The formative Years (I) - Arsenal Edition

SCHENEC-TADY I (GER 1972/73, 40 min, b/w, silent)
The first part of the SCHENEC-TADY series has been cut to its final length in 1975. The edited pieces were basis for SCHENEC-TADY III.

SCHENEC-TADY II (GER 1973, 19 min, Color, silent)
SCHENEC-TADY II was planned as a film in two parts. The negative of the first part, shot in Hamburg 1973, got lost. The film was then rescored into its present form.

ARROWPLANE (GER 1973/74, 24 min, Color, silent)
The multiplication of a one-directional, horizontal 180-degree-panning shot with itself, applied to three landscapes – mound, city and beach.

TIDE (GER 1974, 34 min, b/w, silent)
The multiplication of a two-directional, horizontal 180-degree-panning shot with themselves, applied to the procresses “ebb to flow” and “flow to ebb”.

SCHENEC-TADY III (GER 1972/75, 25 min, b/w, silent)
His 'raw material' is 360 degree pans around the settings, but they are edited in such a way that the film constantly subverts conventional perception; cross rhythms, superimpositions, speed fluctations and rapid alternations of direction spark off a remarkable array of illusions, after-images and uncertanties. It confirms Emigholz as the most painterly of avant-garde film-makers. (Tony Rayns, TIME OUT, London, November 1974)