Known for
7.0This film essay explores the strange case of G.W. Pabst, the Austrian filmmaker who was considered a giant of early cinema before his reputation went behind a cloud.
The Other Eye
1991
10.0This film by Johanna Heer and Werner Schmiedel represents a homage to a man revered internationally as one of the great humanitarians of the 20th century. Raul Hilberg and other intellectuals also perceive him as a philosopher, although his primary work for many decades was the investigation of Nazi criminals.
Die Kunst des Erinnerns – Simon Wiesenthal
1994
An experimental color film that uses imaginative video image overlays to present fictional actors from public spheres in a playful experiential context. They come from advertising billboards, theater and performance, and television. The extreme colors are created solely by the peculiarity and materiality of the video material used.
Leben nicht als Film vor Augen
1983
Behind the camera
7.0This film essay explores the strange case of G.W. Pabst, the Austrian filmmaker who was considered a giant of early cinema before his reputation went behind a cloud.
The Other Eye
1991
7.0This film essay explores the strange case of G.W. Pabst, the Austrian filmmaker who was considered a giant of early cinema before his reputation went behind a cloud.
The Other Eye
1991
10.0This film by Johanna Heer and Werner Schmiedel represents a homage to a man revered internationally as one of the great humanitarians of the 20th century. Raul Hilberg and other intellectuals also perceive him as a philosopher, although his primary work for many decades was the investigation of Nazi criminals.
Die Kunst des Erinnerns – Simon Wiesenthal
1994
10.0This film by Johanna Heer and Werner Schmiedel represents a homage to a man revered internationally as one of the great humanitarians of the 20th century. Raul Hilberg and other intellectuals also perceive him as a philosopher, although his primary work for many decades was the investigation of Nazi criminals.
Die Kunst des Erinnerns – Simon Wiesenthal
1994
An experimental color film that uses imaginative video image overlays to present fictional actors from public spheres in a playful experiential context. They come from advertising billboards, theater and performance, and television. The extreme colors are created solely by the peculiarity and materiality of the video material used.
Leben nicht als Film vor Augen
1983
An experimental color film that uses imaginative video image overlays to present fictional actors from public spheres in a playful experiential context. They come from advertising billboards, theater and performance, and television. The extreme colors are created solely by the peculiarity and materiality of the video material used.
Leben nicht als Film vor Augen
1983
