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    Beyond the pleasure 
        of watching lies the pleasure of understanding, a non-directed understanding 
        which is able to discover, beneath the redundancy of visual informations, 
        its own way of watching. 
        The idea of the "frozen picture" (freeze frame) taken seriously.
        Peter Tscherkassky  
      Freeze Frame is the best example of a filmic signifier from which 
        the transparency and invisibility has been removed. Material which has 
        been repeatedly re-filmed (a construction site, a rubbish incinerating 
        plant, industrial graveyards, an antenna and line-drawing like frame that 
        continually falls over) are exposed on top of each other. The result is 
        that an unambiguous reading of the picture, to say nothing of their positioning 
        in a fictive room cannot even be attempted. This type of calculated picture 
        removal is carried to the point where the film strip is stopped in the 
        projector (and hence the title) and burns.
       Michael Palm 
      The visual background material for Freeze Frame consists of shots 
        taken in a "redevelopment area" in Berlin, i.e. old buildings 
        shortly before their demolition, filmed through a loo window which repeatedly 
        slides in front of the houses like a shutter; shots from a construction 
        site in Frankfurt; as well as of an incineration plant  the anus, 
        as it were, of a city  where one can watch a huge grip arm and a 
        worker pushing the garbage around. These pictures are set in contrast 
        to pictures of visitors and participants at a neighborhood street festival, 
        the kind where the city attempts to conceal itself behind a poor imitation 
        of village charm. While the visual material is taken to the brink of collapse, 
        the symmetry of urban architecture has drifted into the macrostructure 
        of the film: with the A-B-C-D-C-B-A structure of its visual motifs, Freeze 
        Frame has identifiable edges and a center. But I even dissolve this 
        macrostructure in a finale in which the "edge" destroys itself 
        and opens to the pure light of the projector lamp.
       Peter Tscherkassky  
      Centre Georges Pompidou, Paris, acquired Freeze Framefor 
        their permanent collection. |