{"id":2454,"date":"2024-09-23T12:27:25","date_gmt":"2024-09-23T12:27:25","guid":{"rendered":"https:\/\/everydayphotography.org\/journal\/?p=2454"},"modified":"2024-09-23T12:27:26","modified_gmt":"2024-09-23T12:27:26","slug":"what-is-striking-about-private-photographs-is-that-they-are-ambivalent","status":"publish","type":"post","link":"https:\/\/everydayphotography.org\/journal\/what-is-striking-about-private-photographs-is-that-they-are-ambivalent","title":{"rendered":"&#8220;What is striking about private photographs* is that they are ambivalent.&#8221;"},"content":{"rendered":"\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>Interview with experimental filmmaker P\u00e9ter Lichter<\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">by <a href=\"https:\/\/everydayphotography.org\/journal\/by-dorottya-balko\">Dorottya Balk\u00f3<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">The powerful, uncanny visuality of damaged, half-decayed frames building up P\u00e9ter Lichter\u2019s films might be familiar to many of us. As a director of captivating found footage films, Lichter has become an acknowledged character of the Hungarian and international experimental film scene. His films have carried off several awards at festivals such as the Hungarian Independent Film Festival and the Alternative Film\/Video Festival (Belgrade, Serbia). Lichter is also a lecturer at the University of P\u00e9cs and a successful author of film history with a special focus on the analysis of Hollywood movie productions. Apropos of his latest publication about the found footage genre titled <a href=\"https:\/\/www.praekiado.hu\/termek\/frankenstein-eksztazisa\/\"><em>Frankenstein ext\u00e1zisa \u2013<\/em> <em>A found footage filmek \u00e9s vide\u00f3essz\u00e9k formavil\u00e1ga<\/em><\/a>&nbsp;(<em>The Ecstasy of Frankenstein - The aesthetics of found footage films and video essays<\/em>), we have asked him about his artistic process and the creative potential lying behind playful experimenting.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Dr. Moreau (20&#039; - with subtitle)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/wAJUVJ1794g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h6 class=\"wp-block-heading\"><strong>At the very beginning of your book, you write that the making of found footage films begins on the streets \u2013 at flea markets and antique shops \u2013 with the search for roll films. This might be a \"chicken or the egg\" type of question, but which one do you find first; the subject you would like to explore or the material you would like to work with?<\/strong><\/h6>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"wp-block-paragraph\">In my case, there are two types of processes. At times, I chance upon the material; for example, once a dear friend of mine from the Film Archive of the National Film Institute Hungary called me about a discarded grocery store advertisement from the 80s. I didn't know what I was going to do with it, I just felt that it could be good material and eventually I used it in my film <a href=\"https:\/\/www.youtube.com\/watch?v=PvOBu1KayqM\"><em>Nutrition Fuge<\/em><\/a> (2018). A similar thing happened in the case of another work of mine, <a href=\"https:\/\/www.youtube.com\/watch?v=BAbeRO5ffDs\"><em>Light-sleep<\/em><\/a> (2009). I walked down Doh\u00e1ny Street, stepped into the first antique store and asked the manager whether he had any Super 8 mm films, then he asked back if porn tapes would be suitable.\u00a0Sometimes the materials I find, primarily Hollywood films, evoke a strong emotional reaction in me that leads to a new film idea. I once came across the 35 mm copy of <em>A Nightmare on Elm Street<\/em> in a Facebook group selling roll films. I immediately bought it and created <a href=\"https:\/\/www.youtube.com\/watch?v=UMPDQO6UXWE&amp;t=618s\"><em>The Philosophy of Horror<\/em><\/a> (2019) with the help of director Bori M\u00e1t\u00e9. However, another film of ours <a href=\"https:\/\/www.youtube.com\/watch?v=hcqwft8aVBc&amp;t=791s\"><em>The Rub<\/em><\/a> (2018) or my latest <em><a href=\"https:\/\/www.youtube.com\/watch?v=DZI7GU0VBzU&amp;t=56s\">The Grey Machine<\/a> <\/em>(2024) \u2013 the latter will be screened in October at ISBN+ \u2013 were born from ideas totally independent of material. This is a completely different process; films that are born from a specific material usually exist in physical form as well, but the films that begin with the idea are often created digitally, since these sources are easy to obtain.<\/p>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/ahorrorfilozoiaja-4-1024x683.jpg\" alt=\"\" class=\"wp-image-2471\" srcset=\"https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/ahorrorfilozoiaja-4-1024x683.jpg 1024w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/ahorrorfilozoiaja-4-300x200.jpg 300w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/ahorrorfilozoiaja-4-768x512.jpg 768w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/ahorrorfilozoiaja-4-1536x1024.jpg 1536w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/ahorrorfilozoiaja-4-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Still from <em>The Philosophy of Horror<\/em> (2019)<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h6 class=\"wp-block-heading\"><strong><strong>Whether we're talking about film stocks or digital files, this type of filmmaking is highly dependent on the process of collecting. Do you collect films continuously or do you only look for material during the development phase?