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Outer Space
Outer Space is—together with L’Arrivée (1998) and Dreamwork (2001)—part of Peter Tscherkassky’s ‘CinemaScope Trilogy’, which draws on fragments of Hollywood films. Here, it utilises footage from The Entity (S. J. Furie, 1981), a psychological horror film, in which the female protagonist is pursued by an invisible ghost.
In Outer Space, the woman no longer fights an unknown entity, but that portion of the filmstrip that is normally unseen when film is projected—the “outer space” of the film’s image, consisting of the optical soundtrack and its perforations.
Bio Peter Tscherkassky
Austrian avant-garde filmmaker Peter Tscherkassky works exclusively with found footage. All of his work is done with film and heavily edited in the darkroom, rather than relying on technological modes. Tscherkassky not only presents beautiful and haunting images but also forces the audience to rethink the traditional conception of film and film narrative. After studying philosophy in Berlin and Vienna, he finished a doctoral thesis on aesthetics and avant-garde cinema. Over the course of his career, Tscherkassky has made some thirty films, including his ‘CinemaScope Trilogy’, with L’Arrivée (1998), Outer Space (1999), and Dreamwork (2001). Th …
Suggesting a convulsive hall of mirrors, Peter Tscherkassky’s widescreen tour de force Outer Space reinvents a 1981 Barbara Hershey horror vehicle, leaving the original’s crystalline surface intact only to violently shatter its narrative illusion. After Hershey enters a house at nighttime, sounds of crickets, static, and distorted music give way to explosions, screams, and garbled voices. In an eruption of panicked subjectivity, the actress’s face multiplies across the screen as the frame is invaded by sprocket holes, an optical soundtrack, and flashes of solarized imagery.
A young woman, night, an American feature film. She enters a house, a dark corridor, a thriller. While she forces her way into an unknown space together with the viewer, the cinematographic image-producing processes go off the rails all around her. The rooms through which she goes telescope into each other, become blurred, while at the same time the crackling of the cuts and the background noise of the soundtrack – the sound of the film material itself – becomes louder and more penetrating. The pace becomes frenetic, the woman is being pursued by invisible opponents, she is pushed against a mirror, walls of glass burst, furniture tilts and the cinematographic apparatus, which the heroine begins to attack in blind fury also suffers. The images jump and stutter, the perforation holes tilt into the picture, the sound track collapse inwards in a will o’ the wisp destruction scenario – something which only film can do so beautifully. In ten minutes, Outer Space races through the unsuspected possibilities of cinematographic errors—a masterpiece.
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- This film was #9 in the “Greatest” Short Films of All Time 2025