A Question of Space: Videoessay zu White Out, Black In von Roger Koza

In der Untergangsstimmung des Kinos gibt es nur selten noch die euphorische Entdeckung eines Potenzials. Der Hype um den audiovisuellen Essay, der in den letzten Jahren rund um Größen wie Catherine Grant, Kevin B. Lee und Adrian Martin entstanden ist, gehört sicherlich dazu. In Videoform vermag eine neuartige Kritik entstehen, die ihrerseits filmisch arbeitet und einen ganz anderen und dennoch kritischen, reflexiven, über den Film hinausragenden Zugang zu einzelnen Arbeiten oder ganzen Filmemachern, Motiven etc bieten kann. Auf dem Filmfestival in Rotterdam wurden im Januar im Rahmen der Critic’s Choice einige solcher Arbeiten gezeigt. Inzwischen gibt es diese Videos fast alle online zu sehen und so konnte ich mir in der Zwischenzeit auch ein Bild vom Status Quo dieses Feldes machen und davon, was die Möglichkeiten denn überhaupt sind. Um es kurz zu machen: Ich bin überwältigt. Nicht alle Arbeiten sind wirklich interessant, aber wenn sich die Kritiker wirklich darum bemüht haben, sich in die Versprechen dieser Auseinandersetzung mit Film zu werfen, dann sind spektakuläre Arbeiten entstanden, die gleichermaßen sinnlich, poetisch und analytisch wirken. Ich hätte hier auch ohne weiteres über den Essay von Cristina Álvarez López und Adrian Martin schreiben können. Ich entscheide mich aber dafür, über jenen von Roger Koza zu schreiben. Der Grund dafür ist, dass mir sein gewählter Film Branco sai, preto fica von Adirley Queiros beim erste Sehen auf der Viennale 2014 so gar nicht gefallen wollte, obwohl er mir unter anderem von Roger Koza enorm angepriesen wurde. Wenn für mich die Kritik eines Films trotz unterschiedlicher Meinung dennoch funktioniert, dann kann das mit drei Dingen zusammenhängen. Die erste Möglichkeit ist, dass ein Kritiker Wahrheiten oder Hintergrundinformationen über Film an sich ausspricht, die mich interessieren oder bewegen. Die zweite Möglichkeit ist, dass die Auseinandersetzung mir einen neuen Blick auf den Film ermöglicht und meine bisherige Meinung überdenken lässt. Und die dritte Möglichkeit ist, dass die Kritik in sich zu einem Kunstwerk wird, aus dem ich Inspirationen ziehen kann, die gar nichts mit dem Film zu tun haben müssen. Das Video von Koza hat mir alle drei Möglichkeiten auf einmal vor Augen geführt und zudem hat es diese Möglichkeiten in einer Art und Weise bedient, die nur durch Ton und Bild bei mir ankommen konnte.

A Question of Space ist nicht nur eine Auseinandersetzung mit Branco sai, preto fica, sondern auch ein Spiegel auf die Arbeit des Kritikers und über Denk- und Fühlprozesse eines Cinephilen. Das Video arbeitet mit Assoziationen, mit dem eigenen Körper, mit Recherche, aber vor allem mit der Fähigkeit, zu sehen und zu hören:

White Out, Black In: A Question of Space from Roger Koza on Vimeo.

Zunächst stellt Koza im Stil von Manny Farber eine „Question of Space“. Nach einer unkommentierten Aufzugfahrt aus dem Film sehen wir eine weitere Einstellung daraus, in der ein Protagonist durch ein Wohnviertel geht. Durch den Titel, der dem vorangestellt wird, kann unser Blick auf den „Space“ gelenkt werden. Wir beginnen, wie das in den besten Kritiken der Fall ist, schon hier mit frischeren oder besser veränderten Augen zu sehen, angetrieben von einer faszinierenden Idee. Nochmal erscheint dort „Space“. Koza setzt die Bilder des Films zusammen wie ein Mosaik. Man sieht zwei Einstellungen desselben Ortes aus unterschiedlichen Kamerapositionen. Nun habe ich diese so nicht mehr in Erinnerung, aber der Essay ruft sie in Erinnerung, noch mehr: Er macht sie sichtbar, ermöglicht einen Blick auf die Arbeit des Filmemachers. Dann erscheint „Poetics“ auf dem Bildschirm. Im Ton hören wir einen Alarm und zunächst scheint Koza dasselbe Spiel noch einmal zu treiben. Er zeigt zwei Bilder übereinander, die jeweils den gleichen Ort aus unterschiedlichen Kameraperspektiven zeigen. Nur die Bewegungen sind anders und es entsteht ein Rhythmus. Da die rechte Seite des Bildschirms bislang Schwarz blieb, scheint etwas zu fehlen. Koza führt es nun zusammen, er nennt es „Poetics of Space“. Stumme Flüge über „Spaces“ beleben dann die rechte Seite des Bildschirms und zudem versetzen sie einen in den hippen SciFi-Flair des Films. Nur die linke Seite bleibt diesmal Schwarz. Zurück zu „Space“.