<\/strong><\/strong><\/h6>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"wp-block-paragraph\">There is a continuous accumulation of films. I\u2019m already known in celluloid-fetishist circles, so occasionally someone calls me asking if I need, for instance, five boxes of old advertisements. The rolls of commercials or old movie trailers are stored in warehouses; they are no longer shown anywhere, no one needs them but unlike movies, they don\u2019t have royalties on them, so their nature is quite obscure legally.<\/p>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/the_rub_makingof_1-1024x768.jpg\" alt=\"\" class=\"wp-image-2469\" srcset=\"https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/the_rub_makingof_1-1024x768.jpg 1024w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/the_rub_makingof_1-300x225.jpg 300w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/the_rub_makingof_1-768x576.jpg 768w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/the_rub_makingof_1.jpg 1536w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">The making of <em>The Rub (2018)<\/em><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h6 class=\"wp-block-heading\"><strong><strong>Where do you store the films you collect?<\/strong><\/strong><\/h6>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"wp-block-paragraph\">By testing the limits of my wife's, Bori\u2019s patience, I partly store them in the built-in wardrobes of our apartment. However, I take most of my material to my workshop at my parents' construction company. There, I can pack films and work comfortably, since my process requires a lot of space. I often use spray paint, bleach, and I even bury the films in the ground for a certain amount of time.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h6 class=\"wp-block-heading\"><strong><strong>Do you only use a film once or do you go back to a certain roll to remix it, to use it in another context?<\/strong><\/strong><\/h6>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"wp-block-paragraph\">It always felt like \"cheating\" to reuse them. I get bored of things very quickly; I rarely work on films for more than a year and a half, and I usually don't want to deal with them again. But I've already digitied tens of thousands of painted frames, and it's tempting that they're at arm\u2019s length, stored on Winchesters. Those I use from time to time, especially the ones that appear more abstract. For example, behind the digital images of my Agatha Christie-adaptation, <a href=\"https:\/\/www.youtube.com\/watch?v=yCDirP0cmAI\"><em>The Mysterious Affair at Styles<\/em><\/a> (2022), there is an abstract, cloud-esque background, which I created by recycling images from <em>The Rub<\/em>.<\/p>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"608\" src=\"https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/mysteriuosaffair_Still3-1024x608.jpg\" alt=\"\" class=\"wp-image-2470\" srcset=\"https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/mysteriuosaffair_Still3-1024x608.jpg 1024w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/mysteriuosaffair_Still3-300x178.jpg 300w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/mysteriuosaffair_Still3-768x456.jpg 768w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/mysteriuosaffair_Still3-1536x912.jpg 1536w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/mysteriuosaffair_Still3-2048x1217.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Still from <em>The Mysterious Affair at Styles<\/em> (2022)<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h6 class=\"wp-block-heading\"><strong><strong>When you work on a film stock, do you already have an idea on how the digital result will look like?<\/strong><\/strong><\/h6>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"wp-block-paragraph\">In every phase of the process, I experience an element of surprise. First, when I take the material out of the ground to paint and bleach it; then during the digitalization, when I get to see the pictures up close; then when I look at the digitized image on a monitor; and finally, when creating the moving picture. I've been experimenting with the enhancement of this game in <em>The Grey Machine<\/em>. I downloaded glitch and data moshing applications to my phone which help me further destroy the images. I used them to record the pictures that appeared on the monitor, and then I also recorded the video appearing on my phone screen. My friend and director, Gyula Nemes calls this method \"meatball filmmaking\". It can produce a very exciting result, as the image \"evaporates\" \u2013 the pictures have no contours left, they lose their video effect and start to resemble impressionist paintings.<\/p>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/therub_still2-1024x576.jpg\" alt=\"\" class=\"wp-image-2472\" srcset=\"https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/therub_still2-1024x576.jpg 1024w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/therub_still2-300x169.jpg 300w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/therub_still2-768x432.jpg 768w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/therub_still2-1536x864.jpg 1536w, https:\/\/everydayphotography.org\/journal\/wp-content\/uploads\/2024\/09\/therub_still2.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Still from <em>The Rub (2018)<\/em><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h6 class=\"wp-block-heading\"><strong><strong>Although you typically work with fictional films, in two of your projects <\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=Z6qKGE157jM&amp;t=401s\"><strong><em>Rimbaud<\/em><\/strong><\/a><strong> (2014) and <\/strong><a href=\"https:\/\/www.youtube.com\/watch?v=F9xupMEROQs&amp;t=345s\"><strong><em>Polaroids<\/em><\/strong><\/a><strong> (2015) everyday photographs appear. What attracted you to banal imaging?