Stefanie Weberhofer, protagonist in the young Viennese analogue film scene, lays out Kopierwerk as a self-reflective 35mm work compiledfrom found materials, trailers, advertising spots, and splinters of feature films. Already the printing prologue is fed from very different sources, the texture gives it away. From the factory, it moves to the wide-open space of Hollywood fantasies: Meryl Streep, Warren Beatty, and Jim Carrey handle newspapers and projection apparatuses; the meandering analogue photography is for the stars and the aura of the moment,
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