Internationale Kurzfilmtage Oberhausen


The Language of Attraction:
Trailers between Advertising and the Avant-garde

1 – 6 May


Trailers represent a unique cinematic language that is part advertising and part summary, employing techniques of coercion, condensation, and explication to entice audiences to invest time and money in the feature presentation promoted. This programme asks what can be learned from considering trailers as works in their own right. What constitutes their distinctive cinematic language? How has it changed as the film industry has developed? How have the form and material of trailers been appropriated by artists?


Sourced from a number of international collections, curators Cassie Blake and Mark Toscano of the Academy of Motion Picture Arts and Sciences Film Archive have compiled eight programmes featuring dozens of artists' films and nearly 100 trailers, from the 1920s to the present. Trailers will be examined in their original context, with titles ranging from Metropolis to Jaws 3-D and including many rare prints. A wide range of artists' works engaging with the form and material of trailers will include showcases for Los Angeles artists Damon Packard and Chris Langdon, as well as films from Peggy Ahwesh, Stan Brakhage, Apichatpong Weerasethakul, Martha Colburn, and many others.


Ultimately providing a closer look at a distinctive and evolving genre, this year's Theme investigates the historic, aesthetic, and social contexts of trailers, representing a cinematic language, which, however malleable, has nonetheless remained instantly recognisable.


The Curators


Cassie Blake is a Film Preservationist at the Academy of Motion Picture Arts and Sciences. In 2010 she helped establish the world's largest collection of theatrical trailers on film, the Packard Humanities Institute Collection at the Academy Film Archive. Her writing on the subject is featured in Films that Sell: Moving Pictures and Advertising and she has curated trailer screenings at Deutsche Kinemathek, Hollywood Theatre, and MoMA, among others.


Mark Toscano is a curator, filmmaker, and film preservationist based in Los Angeles. Since 2003, he has worked at the Academy Film Archive, where he specializes in artists' films, including those of Stan Brakhage, Barbara Hammer, Tacita Dean, and many others. He has curated programmes at venues including Oberhausen, MoMA, Arsenal, Tate Modern, and festivals in North America, Europe, and Asia. He is a programmer with Los Angeles Filmforum, and lectures in Experimental Animation at CalArts.


Kontakt: Kristina Henschel

Introduction Theme 


with Cassie Blake and Mark Toscano, curators



Thu, 2 May, 10:30 h

Lichtburg Filmpalast/Gloria

Theme 1: The Unseen Scene: Coming Attractions as Featured Presentations

courtesy of the Academy Film Archive



A selection of trailers using a variety of stylistic approaches and incorporating unique material created solely for promotion.


Thu, 2 May, 17:00 h

Lichtburg Filmpalast/Gloria

Theme 2: The Journey That Begins Where Everything Ends! Damon Packard's Delirious Universe

The Early '70s Horror Trailer © Damon Packard



The Early ‘70s Horror Trailer, Damon Packard, USA, 1999, 7’00”

Dawn of an Evil Millennium, Damon Packard, USA, 1988, 20’30”

SpaceDisco One, Damon Packard, USA, 2007, 45’00”





Thu, 2 May, 22:00 h

Lichtburg Filmpalast/Gloria

Theme 3: Never Before Possible: Trailers That Sell Advancement and Artifice

courtesy of the Academy Film Archive


Trailers featuring new technologies from Cinemascope to Odorama.



Fri, 3 May, 14:30 h

Lichtburg Filmpalast/Gloria

Theme 4: Thin Premises/Shocking Exposés: The Films of Chris Langdon

Bondage Boy © Chris Langdon



Trailers for the Films of Chris Langdon, Chris Langdon, USA, 1973-74, 3'30"

Bondage Boy, Chris Langdon, USA, 1973, 5'00"

Two Faces Have I, Chris Langdon, USA, 1973, 3'00"

Now, You Can Do Anything, Fred Worden/Chris Langdon, USA, 1973, 6'00"

Thin Premises, Chris Langdon, USA, 1974, 5'30"

This is the Brain of Otis Crawfield, Chris Langdon, USA, 1973, 3'00"

Love Hospital Trailer, Chris Langdon, USA, 1975, 2'30"

999 BOY (aka Express Implication), Chris Langdon, USA, 1974, 8'30"

Bondage Girl (aka Immaculate Gate), Chris Langdon, USA, 1973, 5'00"

Intermittent Transposition, Chris Langdon, USA, 1974, 7'00"

Picasso, Chris Langdon, USA, 1973, 3'00"

The Last Interview with P. Passolini, Chris Langdon, USA, 1976, 6'00"

Venusville, Fred Worden/Chris Langdon, USA, 1973, 10'00"

The Gypsy Cried, Chris Langdon, USA, 1973, 2'30"


Sat, 4 May, 17:00 h

Lichtburg Filmpalast/Gloria

Theme 5: Better Seen Than Heard: The Anomaly of Female Voiceover in Trailers

courtesy of the Academy Film Archive


Why are there so few female voiceovers in trailers and what patterns emerge from an examination of the rare exceptions?



