Parts of Mickey Mouse floating in a Haunted House
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Parts of Mickey Mouse floating in a Haunted House
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Body parts of a cartoon character.
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Body parts of a cartoon character.
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In a later group of short film loops such as Soft Palate (2010) and Whistle Stop (2014), Arnold seems to discover psychoanalytic underbellies in the most popular form of post-war family entertainment, animation, and its most iconic characters such as Mickey Mouse (using two of Mickey's shorts, one of them Mickey's Delayed Date), Tom And Jerry, Daffy Duck (Draftee Daffy) and Goofy (How To Play Golf).
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In a later group of short film loops such as Soft Palate (2010) and Whistle Stop (2014), Arnold seems to discover psychoanalytic underbellies in the most popular form of post-war family entertainment, animation, and its most iconic characters such as Mickey Mouse (using two of Mickey's shorts, one of them Mickey's Delayed Date), Tom And Jerry, Daffy Duck (Draftee Daffy) and Goofy (How To Play Golf).
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A 12-hour installation piece comprising slowed-down footage of Renée Jeanne Falconetti in Carl Theodor Dreyer's 1928 film La Passion de Jeanne d'Arc.
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This piece was designed as an installation piece for projection as a 60-minute loop in gallery spaces. Deanimated is literally displaced from the theater environment typical of film spectatorship, slightly blurring the boundaries between the spaces of projection and reception. "Deanimated: The Invisible Ghost," is based on the 1941 horror film "The Invisible Ghost" with the lead actors Bela Lugosi, Polly Ann Young, and John McGuire. In "Deanimated" the actors are gradually eliminated and thus the narrative loses its coherence. What remains are backgrounds, erratic camera movements that seem to move without focus throughout the room, capturing ghostly changes in light and shadows. In this project, Arnold asks fundamental philosophical questions about human existence and presence in absence. Although the actors are missing, they leave behind traces (such as smashing bullets together, dust stirring up …) and are experienced precisely in their absence as a ghostly, unreal present.
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In a deconstruction of classic Hollywood codes, using repetitive single frame images, the re-editing of teenager movies produces an intense Oedipal drama.
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Rendering and composing a fragment from the shower scene of Alfred Hitchcock´s Psycho anew with the possibilities of digital retouching
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Found footage sequences from various obscure campy Austrian films assembled together with a very dark disturbing soundtrack.
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A short segment of film is played with musical backing at various speeds for a jarring effect.
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A short found footage trailer made for a film program dedicated to the depiction of Jesus in cinema.
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An avant-garde sonic and visual reediting of a short clip from the classic 1962 film "To Kill a Mockingbird".
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Arnold's source material is a piece of footage from the 1950s, eighteen seconds long and very typical for the period. A quiet take: A living room, a woman in an armchair. Her husband opens the door, kisses her, then moves out of the picture accompanied by a camera pan, his wife follows after him. In Arnold's film the sequence takes 16 minutes. Cadre by cadre, it becomes an exciting tango of movements. But Pièce Touchée is more than just a matter of forms; The reflections, distortions and delays it displays challenge cinema's stable system of space and time.
