clip from "Belarmino" (1964) + thts_

Some thoughts about the clip:

The first shot is reminiscent of the birth of man.

Through the darkness into the light. The frame of the tunnel

of course, represents the subjective perception of

the viewer generated by the film camera.

The stadium represents the emptiness of the inner world.

The fact that the camera is placed in the middle of the (round or) square formes

convenience and a certain balance and perfection.

Maybe an Zen state of mind,maybe a life in circles.

The music provides the necessary kit between architecture and film.

At the same time the music functions as timeline and with a certain melancholy,

it helps the viewer "sich einzufinden" in the situation.

The architecture of the stadium serves as a vector of power

and produces the interior subject too - its necessary support and/or structure.

The runner arrives at his inner self.(er kommt bei sich selbst an.)

In the last hundred meters the man runs towards the camera.

The erection of the hands and jumping of the legs are like

a given sign.These moves lead the camera to look up into the sky.

There are the clouds that give the impression of an

aufatmen (respire).At the same time the view gets shortened, something has come to an end...

Aperture - roofs, gables, classical architecture leading a

short journey through the city.From the inside (look) towards the outside view.

You see the man in clothes from above.Always in thoughts,walking over roman mosaic.

He walks frontal towards the camera away from a victory statue or fountain (symbol of birth,life?),to a kiosk.While the music turns

into a melange of radio and road noise the man is looking at comic books.

Fitting the noisy background, we can see that

these are horror comics. A guard stands in front of the entrance next to a sign.

On it written "Permanent Sessions".

The cover of the magazines are like frameshots, suddenly working as antipodes to motion/movement.

They represent the rigidity or angst produced by

any kind of inner horror.Again:The comic-book covers function as antipod to the movement of the film.

Are these our (??) inner permanent sessions?. The archetypes, the uncomfortable

the unconscious: as if one could not really get close to IT, we see

a grim-looking guard in front of another dark entrance .

He's becoming an obstacle: represented by his uniform and his eyes as he rejects our view

by the signal of the (inner?) fanfare.

FFA