Sun, 5 May, 10:30 h

Lichtburg Filmpalast/Gloria

Theme 6: Viewer Discretion Advised: Appropriating the Language of Trailers

A Toetally Soleful Feeture Pedsintation © Martha Colburn



Just for the Fun of It, Dean Snider, USA, 1983, 1'00"

Due to Violent Content, and Flashing Lights with Strobe Effects, Viewer Discretion Advised, _blank (Blanca Rego), Spain, 2015, 1'00"

Undercover... Me!, Tom Rubnitz, USA, 1988, 2'00"

Ikiru Wipes, Sarah Biagini, USA, 2011, 4'00"

A Toetally Soleful Feeture Pedsintation, Martha Colburn, USA, 1998, 7'00"

Frank Stein, Ivan Zulueta, Spain, 1972, 3'00"

The Migration of the Blubberoids, George Kuchar, USA, 1989, 11'00"

Untitled (Pink Dot), Takeshi Murata, USA, 2007, 5'00"

Condensed Movie #1, Kent Lambert, USA, 2002, 10'00"

Bugtong: Ang Sigaw Ni Lalake, Rj Leyran, Philippines, 1990, 3'30"

The Best of May, 1968, Jay Cassidy, USA, 1972, 3'00"

Gewaltopia Yokokuhen, Motoharu Jônouchi, Japan, 1968, 13'30"

Fin es una pelicula mexicana, Annalisa Quagliata, Mexico, 2016, 2'30"

Vault, Bruce Yonemoto & Norman Yonemoto, USA, 1984, 12'00"

Now Playing, Susan Rosenfeld, USA, 1983, 6'00"


Sun, 5 May, 17:00 h

Lichtburg Filmpalast/Gloria

Theme 7: Ad/Agency: Cinematic Advertising at the Pre-Show

courtesy of the Academy Film Archive


Pre-show trailers advertising everything from refreshments to church-going.



Mon, 6 May, 12:30 h

Lichtburg Filmpalast/Lichtburg

Theme 8: A Material Attraction: Trailer as Source

The Politics of Perception © Kirk Tougas



Visual Music for Ten Voices, Steven Woloshen, Canada, 2011, 3'39"

REGAL, Karissa Hahn, USA, 2015, 2'15"

Night Mulch & Very, Stan Brakhage, USA, 2001, 6'00"

Beirut Outtakes, Peggy Ahwesh, USA, 2007, 7'30"

Collage d'Hollywood, Richard Kerr, Canada, 2003, 8'30"

Apeshit, Leah Gilliam, USA, 1999, 6'30"

One Way to Find Out, Scott Stark, USA, 2012, 6'30"

Last Train, Dianna Barrie, Australia, 2016, 12'30"

The Politics of Perception, Kirk Tougas, Canada, 1973, 33'00"


Mon, 6 May, 17:00 h

Lichtburg Filmpalast/Gloria

Themes of the last few years: "Das Auge der Bombe" (1991), "Werbefilm" (1992), "HDTV" (1992), "Konfrontation der Kulturen" (1993), "Instudriefilmfaszination" (1995), "Hyper Media" (1997), "Nützliche Bilder" (1998), "1968/98" (1998), "Städte, Territorien" (1999), "Pop Unlimited?" (2000), "Sex, Rock'n'Roll and History" (2000), "Out of Time" (2001), "Katastrophe" (2002), "re<lokal>isierung" (2003), "50 Jahre Kurzfilme in Oberhausen" (2004), "Der gefallene Vorhang" (2005), "Radical Closure" (2006), "Kinomuseum" (2007), "Dreh Dich nicht um! Kinder, Kindheit, Kino" (2007),  Wessen Geschichte? (2008) und Grenzgänger und Unruhestifter (2008) Unreal Asia (2009),  Vom Meeresgrund: Das Experiment Film 1898-1918 (2010), Das Kino der Tiere. Eine kurze Geschichte des Tierfilms (2011), Provokation der Wirklichkeit: Mavericks, MouveMents, Manifestos (2012), FLATNESS: KINO NACH DEM INTERNET (2013), MEMORIES CAN'T WAIT - FILM WITHOUT FILM (2014), The Third Image – 3D Cinema as Experiment (2015), El pueblo – Searching for Contemporary Latin America (2016), Social media before the Internet (2017), Leaving the Cinema – Knokke, Hamburg, Oberhausen (1967–1971) (2018)