Mosaik In Vertrauen

“Experience has shown that the film is meaningful to an impartial observer; yet the intellectual Alpbach audience found that it was a sequence of images having no meaning, accompanied by music and noises that do not fit with the images. Some people even expressed the view that it was the decadent work of the devil. It is true that the sequence of images is discontinuous (disjointed) and that the sound and image do not run synchronously, i.e. the spoken word does not need to come from the mouths of the performers. The emotional tensions which arise here, and which Kubelka orcestrated with absolute mastery, are incomparably stronger than any ‘normal’ film. The sequence of images leaps associatively, is sometimes interrupted by secondary events, sometimes unfolds in the reverse order to the way things ordinarily occur, and thus the story is put together enigmatically like the stones of a mosaic. Neither can there be any other film in which the sound has such a powerful autonomous existence as it runs parallel to the image; one has to listen very precisely in order to differentiate between the foreground, middle ground and background of the sound.” – Alfred Schmeller
“Kubelka’s motives for making the film lie in his belief that commercial films do not fully exploit cinematic possibilities. He declares that the place of the plot and its ostensibly disparate scenes is the screen, and the time shall be any time at which the film is shown.” – Alfred Schmeller