Friday, June 3rd | 21.00  h | Metropolis
Saturday, June 4th | 22.00 h | B-Movie

When C. G. Jung introduced the term of synchronicity into the field of psychology, it also had a broad impact on experimental film creation. Jung was intensely interested in »temporally correlating events, which are not connected in a causal relationship but can be perceived and understood as connected and in relation with each other«. The mode of action of events in picture and sound has been thoroughly investigated in classical experimental films and in different variants of abstract animations since the period of surrealism.

It can be very enlightening and humorous when an event in a film precisely coincides with a sound experience from the audio track. It becomes irritating when the noise has a completely different origin than the narrative of the picture. At times this creates a shift in the mind of the beholder, and mundane things gain a formerly unknown depth. In proponents of an independent, non-illustrative film music this simple emotion regularly causes intense fits of rage:
»This is just Mickey Mousing!«

In American animated film productions this Mickey Mousing, that is to say the image-accurate illustration of movements, added to the extreme compression and panache of animated films, increasing their fascinating effect in the process. The sound tracks of the classical cartoon films of American animated film from the 1930s to the 1950s are full of fantastically innovative sounds and ludicrous tempo-effects. This anarchic wealth of ideas inspired undogmatic film composers such as Frank Zappa. These film scores gain their magical effect from the intense interplay between freedom and necessity. The phenomena of synchronicity and asynchronicity have enraged and fascinated directors and musicians for decades, bringing fresh important ideas to experimental films in the process.

The hands painted abstract animations in ›A Strange Dream‹ unfold their dynamic magic to a song by the Beatles. The drum rhythms of the films ›Particles in Space‹ and ›Bang Bang‹ echo the heartbeats that were our first audial perceptions in our existence before birth. In the animation ›Poemfield No. 2‹ a free jazz improvisation creates an exciting contrast to the angular pixel typographies of a Bell Labs computer monitor from the 60s. The hypnotic sound surfaces that can be heard to the flickering discharges of ›Energie!‹ lead into the deeper layers of electric networks in a completely technologized present.

In this year’s laboratory programme we are presenting cinematic examples from the last 60 years in which the ideas of synchronicity encounter the liberty of asynchronous sound design. Apart from ethnographic sounds, jazz and electronic music, the directors were also inspired by Franz-Schubert-scores and the popular music of the 50s and 60s. All these cinematic experiments have in common that they create an atmosphere which can only be fully appreciated in the cinema.

Film selection
Hanna Nordholt und Fritz Steingrobe?

Hanna Nordholt and Fritz Steingrobe are film makers and curators.