Outer Space

One of the single best proof of concepts for a structural approach to cinema I’ve ever seen. To get to the heart of cinema, we must understand its structure. We must not just look at what image the camera is capturing we must look at the camera itself.  For the image to be captured, the film stock must run through the camera. Here we change this structural relationship between camera and image by seemingly melting The film stock itself to reach areas simply impossible by taking any other approach within the bounds of standard image to camera relations.  Here Peter Tscherkazssky takes a relatively small step outside of traditional structure, and yet the results are tremendous, even with a small change to how we approach the camera fundamentally the results are disproportionately significant.  By daring to approach cinema through structure, we are rewarded with this almost new kind of editing first Pioneered by brakhage but now merged and blended together with a narrative image.  Through structure, the film completely recontextualize’s the narrative being shown into this sharp war cry of images, making what otherwise would be a woman in her home into this psychological deconstruction and breakdown of the familiar into the uncanny. What Tscherkazssky is doing isn’t necessarily very new even in the experimental world yet it is an approach and technique so rarely used, and so infrequently explored that seeing any narrative application of structural techniques comes across as being completely outside of the norm. It is up to us as artist to look to the future to how we can depict our ever increasingly complex world around us, and to do that we must fundamentally understand the medium in which we’re dealing with and this film while simple on the surface is a shining example of how by Applying ideas even slightly out of the standard we can quickly enter wonderfully uncharted territory.