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SCHWARZFILM, Stumm, 5 Minuten 3 Min. | 1984 | Super8 + 16mm | bw | silent [MBCFILM#09] | |||||
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Wie gesagt. - Ein Film wie sein Titel. {Informationsblatt zum Film, 1984} As said. - A film like its title. {Information sheet of the film, 1984} | ||||||
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STUMMFILM für Gehörlose 6 Min. | 1984 | Super8 + 16mm | bw | sound [MBCFILM#08] (Lehrfilm) | (educational film) | |||||
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Dieser Film heißt nicht -wie fälschlicherweise unterstellt wird- 'Laufende Bilder für Gehbehinderte'. ... ein Lehr- und Übungsfilm. {Informationsblatt zum Film, 1984} The title of this film isn't -as is mistakenly assumed- 'Moving Pictures for the Movement Disabled'. ... an educational and exercise film. {Information sheet of the film, 1984} | ||||||
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TESTAMENTO MEMORI 8 Min. | 1986 | Super8 + 16mm | col | sound [MBCFILM#15] (Problemfilm) | (problem film) | |||||
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Früher oder später wird jeder mit dem Problem konfrontiert: 'Wohin mit der Leiche', - ein Problemfilm. Psychosomatische Geburtsvorbereitung mit praktischen Übungen zur Sterbehilfe. {Informationsblatt zum Film, 1986} Sooner or later everyone is confronted with this problem: what to do with the body. A problem film. - Psychosomatic birth preparation with practical exercises for euthanasia. {Information sheet of the film, 1986} | ||||||
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NARZISS UND ECHO 14 Min. | 1989 | 16mm | bw | sound [MBCFILM#30] (Rätselfilm) | (riddle film) | |||||
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Ein Rätselfilm ist die besondere Form des Unterhaltungsfilms, bei dem der Inhalt aus dem formalen Gefüge des Films erraten werden muß. {Informationsblatt zum Film, 1989} Long seemed invalid the Prophet's word, - But honored it was, - By the outcome at last: - How odd the maddness, how strange a death! (Ovid, Metamorphoses) {Information sheet of the film, 1989} Brynntrup creates his own rococo version of the classical myth of Narcissus and Echo, a story of longing, love, and self-love. Brynntrup comments "A film in the form of a riddle is a special kind of entertainment film whereby the film's content must be deduced from the film's formal structure." (Information The Museum of Modern Art Department of Film, 1992 - Karen Lund) | ||||||
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MODERN, das - Totentanz 7 7 Min. | 1991 | 16mm | col | sound [MBCFILM#34] | |||||
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"Totenmaske, Gesichtsabdruck eines Verstorbenen in weichem Gips oder Wachs" {Informationsblatt zum Film, 1991} "Death mask: facial imprint of the deceased in soft plaster or wax." {Information sheet of the film, 1991} | ||||||
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LIEBE, EIFERSUCHT UND RACHE 7 Min. | 1991 | 16mm | col | sound [MBCFILM#35] (Lehrfilm) | (educational film) | |||||
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Du weißt ganz genau, daß jetzt viele Länder Filme in ihrer Sprache herstellen ... (Original mit Untertiteln). - You know that every film has its own language ... (subtitled original) {Informationsblatt zum Film, 1991} You know very well, that nowadays many countries produce films in their own language ... (original with subtitles). {Information sheet of the film, 1991} The witty »Love, Jealousy and Revenge« explores the mobile meanings of language in film with the help of sophisticated telecommunications; an aural/oral offering. (Hygiene and Hysteria Tour Program, UK 1994 - Sarah Turner, Ian Rashid) | ||||||
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TABU V (wovon man nicht sprechen kann) 13:00 Min. | 1998 | 16mm | col | sound [MBCFILM#52] (Tagebuchfilm) | (film diary) | |||||
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Wovon man nicht sprechen kann, darüber muß man Filme machen. (frei nach Ludwig Wittgenstein) {Informationsblatt zum Film, 1998} About which one cannot speak, one must make films. (loosely based on Ludwig Wittgenstein) {Information sheet of the film, 1998} TABU V plays with the medium of film in a light-hearted and inquisitive manner; a concentrated, intelligent and multilayered film in which wit is juxtaposed assuredly with profound, searching analysis. (New York Film Academy Award - Best Short Film, Panorama 1998) | ||||||
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ACHTUNG - die Achtung (concentration chair) 14 Min. | 2001 | 35mm | bw + col | stereo [MBCFILM#56] (Sensations- und Besinnungsfilm) | (sensation film) | |||||
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Daß alle unsere Erkenntnis mit der Erfahrung anfange, daran ist gar kein Zweifel. (Immanuel Kant, Einleitung zur Kritik der reinen Vernunft, 1.Satz) Im Körper geboren (...und in der Zeit...) {Informationsblatt zum Film, 2001} There can be no doubt that all our knowledge begins with experience. (Immanuel Kant, Introduction to the Critique of Pure Reason, opening sentence) Born in the body (...and in time...) {Information sheet of the film, 2001} Certainly even today some viewers will be affected by this work. Respect for the true art of filmmaking demanded that even the closeup be kept in, where a razor slices through an eye. (Warning introduction to the German archival copy of UN CHIEN ANDALOU) | ||||||