Appearances: a siren, a Hawaii girl, two sailors, an old bird, a young bird, two further sailors, the Greek god Tunte, an ancient American star, a Russian silent film mother and a nymph of German Romantic. As follows, the authors describe their ironic, irritating, and alienated film collage: Without being punished, our aim is to reinvent the poetic reality / describe other forms of life / to devise new worlds / new humans, new hermaphrodites, whatever comes to our minds / we postulate the identification of the spectator / his moral engagement in situations that are beyong good or bad and that nebulise the checkpoints and constants of his world view / we introduce the spectator to a psychic no man’s land.”
Raoul Hausmann: In the principle of a collage, different layers overlap. Sectors and quotations in the commercialised every day life and music, noises, sacred gongs, Hawaiian music, Schuricke-melodies, Musette-waltz, Burmese chant and cultic Ketchak-rythms and language – literary texts by Apollinaire, which also make use of the procedure of quotation, phrases from the world of American show business and the complains of a Russian silent film mother […]. Satire, the grotesque, the caricature the clown and the doll appear; and its the aim of this form of expression to present an other life to us, by depicting the mechanising of life, the apparent and real consolidation.”
Die Betörung der Blauen Matrosen, directed by: Ulrike Ottinger, D 1976, 16 mm, color, 50 min, starring Tabea Blumenschein, Rosa von Praunheim, Barry Tannenbaum, Valeska Gert and others.