he text discusses The Birdbreeder (Ptičar, Robert Černelč, 2022). After sketching out the general topics of Robert Černelč’s film and video work, the text focuses on the role of static camerawork and the use of frames within the shot. Different examples of grids and frames that define many of the shots in The Birdbreeder raise the question of how objects shot with a camera can themselves define the camera’s gaze. By differentiating Černelč’s approaches from those of modernism, the text attempts to show how objects and bodies in The Birdbreeder exist in the film’s diegetic space and simultaneously function as visual means.

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