Austrian director Virgil Widrich: Culture has a wider range of nationality
Virgil Widrich, an Austrian filmmaker, who was attending at the virtual specialized meeting “20-38” at the 38th Tehran International Short Film Festival said culture has a wider range of nationalities.
Widrich’s meeting was focused on visual storytelling strategies.
“In the late 1980s, the Association of Filmmakers and Cinematographers was formed in Austria, which was one of the most important events in Austria, and then two important points were found in the field of filmmaking, the first being the separation of the economic from the artistic aspect of the film,” Widrich said.
“Because a lot of films are good works but they do not find viewers and this objection should not be taken to the film. The next important point was whether it was the artist who should be financially supported or the economics of cinema. For this reason, in 1979, a bill to finance filmmaking was introduced, and the jury required that the bill be implemented,” he added.
He continued: “Given that independence was an important point in the work of this committee, this jury continued its activities to support screenwriters, producers, and activists in the Austrian film sector, and there was a very philosophical question in between.”
“If Austrian films can use this budget, we should first know what Austrian film is? Should a filmmaker have an Austrian passport or not? Would he be supported if the Austrian filmmaker wanted to make a film abroad? And this set of questions reminded us that culture has a much wider range of nationalities”.
The experimental filmmaker stated: “In 1981, an agreement was reached with Austrian television to screen films that had received financial support. The main reason for this memorandum was the nature and general perception of television, which sought to benefit economically from each film. Six Pack Company was formed in 1990 to support Austrian filmmakers. This was actually the beginning of the story and then other companies were added to the cycle.”
“Arnold’s education is in the history of cinema and psychology,” Virgil Widrich said of Martin Arnold. His most important work is the “emotional repetition trilogy” which has three different parts. His work is such that he takes and uses parts of films that have been made for other films, and this is a very new idea that has been used long before digital cinema and montage culture.
He added: “The accuracy and quality of Martin’s films in the art world were very surprising, and in fact, in his activities, he expresses his ideas and uses visual pleasure and humor in his films. He later took revenge on the history of cinema when he realized the content of Hollywood movies.”
آe said: “One of the important issues in experimental cinema is how to organize the film information to achieve a new concept, and this system was done with a camera that moves the negative behind the lens. Martin was surprised to see these images and wondered what would happen if this happened in film form as well. So he went to the theory of changing the position of place or time and designed a device by which he could rearrange the information contained in the film. It started out with cropping photos, but it had its limitations. In the 1990s, he continued to work with digital cameras, and to create the desired visual effect, he had to build a number of devices to help enhance his work.
“Last year I was invited to the short film festival, but unfortunately I lost my 12-year-old son in an accident a week before coming to the festival,” the director said, referring to the most difficult film he has made in years. “My son has been interested in filmmaking and animation since he was a child, and he prepared forms that I turned into films a week after his death, and it was the hardest film I had ever made in years,” he added.
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International Public Relations of Tehran International Short Film Festival.