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A Crime must be Committed

2012

HD video, 16:9, 14 min

English with German subtitles

installation: office carpet 480 x 500 cm, 2 custom-made benches, 264 x 40 x 46 cm and 156 x 40 x 46 cm

part II of a trilogy (part I »Dad Dracula is Dead«, part III »Home Time Show Time«)

 

»A Crime must be Committed« is the second part of a trilogy that deconstructs character stereotypes in European and US film and television history. Scenes and characters from films representing prominent genres are restaged and altered. A Crime must be Committed deals with the crime and detective genre and quotes gangster-films of the 1920s (»Underworld«, 1927), film noir (»The Maltese Falcon«, 1941), detective films (»The Detective«, 1968), crime thrillers (»Die Hard«, 1988; »Shaft«, 1971 and 2000), and the contemporary criminal investigation series (»CSI«, since 2000), among others. This retrospective shows how crime stories, constellations of protagonists, and their assigned roles are subject to change over time. They are the expression of different discourses in which the relationship between good and evil is renegotiated each time in the context of a new social-political situation. The protagonists, from detectives to today’s crime solvers, embody different notions of masculinity. And frequently playing counterpart to the lonely hero or muscle-bound police officers are figures such as the femme fatale or the asexual buddy (for example Morgan Freeman in »Se7en«). Hidden fears, primarily those from the male perspective of society, are seen in the casting of roles (man / women; black / white). These historical patterns and power relationships are examined. Drawing on the aesthetic typical of the respective films, she recombines filmic figures and dialogues in novel ways and creates a new story in a winding, non-linear narrative style. Presented as a loop, »A Crime must be Committed« offers new variations on individual scenes and calls for the reexamination of narrative patterns. The drama culminates in a genre-defying musical scene bringing together all protagonists. In this scene, which Susan Sontag would label as camp, the femme fatale is transformed into a singing film theorist with “I’m your concept, your projection” and other lines, while firmly entrenched roles dissolve in a mass dance number.

 

crew

written, edited & directed by // Rebecca Ann Tess

assistant director // Julia Jung

cinematography // Sebastian Matthias

camera assistant // Sascha Heyden light design // Sebastian Matthias

light assistant // Sascha Heyden

sound recording // Tobi Goll

music // Anne Imhof

sound mastering // Klangkantine (Christoph Kling, Johannes Schwenk)

choreography // Tanja Kämper

set design, costumes // Julia Jung, Flo Maak, Rebecca Ann Tess

clapperboard // Kirsten Reibold, Christina Stockhofe, Nadine Fraczkowski

translation // David Culpepper, Astrid Magiera

dialect coach // Juliet Berman

still photography // Flo Maak

makeup design // Mellanie Horn, Soudabeh Ganji

catering // Flo Maak, Greta Wagner

produced by // Frankfurter Kunstverein, R. J. Hauser

 

cast

Kofi Boateng as // Detective Sam Spade, Bruce Willis

Boris Zdravkovski as // Officer Richard Roundtree, Detective John Shaft

Tanja Kämper as // Femme Fatale, Officer #5

Christina Stockhofe as // Gangster #1

Nato Kirtskhalia as // Gangster #2, Officer #6

Mauricio Guillén as // Gangster #3, Officer #7

Julia Jung as // Officer William O. Gillespie

Flo Maak as // Officer Mac Taylor

Martin Walk as // Officer #3

Nadine Fraczkowski as // Doorman

 

Includes dialogue from the films:

»Underworld« (1927), »The Detective« (1968), »Body Heat« (1981), »The Usual Suspects« (1995), »Shaft« (2000), »CSI« (2000) and the novel »Lush Life« (2008)

 

Thanks for great support goes to: Dirk Richter (Ardi Goldman Holding), basis e.V. Frankfurt am Main, Lea Welsch, Faites votre jeu Frankfurt am Main, Sara Stehr (Nassauischer Kunstverein), Pille Filmgeräteverleih, Renate Tess, Asok Punnamparambil & Veit Laurent