Rotraut Pape

The filmmaker Rosa von Praunheim remembers his humble origins from the unglamorous district of Frankfurt Praunheim.

In a large building full of sounds, people are waiting for a new melody that will change their lives. No one has realised that it has already begun to play.

A basement apartment , depart from their elongated corridor 5 rooms . The whole apartment is crosslinked by mirrors that function as a monitoring system . Throughout the shoot time I have the camera does not move , she stood there like a dead man , but every corner of the apartment had by this mirror monitor installation constantly in the viewfinder . So the movie starts from the the front door at the farthest part of the apartment and ending with the view on the street, he crosses this Disstanz speak without eimal to turn his head , - . Not as in life through their own motion , but as in cinema, reading , in my head : physically passive. This works by the rise doors and cut off the see way , mirrors are crazy and turn the see way or redirect , until he finally goes in 25 minutes to the door on the street.

Something is brewing over the no-man's land around the Wall. Nevertheless, a young man ventures onto the barricades. With his idiosyncratic protest, he defies borders and, without suspecting it, sets significant signs.

The videos No.1, Lover Man, 90 Grad in Berlin, Party and No.5 (1977) were filmed from a monitor in 16mm in 1980 and fused together into a single film: "Marktstr! 1A." Although nothing was altered in the videos—nothing added or omitted—a new work emerged. The medial transformation of individual videos into a coherent 16mm film creates a qualitatively different art object in terms of temporal, material, and perspectival perception. (Uta Brandes 1984)

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