<\/strong><\/strong><\/h6>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"wp-block-paragraph\">Fictional films are public property, and they are part of our collective unconscious; everyone recognizes frames from <em>Star Wars<\/em>, for instance. What is striking about private photographs is that they are ambivalent. On the one hand, all private films can be classified into genres such as vacation, birthday or wedding; on the other hand, they record unrepeatable, one-off moments. Even back in the 60s, Super 8 mm films were relatively cheap, however, people didn't take out their cameras every five minutes to record something. Hence there is a sense of uniqueness in the moments they captured; that\u2019s what excites me. I don\u2019t focus on the stories behind these photos; in this sense, I am much less faithful to the source material than, let\u2019s say, P\u00e9ter Forg\u00e1cs who prefers to unfold family histories in his films as a quasi-anthropologist. I\u2019m interested in the new quality that comes to life when I take a snapshot from its original context and put it in another. In my pseudo-documentary <em>Rimbaud<\/em>, I meditated on the later life of the poet; and in <em>Polaroids<\/em>, I adapted the poems of M\u00e1rton Simon. I often feel the desire to create a feature-length film using only private photographs - after all, I have a huge collection to work with.<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Polaroids (2015)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/F9xupMEROQs?start=345&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h6 class=\"wp-block-heading\"><strong><strong>Regarding remixed documents, the question of copyright \u2013 and in the case of private recordings, personal rights \u2013 arises. How much of a challenge does the domestic or international legal environment mean for a director of found footage films? Have you ever run into problems with your own films?<\/strong><\/strong><\/h6>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"wp-block-paragraph\">The legal landscape around found footage films is very foggy. In the past ten years, it has become an important topic of discussion as more and more of these films are being created. In 2019, when we started working with producer D\u00f3ra Nedeczky, who considers it very important to keep the process as clear as possible, I also started looking into the situation. There is a Spanish art journal called <em>Found Footage<\/em> <em>Magazine <\/em>that published a study on the topic of copyright. They didn\u2019t mention the use of everyday photographs, since in these cases, we can only talk about personal rights, which is really complicated. Let's say, you want to use a photo of someone that you found at a flea market; how are you supposed to ask for a license of use when you don't know the original owner of the photo, nor the person depicted on it? The case of fictional films is simpler, and at the same time, more complicated. It's easier because copyright always belongs to someone; after 75 years it automatically expires, and the film becomes public domain. Of course there can be errors in the system; for example, <em>Night of the Living Dead<\/em> (1968) by George A. Romero is no longer protected by copyright. However, there is a more nebulous side of copyright that affects me, since I don\u2019t use public domain films. This is where the concept of artistic appropriation comes into play meaning that by transforming the original pictures as part of my creative process, they become my property. For instance, the painted frames of <em>A Nightmare on Elm Street<\/em> are my property copyright-wise. However, there is also a problem with profit-making; the rights to the films I use usually belong to Hollywood film studios, who don\u2019t shy away from going to court if someone makes money by appropriating their films. The legal grey zone of not-for-profit orientated artistic creation provides protection against potential copyright claims. However, a lot of found footage movies are shown in cinemas; for instance, the latest film of the Australian director duo Soda Jerk - who typically makes collages from Hollywood feature films \u2013 titled <em>Hello Dankness<\/em> (2022) was screened at the Berlinale and at the BFI London. Their work is obviously part of the market economy, and I don\u2019t yet know how they can pull this off legally. In Hungary, <em>Final Cut: Ladies and Gentlemen <\/em>(2012) by Gy\u00f6rgy P\u00e1lfi faced many legal problems, which is why it was screened in film clubs instead of cinemas. Then, with a brilliant move, the film was published as an appendix to a book about montage.<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Rimbaud (2014)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/Z6qKGE157jM?start=401&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h6 class=\"wp-block-heading\"><strong><strong>Video sharing platforms have fundamentally changed our visual culture, amongst others, introducing the found footage genre. Each day, we come across countless video essays and supercuts, our brain is basically trained to take in flashing pictures. You\u2019ve mentioned that more and more found footage films are being produced, but only a few Hungarian filmmakers experiment with the genre. Why do you think that is?