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A furious scene, virtuously reassembled, continuously intensifying, yet never moving. A brief excerpt from Charlie Chaplin’s 'The Floorwalker' (1916) serves as starting sequence for 'Intermezzo'. Chaplin, fleeing from a monstrous pursuer, down an up escalator, which at the time was the epitome of techno mechanical modernity; on the side, a mannequin as statuary counterpoint. Pfaffenbichler arranges the takes that he has pulled from the original film, enlarged, and in part, set as negatives or alienated in terms of color, according to a special verse scheme: ABABA BCBCB DCDCD, etc., whereby the selected excerpt continually advances to the action and the interlinking of the images becomes increasingly dodgy.
June 11, 2012 · 2m
A furious scene, virtuously reassembled, continuously intensifying, yet never moving. A brief excerpt from Charlie Chaplin’s 'The Floorwalker' (1916) serves as starting sequence for 'Intermezzo'. Chaplin, fleeing from a monstrous pursuer, down an up escalator, which at the time was the epitome of techno mechanical modernity; on the side, a mannequin as statuary counterpoint. Pfaffenbichler arranges the takes that he has pulled from the original film, enlarged, and in part, set as negatives or alienated in terms of color, according to a special verse scheme: ABABA BCBCB DCDCD, etc., whereby the selected excerpt continually advances to the action and the interlinking of the images becomes increasingly dodgy.