english version

Bodies Without Bodies In Outer Space— un film de Rafal Morusiewicz /

Ce moyen-métrage partage l'économie d'un mash-up, en juxtaposant des séquences de plus de 20 films, des sources sonores variées (créées de toutes pièces ou préexistantes), et un texte combinant fiction et biographies, dont certaines sont en lien avec le milieu du cinéma durant la République Populaire de Pologne (1952-1989). Sans narration distincte, le film combine des fragments d'histoires venant de lieux différents, montés sur des images fictionnelles ou autobiographiques, racontées à travers des voix disséminées tout au long de la bande-son. Tous ces éléments sont mélangés au sein d'une structure qui développe alors sa propre logique, style, et narration.

You hear a slowly increasing mellow droning sound that accompanies the image of a boat running at full speed through what seems to be a river. There are a few people on its deck closely inspecting the water ahead of them. Cut. Against a navy-blue heavily clouded sky, there’s a big wooden cross situated in the screen’s center. On it stretches a man wearing sunglasses and a suit. Positioned on the left and on the right, the other two people look directly into the camera. There appears a caption, aligned to the left hand side of the screen: “There’s a park nearby, let’s get high and suck each other off.” Cut. A woman in her 30s, wearing black and half-lying in bed, picks up the phone. “Antek has died,” she says. “The funeral is tomorrow. Please call later.” The image glitches and stutters, sputtering layers of visual noise. The screen cuts to black. You hear a female voice, as if through a phone, humming: “Ninon, oh, please smile.”

This mid-length experimental film approximates the economy of a mash-up, bringing together audio-visual footage from over 20 films, multiple audio samples (found and created), and text that combines fictional and biographical stories, some of which relate to the moving image made in Polish People’s Republic (1952-1989). Lacking an ongoing narrative frame, the film combines fragments of stories from various places, embedded in the images, fictional or auto-biographical, told through the voices scattered throughout the film’s soundtrack, and elsewhere through the captions that bring a momentary sense of order through their consistently neat positioning. Fragmented and distorted, the text, sound, and images are, nevertheless, mashed up into a structure of its own idiosyncratic logic, style, and narration.

The film combines the 1952-1989 Polish realities as depicted in the films of the era with the semi-fictional auto-ethnographic story. It is an audio-visual and textual mixtape that combines footage from over 20 films with the original text and multiple layers of audio samples. The film was made as a part of my “PhD-in-Practice” artistic project at Academy of Fine Arts Vienna “Remixing Polish Film History: Self-Contaminations, Queer Interventions, and Affective Conjurings.” 

Format de projection
Fichier Quicktime