One of the artists Radax knew from the postwar art scene in Vienna was the painter and architect Friedensreich Hundertwasser. Radax suggested a series of portraits to Austrian public television, and the inaugural program, which was initially supposed to feature someone else, became the film HUNDERTWASSER. KONRAD BAYER is a posthumous portrait of Bayer, and combines interviews with some of the writer’s friends with a narrative featuring figures from Bayer’s texts.
HUNDERTWASSER (1966, 26 min, 16mm)
KONRAD BAYER, OR: THE WORLD AM I AND THAT’S MY BUSINESS / KONRAD BAYER ODER DIE WELT BIN ICH UND DAS IST MEINE SACHE
(1969, 52 min, 16mm-to-digital, b&w)
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In 1945 moviegoers worldwide became familiar through weekly newsreels in their local cinemas with the unspeakable conditions in the recently liberated Nazi extermination camps. Immediately there followed documentary assemblages of this material (most notably for screening as evidence at the Nuremberg war crime trials). Not, however, until Night and Fog (Nuit et brouillard), commissioned to mark the tenth anniversary of the Allied liberation of the most notorious camp, at Auschwitz, did film producers truly confront and define the moral and aesthetic parameters involved in treating such an intractable subject.