Outer Space (Peter Tscherkassky, 1999)


The second story is materialist, self-critical and crypto-feminist. It is definitely not destructive, cynical and egotistical. And like the first story, it is both a drama and an allegory. The allegory tells of a particular moment in crisis, where the illusionary hero and the modern-art-hero stop beating each other senseless as they suddenly recognise each other,their respective other. The fist one – the woman Hershey, fighting for her image – suddenly sees the real (beyond fiction); the other one – Tscherkassky, the external force, schooled by modernist tradition to always deconstruct illusion – suddenly sees the reality of fictional images. Outer Space is no longer the “parallel space” of the avant-garde, but in fact the “world space” of cinema. – Alexander Horwath, “Signing In The Rain, Supercinematography by Peter Tscherkassky.”

Watch here.

I think..

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