Im Anfang war der Blick (2002)

When a writer investigates Austria through the image presented by postcards, the landscapes around Erzberg and Salzburg province become something between a dream and a nightmare. And the words on the back of the cards seep into the scene as whispers. These are terrible and painful texts, written by unknown hands over the course of time.

The result of five years of work is a 45-minute art movie about Austrian landscapes.
The camera acts as a winking eye spying into a poet’s workroom. Books are stacked to the ceiling and the poet moves agilely between typewriters and shelves, leafs through books or, like Alice, enters a looking-glass. Bodo Hell cuts a restless figure, a man of the word setting off on a journey into the images. In a rhythmic montage, innumerable postcard motifs rain down upon the viewer, which the protagonist then enters as if they were real landscapes.

Bady Minch's cinematic narrative of a poet’s search for images provides the framework for a critical reconquest of an idyllic Alpine landscape. Using breathtaking montage work and elaborate film technology, she penetrates deep into the sultry colour of the postcards without succumbing to their camped-up charms. Single frame shots, dissolves and language employed as a musical element in a fast-paced composition of words and images are combined to create a film which goes against conventions and expectations. For In The Beginning Was The Eye, Bady Minck used also single frame techniques, time-lapse and slow motion.
This is a film about story-telling and remembering, the volatility of language and images.

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