jüm-jüm

französisch“jüm-jüm”
by Werner Nekes and Dore 0.
1967, Color, 10 min.

Stephen Dwoskin, Film Is, 1975
"Nekes is a very prolific film-maker, and also a painter. He once told me that he wanted to make films in which the audience would have no points of reference for what they saw. He wanted to put them into the position of being like children again, so that they could see in a fresh and uninhibited way without the intellectual patter, the filters and the pseudoisms. So in his film JUM-JUM (1967), made with Dore O., he uses the fixed camera and a simple movement--a girl on a swing, seen in profile. The movement develops by fragmentation.

jüm-jüm

Normally the movement of someone swinging is a simple back and forth arc. By fragmenting this simple arc one creates pieces of movement, which become separate movements. These fragments are juxtaposed to form a new relationship. We know that if someone is on a swing which is up in the air it will come down in the same continuous arc in which it swung up in the first place. If the film is cut and reassembled--by editing (splicing together)--so that a later part of a movement occurs before an earlier part of the same movement, that normal movement suddenly seems to go backwards and then leap forward. A simple rhythm and movement develops into a new rhythm and movement. The change does not seem as dry and academic as it does when described. In jüm-jüm the girl on the swing flies up, hesitates, goes up and up and back and embarks ' on further rhythms. Our normal visual association to the swing and the simple arc is broken. The girl on the swing turns into a staccato movement, a light/colour symbol of movement. We become detached from the girl and can see only visual rhythms."--Stephen Dwoskin, Film Is, 1975.
Aus: filmmakers cooperative catalogue No. 7

Dieter Kuhlbrodt,Filmkritik, May, 1968
In “jüm-jüm” by Dore 0. and Werner Nekes, a girl swings for 10 minutes in front of a movie screen, on which is painted a phallus (slightly abstract and fairly large) The perspective is such that the girl appears to be swinging into and out of the phallus. It one is content to see through the specific event. the work exhausts itself in a trivial aspect, the literary. This is most comfortable for the critic: the literary content of a work is easiest to reproduce in a literary form of criticism.  more...

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