Es ist als würde Koza die Zeit, die für den Film eine Rolle spielt, in seine essayistische Analyse eingliedern. Damit folgt er kinematographischen Gesetzen und offenbart uns die Möglichkeiten des audiovisuellen Essays: Die Kritik ist nun auch an die Zeit gebunden (und ich meine damit nicht den Abgabetermin…). Damit muss man arbeiten. In der Folge öffnet sich der Space auf Bilder eines nationalen brasilianischen Kinos. Brasilien im Film. Gewalt und Armut und wie sie gefilmt wurden. Jeder kennt die Formulierungen der Kritik, wenn sie darauf verweisen will, was es sonst so gibt, wenn sie Vergleiche anbietet und so weiter, aber niemand kann mit diesen Formulierungen die Kraft eines Bildes erreichen, das wie ein Madeleine in unsere Wahrnehmung des besprochenen Films einfällt und in Bild und Ton vor uns lebt. Koza scheint seine Begeisterung für die fliegenden Bewegungen gefunden zu haben, ganz so als wären die brasilianischen Slums, nur von Ufos aus zu betrachten.

koza space3

Mit welchem „Space“ haben wir es hier zu tun? Es stellen sich Verbindungen her zwischen einem politischen, geographischen und filmischen Raum. „Politics“ lautet der nächste Titel, weil das die logische Fortsetzung dieses Raumes ist. Die Kamera blickt weiter von oben auf das Geschehen, als etwa Bilder aus City of God von Fernando Meireilles oder Elite Squad von José Padhila zu sehen sind. Die logische Folge, wir haben sie bereits erahnt: „Politics of Space“. Hier führt Koza sein Argument zu einem ersten Ende. Nur seinen wahren Trumpf hat er noch nicht ausgespielt (es ist als würden diese Bilder einer argumentativen Logik folgen). Wir sehen Karten auf denen gezeichnet wird, eine Karte als ultimativer Topshot, so weit oben, dass die Idee des Raumes abstrahiert und politisiert werden kann. Dieser „Space“ bei Koza ist eine Frage der Distanz, der räumlichen und der zeitlichen Distanz.

Dann folgt der in sich außergewöhnlichste und gelungenste Teil des Videos. Eine Szene aus Branco sai, preto fica zeigt den Protagonisten, der HipHop-hörend durch die Straßen fährt. Es folgt ein Schnitt auf ein Radiogerät im Auto und nach einem „Volkswagen“ Schriftzug, der bei allem Humor dennoch von einer weiteren Distanz erzählt, einer Distanz, die ein Kritiker immer hat und haben muss zu seinem Film, sehen wir  Koza selbst im Auto sitzen und aus dem Radio dringt seine Stimme mit Gedanken zum Film. Diese Gedanken führen uns zum Argument, dass wir aus schriftlichen Filmkritiken kennen, aber zugleich führt es uns auch zur Entfernung von diesem Argument, da wir zum einen den Kritiker selbst vor uns sehen, der sozusagen die Welt des Films bereist und zum anderen dann sogar in den Film selbst geht, weil Koza wieder zurück schneidet, aber weiterhin seine Stimme hörbar wird. Um dem Ganzen noch eine kleine Krone aufzusetzen, entspricht dieser Bruch mit der bisherigen Form auch dem Vorgehen von Branco sai,preto fica von dem Koza aus dem Radio erzählt: Eine filmische Rekontextualisierung, die sich eben nicht von der eigenen Wahrnehmung des argentinischen Kritikers lösen kann, der sich selbst in ganz ähnlichen Gegenden (vermutlich in Argentinien) findet und damit den „Space“ des Films nach außen lagert. Damit stellt er nicht nur Fragen an den Film, die Filmgeschichte, den Raum, die Politik oder die Filmkritik, sondern letztlich an sich selbst.

