Hernals

In front of the camera: Valie Export, Peter Weibel. In Hernals documentary and pseudo-documentary procedures were filmed simultaneously by two cameras from different viewpoints. The material was then divided into phases of movement. In the montage each phase was doubled. The techniques used in this process vary. Also the sound was doubled, again using different techniques. Two realities, differently perceived according to the conditions of this film, were edited into one synthetic reality, where everything is repeated. This doubling up destroys the postulate: identity of copy and image. Loss of identity, loss of reality (e.g. schizophrenia). One has only to imagine a theater piece, where the actors recite each sentence twice, make each gesture twice, play each scene twice - and one conceives perhaps the monstrosity of our reality, which does not allow for duplications. Time is not stopped, but streched - time as fissure between copy and image, time, which creates space. (Peter Weibel)

More Texts

Thomas Korschil zu Hernals von Hans Scheugl

In Hernals, mit Valie Export und Peter Weibel, interessiert die Möglichkeit oder Unmöglichkeit Ereignisse in der Welt gleichzeitig von verschiedenen Blickpunkten wahr- und aufzunehmen. Was der Spielfilm uns seit Ewigkeiten gnadenlos vorexerziert, wird hier beim Wort (d. h. Bild) genommen, mit dem bedeutenden Unterschied allerdings, daß Scheugl durch Wiederholung (Verdopplung) der illusionistischen Kontinuität (des Spielfilms) entsagt, um so (s)eine eigene Wirklichkeit zu synthetisieren. (1993)

Der lebendige Realismus dieser Montage (pseudo)dokumentarischer Alltagsszenen wird nicht durch eine direkte Manipulation des fotografischen Abbilds in Frage gestellt. Zum originär filmischen Ereignis wird Hernals durch einen drastischen Eingriff in die zeitliche Ordnung der abgebildeten Vorgänge: Die einzelnen Szenen werden, in Fragmente zerteilt, jeweils zweimal gezeigt, nicht als idente Wiederholungen, sondern in zwei verschiedenen, gleichzeitig aufgenommenen Kameraperspektiven. Die resultierende Parallelmontage sprengt das enge Korsett des konventionellen Kinos räumlich, indem der eine, privilegierende Blickpunkt aufgegeben wird und zeitlich, indem die illusionistische (Spielfilm-)Kontinuität ignoriert wird. Bewegungen und Sprachfetzen werden wiederholt, der Lauf der Zeit auf befremdende Weise unterbrochen und zerdehnt. (1995)

Stefan Grissemann on Hernals by Hans Scheugl

In the opening seconds of Hans Scheugl's Hernals, we see Valie Export in the entrance hall of a Viennese apartment house. Filmed by two cameras, she steps out of the house and slams the door thunderously behind her. On screen, she does this twice, although in real life, she only did it once; both cameras, one positioned in the house, and the other outside on the street, provide evidence of the opposite - and the artificial reality of cinema. A tram crosses the frame in a shot, which is also a look back at the Vienna of 1967; a scene, again recorded from two perspectives, between which the film-maker darts to and from. Workers, passersby, children playing on a sunny day, staged actionism by a protagonist named Peter Weibel; Scheugl takes all of this and makes a montage constituting a new, mechanical, humanly impossible, cut-up reality. Film-machine architecture.
Perhaps as a reaction against his own one-take car travel, Wien 17, Schuhmanngasse, Scheugl here breaks up real time, doubles it for the cinema, turns trivial reality into an alien and completely un-trivial ballet of random (and randomly filmed) movements, into a musical composition of repeated, rhythmic, interlinked scraps of dialogue, and the roaring mechanical cadence of street traffic.
This is the modern dance of the cutting table choreograph, or a terse, precisely composed and fast-moving avant-garde fairy-tale from the Thousand and One motion picture miniatures.
Orig. Title
Hernals
Year
1967
Country
Austria
Duration
11 min
Director
Hans Scheugl
Category
Avantgarde/Arts
Orig. Language
no dialogue
Downloads
Hernals (Image)
Credits
Director
Hans Scheugl
Cinematography
Robert Gigel, Peter Klein, Hans Scheugl
Sound
Kurt Novacek
Actor/Actress
Peter Weibel, VALIE EXPORT
Available Formats
16 mm (Original Format)
Aspect Ratio
1:1,37
Sound Format
mono
Frame Rate
24 fps
16 mm (Distribution Copy)
Aspect Ratio
1:1,37
Sound Format
mono
Frame Rate
24 fps
DCP 2K flat (Distribution Copy)
Aspect Ratio
1:1,37
Sound Format
stereo
Frame Rate
25 fps
Color Format
colour
Digital File (prores, h264) (Distribution Copy)
Festivals (Selection)
1994
Riga - Arsenals - Int. Film Festival
1997
Locarno - Festival Int. de film
Graz - film+arc.
1998
Aix-en-Provence - Festival Tous Courts
1999
Teplice - Int. Art Film Festival Trencianske
Regensburg - Kurzfilmwoche
2003
Oberhausen - Int. Kurzfilmtage