Ungerer has a sophisticated sense of composition and montage, so his manipulation of the footage always leads the eye to find deeper and more interesting visual connections, and never feels muddy, cluttered, or arbitrary. Within the first two minutes, we’ve already been beguiled by a complex, visually rich tapestry of sounds and images, with buildings which break up into grids of color, dissolving into sumptuous fragments of stained glass and parquet tiles. The ambient sounds of the street are likewise layered into a mix of sirens, musical fragments, and snatches of dialog. He takes multiple clips and blurs them, changes their color, cuts them into intersecting slices, isolates and freezes individual elements such as street signs and gargoyles, pixilates them, and fragments them into kaleidoscopic patterns. Ungerer greatly alters and manipulates this footage to construct the film. The footage which forms the basis of Parva Sed Apta Mihi, Walter Ungerer’s 17-minute experimental short, was casually recorded by the filmmaker as he walked around downtown Los Angeles one day, shooting buildings, people, galleries and art studios he visited during an Open Studio tour. It features a mixture of reviews, interviews, and essays. Film Scratches focuses on the world of experimental and avant-garde film, especially as practiced by individual artists.
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