In der Folge führt er seine Argumentation in Kreisbewegungen weiter. Zunächst mit Hilfe weiterer scheinbar assoziativ gewählter Ausschnitte aus East Wind der Dziga Vertov Gruppe um Jean-Luc Godard und Road to Ythaca von Pedro Diogenes, Guto Parente, Luiz Pretti und Ricardo Pretti. Letzterer könnte als Anschauungsmaterial dienen wie aus einer Poesie ein Space wird, wie ein Gedicht in Wege und Reflektionen übersetzt wird. Er gibt weitere Beispiele und Koza definiert seine These genauer (rekontextualisiert sie): A Poetics of Space is always a Politics of Space and a Space of Politics. Die Geräusche und Bilder des Films und jene aus Kozas tatsächlicher Umgebung beginnen ineinander zu verschmelzen. Der Kritiker und der Film folgen jetzt einem Gedanken, einer Möglichkeit. Eine wunderbare Arbeit, die es tatsächlich versteht Räume zu öffnen und damit gleichermaßen poetisch und politisch zu sein. Und dann darf man durchaus enthusiastisch sein, was die Zukunft einer leidenden Branche betrifft.

Space

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  65. Zune and iPod: Highest us residents review the Zune toward the Touch, nevertheless soon after looking at how slim and astonishingly lower and light it is, I contemplate it in the direction of be a fairly one of a kind hybrid that combines attributes of both the Touch and the Nano. It’s Pretty vibrant and stunning OLED display screen is somewhat lesser than the contact screen, but the participant alone feels Incredibly a little bit lesser and lighter. It weighs relating to 2/3 as much, and is substantially scaled-down in width and peak, though currently being simply just a hair thicker.

  66. I’ve been surfing online more than 3 hours today, yet I never found any interesting article like yours. It is pretty worth enough for me. Personally, if all website owners and bloggers made good content as you did, the net will be much more useful than ever before.

  67. The new Zune browser is shockingly optimistic, nonetheless not as Fantastic as the iPod’s. It will work nicely, however just isn’t as instantaneous as Safari, and incorporates a clunkier interface. If your self once in a while application upon getting the web browser that is not an issue, nonetheless if you happen to be coming up with towards read through the net alot against your PMP then the iPod’s greater exhibit and far better browser could possibly be significant.

  68. Hey there, You have done an excellent job. I will definitely digg it and personally recommend to my friends. I am confident they will be benefited from this web site.

  69. Hey very nice blog!! Man .. Excellent .. Amazing .. I will bookmark your site and take the feeds additionally…I’m satisfied to seek out numerous useful info right here within the submit, we’d like work out more strategies on this regard, thank you for sharing. . . . . .

  70. The new Zune browser is surprisingly Great, yet not as good as the iPod’s. It performs nicely, still is just not as prompt as Safari, and incorporates a clunkier interface. If oneself occasionally software upon working with the website browser which is not an issue, but if you might be coming up with in direction of read the world-wide-web alot versus your PMP then the iPod’s much larger exhibit and far better browser could be sizeable.

  71. Sorry for the large examine, nevertheless I am seriously loving the fresh new Zune, and hope this, as perfectly as the very good assessments some other us residents comprise published, will aid by yourself make a decision if it’s the instantly final decision for on your own.

  72. Thanks for another magnificent article. Where else may anyone get that type of info in such an ideal approach of writing? I’ve a presentation subsequent week, and I’m at the look for such information.

  73. Apple currently incorporates Rhapsody as an app, which is a fantastic start off, yet it is at present hampered via the inability in direction of retailer locally upon your iPod, and includes a dismal 64kbps bit price tag. If this changes, then it will considerably negate this advantage for the Zune, yet the 10 songs per thirty day period will nevertheless be a massive moreover in Zune Pass‘ favor.

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