Stray snatches of dialogue appear as non-sequiturs, alternately hilarious, profound, or both, occasionally even outing their source material. The materials were taken from live action, experimental and animated films, and and in the years to come, Lurf’s film will keep expanding with new footage, just like the universe it depicts. The thing is, stars don’t photograph all that well, so most of the images that contain them are animated in some way or another. Our senses are so acutely trained to read images, sound, language, it is impossible to escape being influenced. It’s no wonder that soon after the birth of cinema, filmmakers were trying to capture the night sky. Jed Rapfogel, Anthology Film Archives in August Viennese filmmaker Johann Lurf has built a considerable reputation internationally, thanks to a succession of striking shorts in a structuralist vein that investigate film and space often through found-footage moving image.

Shakespeare, Didgeridoos, and Samurai Cowboys: This strange vogue for the unremembered past is typically interpreted as a flight from time, and from a troubled particular present in particular: Solo compilazione, un catalogo purissimo. Und da die Filmgeschichte noch nicht zu Ende ist, ist auch dieser Film noch nicht zu Ende. Yet his own ambitions are also exceptionally high: Director Johann Lurf has compiled 90 minutes of clips of the night sky as seen in films throughout the history of cinema — not just science fiction, but any and every film that has taken time out for a whimsical look at the stars. The night sky starts to feel like a surface; sometimes impenetrable, sometimes malleable, teasing the mind to make whatever tangible associations it can. The resulting cinematic journey of more than 99 minutes is truly transcendental.

His next step comes as little surprise: The film reveals the astonishing range of methods filmmakers have used to depict the nighttime sky.

Seen not contextually, but intertextually across the region, this yearning for yesteryear expresses not just a flight from time, but from place, too, and from one locale in particular. A simple idea, but a mind-expanding experience of intergalactic dimensions, which must be seen in the cinema. Come la maggior parte delle opere del regista giapponese, anche queste poggiano su un terreno intriso di violenze e perversioni, che spesso si tinge di assurdo. In the best, stacked illusions build up a new and different truth; many ciema identify and call out tired tropes.


Nicht selten werden diese beiden perspektivischen Horizonte auch in den Off-Monologen offenbar. Our eyes are the screens for the cinema of the stars.

Visually speaking, the apparent minimalism is subverted by the astonishing range of methods filmmakers have used to depict the nighttime sky. Over the coming years, even more recent clips will be added to the already overwhelmingly original work.

How do you define the artistry of the great cinema montage? Diese Linie, die sich von der Welt durch das Bild zur Betrachterin zieht, wird von einer horizontalen Linie gekreuzt, die sich entlang der Riediazione des Films vom ersten zum letzten Bild zieht.

Takashi Miike Research Papers –

The age-old gaze into the sky. So what did I take away from Star? Harmonisierungsfantasie auf der einen Seite, Entgrenzungsfigurationen auf der anderen. Ecco una magnifica notte stellata: Since cinem release of ‘Audition’ inTakashi Miike has become one of the most visible Japanese directors in Western film culture.

Stray snatches of dialogue appear as non-sequiturs, alternately hilarious, profound, or both, occasionally even outing their source material. He has done so chronologically, with the help of many friends, movie geeks and film archives, and the result is this minute compilation of excerpts of night skies from until nrl year of release Des voix en anglais, en allemand, en russe, en japonais – mais pas de sous-titres.

How the silent screen burst to life with color. Elk beeld waarin iets anders is te zien dan een sterrenhemel — een horizon, een ruimteschip, titels — is weggelaten.

California Italian Studies

I admit that I was exhausted when the credits ran, but when I got out, it was already dark, and I had a look at the sky, and it looked similar but excitingly new at the same time. The outcome is an interstellar journey through times, landscapes and languages, and through cinema of course. Violencia e infantilismo de un agitador.

It has been quite crazy what is happening with the film and it makes it me very happy. Log In Sign Up. I dialoghi descrittivi o enfatici senza sottotitolile colonne sonore e il suono d’ambiente riempiono questa affascinante desolazione figurativa, ce la rendono come uno sguardo aperto alle dimediazione e alle minacce che hanno sempre accompagnato la visione dello spazio.


When we are immersed and engaged by a film, we do that for every second of the experience. Lukas Stern am 2. I am going to use the word instead of the symbol to keep this post readable. Meanwhile, Austrian artist Rimedaizione Lurf arranges historical shots of the night sky chronologically, creating an extraordinary atlas of stars.

Ganz mit den Mitteln des Kinos. Und wenn ja, wo?

Takashi Miike

Aus Filmtiteln hat er die Sternenaufnahmen herausgeschnitten, um diese dann chronologisch also ausgehend vom Produktionsjahr zusammenzuschneiden. Is interesting how Lurf decides to play with those changes too, as an index of our new conscience, by comparing the different ones we could find until now.

Lurfs Film unterscheidet hierbei allerdings nicht, und das wahrscheinlich zu Recht, denn wie sollte man das All bildlich denken, wenn nicht in irgendeiner Form als Nachthimmel?

Back for a second encore following the success of the first two installments, this volume takes as its subject not the genres or movements that constitute the cinema of the Land of the Rising Sun but the filmmakers themselves. Lurf’s intricate film is a cosmic journey through space-time. It is a beautifully simple idea, but expansive and multilayered in the actual viewing, a profoundly involving, immersive, resonant experience.

Lurf playfully shows how cinema turned the stars into endless metaphors, dreams, and warm blankets. Inevitably, our own ideas, fears, aspirations, and even our changing modes of depicting and thinking about them are detectable in these imaginings. Is their a starfield in your film that you recall as being the most beautiful, perhaps your favourite? Paracinema, issue 11, Genau deshalb ist Filmgeschichte hier auch eine Metageschichte: