Manufraktur begins and ends with hands (manus). Juxtaposing hands and automobiles, Tscherkassky suggests the production of speed and fracturing of time and space. Hands, or industry, create and operate the machines that have historically altered the subject's relationship with time and space. A world in motion is fragmented, blurred, torn apart and reassembled in disorienting ways. Tscherkassky turns this fragmentation back on industry by taking found commercial footage and distorting its representativeness.
Hands also manufacture film. Cinema has also historically altered the subject's relationship with time and space. Tscherkassky is often concerned with the "outer space" of film, pushing the medium to the extremities of coherence and containment. We think of commercial film, like transportation, as a linear progression from A to B. Tscherkassky's hands scratch and tear found footage to disrupt our expectations about the time and space of film narrative. Perhaps Manufraktur is his response to the industrialization of cinema.