(cont.)

... no way back. Both the rhythm and the tempo of the images get faster and faster, to the point that a “long ride in a fast machine” gets squeezed into a mere few seconds. The film ends with the ironic consequence of uncontrollable acceleration: ultimately the images flash by so quickly that they become completely static. At this point our eyes and brains fail to register details: in the end we are left with the blinding white radiance of the empty projection screen.

Geschwindigkeit focuses on the notion of velocity in a post-war era, and, more specifically, on the increasing awareness of accelerating time. Of all disciplines in art, the medium of film – because of its technical possibilities – and that of music are by far the most ideal and convincing means to an end in depicting speediness. To combine the two results in a sensory experience that is greater than the sum of its parts.