The researchers Viktoria Metschl and Yasmina Dekkar will report on their specific findings in the context of Algerian, thus international, film history. They will discuss the notion of a (precarious) archive and post-colonial interpretations as an expression of cultural effects of colonial traumatization. (Rediscovered) films from the archive as well as a new video "on" a Kenyan television archive test the future potential of film collections to act as stores of memory. With films by Assia Djebar, Sarah Maldoror, Benjamin Tiven, Annie Tresgot. Gäste: Brigitta Kuster, Olivier Hadouchi and Annie Tresgot. (25. & 26.6.).
Films from our archive:
LA ZERDA ET LES CHANTS DE L'OUBLI (Assia Djebar, Algeria 1978, 25.6.)
Assia Djerbar has compiled in her film documentary footage from colonial times. She lends a new way of reading to the images of colonialism by stopping, examining and bringing hidden contents to light. The montage creates ironic, critical and bitter contrasts. Djerbar evokes a comlpex image of colonial history, concentrating on the role and representation of women in this time.
MONANGAMBEE (Sarah Maldoror, Algeria 1969, 26.6.)
"Monangambee!" – Cry of the revolte in Angola. "Monangambee!" Spread from hut to hut, from village to village, this cry made even the most brave men in Angola shiver. Men, women and children fled and hid in the bush. "Monangambee!": that translates into 'White Death', at least a sure deportation with no return. In the past this cry accompanied the arrival of the Portuguese slave traders. Today, the same cry still resounds, the same whistle accross the expanse of Angola: it is the identification and the signal for collections for the People's Liberation Front. (Nadia Kasji)
LES PASSAGERS (Annie Tresgot, Algeria 1971, 26.6.)
1968: Six years after independence 35000 Algerians still migrate to France every year. Among them is the 18-year old Rachid. 1970: Two years later Rachid returns. Two years he will not forget.