A work in constant progress (and occasional regress).
Directed by:
Norbert Pfaffenbichler, Lotte Schreiber
Release Date:
August 14, 2001
Original Title:
36
Genres:
Documentary
Production Countries:
Austria
Ratings / Certifications:
N/A
Runtime: 2
36 refers to both aesthetic traditions of abstract painting and the structural approaches of early geometric films (such as those of Walther Ruttmann and Hans Richter). At the same time, other associations arise, such as early video games and their restricted movement, which was limited to the main axes. When watching 36, an unbelievable tension and concentration develops for the viewer, caused not least by the clarity of the concept and the reduction of the means. (Gerald weber)
Lotte Schreiber and Norbert Pfaffenbichler's 36 is a rigidly mathematical and graphic composition based on the number in its title. All of this video's elements, including its length, are variables of this figure. three apparently independent fields of perception are linked to Stefan NĂ©meth's synchronized soundtrack. In the left field, thirty-six vertical and horizontal white lines run through various patterns of movement according to a binary digital system (0 vertical, 1 = horizontal). They eventually unite in six squares with amorphous animated miniatures. The right section of the screen contains a palette with patches of color reminiscent of Gerhard Richter. The colors combine and recombine in ever-changing mixtures as if they were controlled by an electric relay. At the bottom of the picture are two overlapping squares which portray the video's temporal axis. They provide the underlying rhythm in a manner similar to a metronome, though they move in a linear direction toward the visible end. 36 refers to both aesthetic traditions of abstract painting and the structural approaches of early geometric films (such as those of Walther Ruttmann and Hans Richter).
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.