Thomas Draschan

In a voiceover Stan Brakhage articulates his resentments about the use of computers for art production and in general. This comment is contrasted by video imagery turning more and more abstract until it bursts into a sea of square pixels. The video is an ironic illustration of Brakhage's views as these "defunct" images reveal a kind of beauty of their own.

Tells the story of a man and his alter egos, set out in unknown territory doomed by a sinister atmosphere. Lust and sexual desires are glooming all around him.He has to undertake several adventures, fight his enemies, also alter egos of his personality.

Freude is a film trying to mimic a visual orgasm. It’s trying to have sex with your retina.

"Franziska is a hand-made blow-up - single Super 8 frames are fixed into windows cut in 16 mm black and white film. Space and time are involved with each other in a fascinating manner and in different frameworks and abrasive processes of movement."

Vienna’s unique Church of the Most Holy Trinity, a walk-in sculpture by architect Fritz Wotruba, is reconstructed into a new narrative through the assemblage of photographs.

Found footage film dealing with important aspects of life & death. The film begins with a kind of trip into film as such, leads to sex which then causes birth and raises the question what to do with one's life (for example commit suicide), the film shows also other opportunities like car racing, film-projecting or having sex and eat, dissapear into the abyss of the universe or beat up somebody. All these thoughts lead to nowhere. In the very end the film seems to make obvious that love and the cycle of life and death are as senseless as the attempt of trying to understand them or the film or the world.

A film about a trip to Italy with three other filmmakers (Bernhard Schreiner, Georg Wasner, Alina Grumiller) that is presented primarily as a filmed diary: drinking, filming... With the editing, I tried to create a continuity of movement in space and time, letting one person, Florence for example, make a gesture or movement somewhere and letting someone else continue it in Monterchi or Arezzo. The soundtrack is constructed in the same way, in order to comment on the scenes but also to connect them through acoustic associations. My intention was to use editing to transcend the rather unspectacular nature of the shots. Even though the film is often perceived as a little "bohemian," it deals above all with inner doubt.

The film is structured around the mystical idea of the mandala, in this case pictures of (fake) suns, galaxies and planets. These images are in sync with an Indian Bollywood song to enhance the pseudo-psychedelic effects. The film material covers a very wide range of found footage from various sources and decades from the Thirties (invisible woman) to the end of the 1980s.

A found footage film, which uses an Italian Sixties softporn soundtrack, which is repeated twice. Each time a sequence of images is synched to the soundtrack. The film images are illustrating acts of ocular light perception as well as imagery with strong visual impact. It is a kind of visual test directed towards the viewer.

16mm, 4min, colour, sound Experimantal montage film from Thomas Drashchan