Entfesselte Bilder
In the organizer's words:
Film history has known "untethered cameras" since the 1920s, when directors such as Friedrich Wilhelm Murnau with cameraman Karl Freund or the Frenchman Abel Gance strapped the camera to sledges, bicycles or boards and set the heavy equipment in motion individually for the first time. Even in the decades before that, the camera was mobile. For example, when it was mounted in front of a locomotive in so-called "phantom rides", recording the forward movement of the train from the perspective of the train driver or accompanying a chase from a rail car or car. The moving camera, as used by Murnau in DER LETZTE MANN (DE 1924) and Gance in NAPOLÉON (FR 1927), delivered far more dynamic film images than the fixed camera of the early years of cinema and was celebrated as a sensation and subsequently developed further over the decades.
The exhibition traces the path through film history from evidence of the first attempts at more dynamic camera work to the increasingly perfect tracking shots of the present day, focusing on those movements that form entire plot units in the film as long, uncut shots. Thanks to (also digital) technology, the camera can do almost anything today. This can be seen impressively in films such as Alfonso Cuarón's GRAVITY (US/UK 2013), where the camera is always at the side of Sandra Bullock's character Dr. Stone, seemingly whizzing through three-dimensional space in complete detachment.
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