Czech Republic | 2019 | 60 min. | director: Markéta Wagnerová
Džok Film is a self-portrait, an action “performance film” based on the script of a universal mythical story as described by Joseph Campbell. “It was my dream to make this film, even though the whole thing started out as a joke. While making the material for the MEOW wedding video, the cameraman quickly pressed the shoot button twice in a row while I was receiving a slap from one of the actors in the scene. This created a humorous one-second shot, which we named Džok, ”describes Markéta Wagnerová. Curator and historian of moving pictures Lenka Střeláková describes Džok Film in her opponent’s review as “the performer’s way of transformation”, adding “it is impossible to suspect that as a performer he knows that it is only through energy interaction with the viewer that a ‘true’ initiation can take place. So even though Markéta’s graduation work has similarities to a standard video file, it is actually quite probably a ritual instrument – and it should be treated accordingly. ” Markéta Wagnerová je pseudonym umělce žijícího v Brně. Ve své práci využívá mnoha médií, důraz však klade na hudbu, performance a film. Klíčová slova popisující jeho práci jsou: spolupráce, humor, rituál a frustrace.
Czech Republic | 2018 | 35 min. | tvůrci: Jiří Rouš, David Šmitmajer, František Týmal
On September 8, 1914, the first aerial taran – a combat manoeuvre in which a pilot deliberately flew his aircraft to an enemy apparatus for the purpose of destroying it, took place in the sky above Ukrainian Zhovka. Russion pilot Petr Nestěrov, a pioneer of aerobatics, performed it at the cost of his own life against an Austrian aircraft piloted by František Malina, who became the first Czech airman killed in air combat. Film performance TARAN reconstructs the incident using experimental technics of live animation bringing an intense visual experience attacking the vision of the viewers through a rapid sequence of images that are constantly changing, making it impossible to grasp their escaping shape and essence. It creates the atmosphere of an air battle in which the viewer experiences a sense of detachment from the earth’s surface, bordering on physical discomfort, dizziness and loss of spatial perception. This sensation is enhanced by the sound that is embracing and deafening the audience from all sides creating a feeling of being part of the attacking fighters. The author trio follow up on the previous film productions Swan Desert (2010) and Hunting of Boghora (2012) and further develop work with analogue instruments in both picture and sound. The performance in Ostrava will take place after a successful screening at the PAF Olomouc, the IFF in Rotterdam or at the MIEFF in Moscow.