Dat staat erop (That’s a take), Kuno Terwindt (The Netherlands, 1997, video, 5:oo)
In a recording studio, the last touches are being put on a television sign-off segment. The editing of the pictures (over­lapping nature images) and the background music (relaxing piano) are finished. All that’s left now is the voice-over. A director gives instructions to the person who has to read the text aloud. Each time, the recording has to be inter­rupted because the director isn’t satisfied.

The Audition Tapes Kerry Tribe (USA, 1998, video, 20:00)
Tribe records the auditions for ‘an experimental documentary about family history and memory’ on video. Various actors read aloud from the script, which was assembled from interviews that Tribe recorded with her mother, brother and senile grandpa, as well as her own memories. Over the course of time, the stories begin to contradict each other, as different accounts are given of the same event, and the actors project their own visions and desires onto the cha­racters. The Audition Tapes exists somewhere in the gray area between autobiography and confession, history and memory, documentary and fiction.

Naken Greve (Making Faces) Jens Lien (Norway, 1998, video, 6:oo)
Naken Greve in English means Making Faces. Two lovers in a city park. She is blind. Her blindness provokes him. He starts playing with her, scares her, rescues her.

Zwischen vier und sechs Corinna Schnitt (Germany, 1997, 16 mm, 6:oo)
An autobiographical portrait of a German family and, in a broader sense, perhaps the German national character as well. The punctual division of the day is to everyone’s liking; even Sunday afternoon is reserved for a special family activity. When father was sick once, the neighbor filled in for him and is now raring to take part every weekend. “But we do like to keep it a family thing. I think it’s really important that a family has something that holds it together. I’m happy that we didn’t have to spend too much time thinking about what it was that we could do together …”

Wood Technology. in the Design of Structures
(or, How to Live Happily ever After) Eric Henry (USA, 1997, video, 9:10)
“I wish I loved jazz.” The longing for a desire that one doesn’t have formed the basis for this work, one that presents itself as an instructional film on the human need for eating wood. The manner whereby scientific and technologi­cal progress increasingly alienate us from nature is made comically clear. Yet in the deft computer animation, a fluid mix of scientific images and self-made video shots, technology does not force its way in.

The Franklin Report Clint Bagwell (USA, 1997, video, 6:oo)
Bagwell grew up in a posh residential neighborhood for government employees in Washington, where he developed a special sense for the exterior characteristics of authority. In his work, he exposes this system of dress codes and behavioral norms by performing in public, in invented but delusory scenarios. He thereby forces the viewer to con­sider skeptically what is ‘actual’, what is ‘real-life’.

Somebody Goofed Syd Garon & Rodney Ascher (USA, 199s: video, 8:30)
Via its use of primitive animation techniques, Somebody Goofed sometimes resembles a comic book more than it does a cartoon film. Despite the rich mix of color and black & white, simple drawings and photographic images, the video does in fact have its own distinct style. The story, about a boy who fails to heed the advice of a street prea­cher, raises doubts about what the filmmakers’ message is.

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