<\/strong><\/strong><\/h6>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"wp-block-paragraph\">I think this issue goes much further than found footage films. The genre provides absolute freedom: you don't have to get money to make the film, you don't have to compromise, and with the help of the available technology, you can realize any idea. Found footage films first became popular on YouTube precisely because they are connected to the democratization of technology. So, filmmaking has become super flexible, but it does not mean that the filmmakers\u2019 way of thinking has changed. Despite technological freedom, the film industry is still hierarchical; it dictates what a good script should look like; and there is a lot of money at risk. Hence the logic of the Hollywood film industry and the classic narrative film still dominates our artistic thinking. I have absolutely no problem with Hollywood; I watch these films, I wrote a book about them, and I consider them to be a very important phenomenon. However, it undoubtedly defines the mechanics of the European film industry. Take my own example; I once applied to the National Film Institute Hungary to get funding for a found footage film and the jury simply could not understand the concept. The horizon of opportunities for young people studying filmmaking is also determined by the current system. So, to answer your question, the problem doesn\u2019t start with found footage films, but with the lack of filmmakers experimenting with all kinds of techniques. They don't necessarily have to seek inspiration from the avant-garde and make experimental films; they could direct, for instance, a one-act narrative thriller that takes place in an elevator. Film history has provided us with great examples of creative solutions, but for some reason they are not widely known in Hungary. The responsibility of the lack of creative experimentation of young people rests on the shoulders of schools such as Moholy-Nagy University of Art Design Budapest, the University of Theatre and Film Arts, and Budapest Metropolitan University. Of course, we can\u2019t blame teachers individually, I rather interpret the problem at the systemic level. For three years, I was the head of a Master programme in documentary filmmaking, so I was closely following what had been happening in other institutions. I have found that many educators do not know or do not <em>want to<\/em> know about alternative forms of filmmaking. They are all parts of this industry, and they cannot point to other ways of filmmaking. There are always exceptions of course, Ildik\u00f3 Enyedi for instance, who introduces students to the vast possibilities of filmmaking. This is how I teach as well, and fortunately, I have experienced the joy when a student\u2019s alternative way of thinking allows them to create something amazingly new and fresh.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><sup><em>* The term \"private photography\" (in Hungarian: priv\u00e1t fot\u00f3) is used in Hungarian photographic literature and media theory texts instead of \"vernacular photography\" or \"everyday imaging\" \u2013 this term essentially means the same thing, with a slight emphasis on the nature of these images, indicating that they were not intended for publication and analysis. The interviewee consistently used this form of the term, so we did not change his wording in the English translation. [Ed.]<\/em><\/sup><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>P\u00e9ter Lichter\u2019s new exhibition,\u00a0<em><a href=\"https:\/\/www.facebook.com\/events\/1702814367199076\">The Grey Machine<\/a><\/em>, opens on October 1st at the <a href=\"https:\/\/www.isbnbooks.hu\">ISBN+ gallery and bookstore<\/a> in Budapest, which also houses our ongoing project,\u00a0the<em> Eidolon Shelf<\/em>. You can purchase his books at ISBN+ and watch his films and videos on <a href=\"https:\/\/peterlichter.com\">his website<\/a>.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Interview with experimental filmmaker P\u00e9ter Lichter by Dorottya Balk\u00f3 The powerful, uncanny visuality of damaged, half-decayed frames building up P\u00e9ter Lichter\u2019s films might be familiar to many of us. As a director of captivating found footage films, Lichter has become an acknowledged character of the Hungarian and international experimental film scene. His films have carried [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":2468,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41],"tags":[19,28,20,22],"class_list":["post-2454","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-by-dorottya-balko","tag-contemporary-appropriation-art","tag-family-photography","tag-found-imagery","tag-the-hungarian-scene"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>&quot;What is striking about private photographs* is that they are ambivalent.&quot; - Eidolon Journal<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/everydayphotography.org\/journal\/what-is-striking-about-private-photographs-is-that-they-are-ambivalent\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"&quot;What is striking about private photographs* is that they are ambivalent.&quot; - Eidolon Journal\" \/>\n<meta property=\"og:description\" content=\"Interview with experimental filmmaker P\u00e9ter Lichter by Dorottya Balk\u00f3 The powerful, uncanny visuality of damaged, half-decayed frames building up P\u00e9ter Lichter\u2019s films might be familiar to many of us. 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