Macro Photos of Filmrolls Present a New Way of Seeing The Godfather, Scarface and Citizen Kane

Trois Couleurs; Bleu by Krzysztof Kieslowski, 1993

Austrian photographer Reiner Riedler‘s new project, the appropriately titled The Unseen Seen is a series of macro shots of original filmrolls. Having gained access to The Deutsche Kinemathek, Berlin museum and film archive—home to 13,000 national and international film titles—Riedler selected a mix of well-known cult classics and lesser known films to photograph. He set up a makeshift studio in the archive, using film lights to backlight the filmrolls, lighting each one in the same way for continuity. Alone the images present an interesting graphic visual, but Riedler hopes that coupled with the film titles they will rouse the viewer’s unique associations with the film.

Riedler is represented by AnzenbergerAgency and his fine art prints can be bought at AnzenbergerGallery.

Ginger E Fred by Federico Fellini, 1985

Der Blaue Engel (The Blue Angel) by Josef von Sternberg, 1930

The Godfather by Francis Ford Coppola, 1972

The Ghost Of Frankenstein by Erle C. Kenton, 1942

Bram Stoker’s Dracula by Francis Ford Coppola, 1992

Marlene Dietrich, a conversation with Dr. J. Robert Oppenheimer, Original Print

Ghosts by Christian Petzold, 2005

Scarface by Howard Hawks, 1932

Citizen Kane by Orson Welles, 1941

  • very nice concept and execution,but could these rolls not be any random filmroll? I get the point but miss a sense of symbolism wich to me leaves too much open. -R.

  • I don’t get the naming scheme. The images are attractive but empty of the implied connections.

  • Danni C

    I’m not quite certain why the above two commenters are confused. The entire description of this work is above!

    Personally, I think this is genius and really quite striking, as a film and cinematography student myself. You’re seeing the original rolls, which are incredibly fragile and extremely hard to acquire, of some of the greatest works in film history. And the photographer has chosen to show the entirety of the film, in a single shot, by backlighting the rolls. You are seeing, basically, the entire colour scheme of each film. It’s absolutely genius. Ginger E Fred is the most striking. That strip of red cutting the film… I want to watch it now, as I haven’t yet, just out of sheer curiosity for what those scenes are.

  • Rad.

  • Chris

    Thanks for the 300px images. It’s not 1998 anymore.
    And thanks for making all of the images into recursive links so that they bring me back to this article, from where I left.

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