Three further films in which we celebrate the wild pre-Code period! In mid 1934, the Hollywood studios introduced the Hays Code, a far-reaching form of self-censorship that regulated moral behavior above all. In the years before, subjects such as sex, drugs, crime and alcohol could be explored relatively freely. This was supplemented by a clear proximity to reality and an often raw, unvarnished vitality that set itself apart from the smooth perfection of the late classical Hollywood era. Women were independent and self-confident and approached life pragmatically and without illusions much like their male counterparts.
On November 30, our archivist Vaginal Davis presents EL TANGO ES UNA HISTORIA (Tango is a Story, Mexico 1983): Humberto Rios originally only wanted to document the first tango festival to take place in his home in exile of Mexico in June 1980 and above all the three most famous representatives of tango music who appeared there: Osvaldo Pugliese, the old master, Astor Piazzolla, the renewer, and Susana Rinaldi, the most vehement voice in tango. But the political events in the military run Argentina did not just influence the artists’ performances but also the film itself.
In 2014, the Think:Film Award was given for the first time to a film showing in Forum Expanded.
The prize, which includes a presentation at Arsenal and at the Cimatheque in Cairo, is sponsored by the Allianz Cultural Foundation and honors a work that uses its medium to reflect on geopolitical positionings, expand realms of aesthetic experience and bring about a change in mental perspectives. The prize was awarded to Amie Siegel's PROVENANCE (2013). The film follows the global trade of furniture from the modernist city of Chandigarh designed by Le Corbusier and Pierre Jeanneret. In reverse order, it leads from the sale of the furniture at auction to its restoration and international dispatch from India. In 2013, Siegel put PROVENANCE up for auction at Christie's in London. LOT 248 captures the event. We're showing both films on December 1.
2015 will be very much characterized by the remembrance of the victims of the Holocaust – a subject that is of particular significance for our institution, given that the cinematic engagement with the Holocaust has formed a key concern of our work since the very foundation of our association in 1963, then called the Friends of the German Film Archive. This is still apparent to this day, whether in our cinema program, that of the Berlinale Forum we organize, or our cinema distribution portfolio. One of the most prominent events at the 1986 Forum was thus the German premiere of Claude Lanzmann’s SHOAH at the Delphi-Filmpalast, a film that has since formed part of our distribution range. Additional films on the same theme shown at the Forum and subsequently added to our film archive include DIE FEUERPROBE by Erwin Leiser, THE 81ST BLOW by David Bergman, and Lanzmann’s SOBIBOR, 14 OCTOBRE 1943, 16 HEURES.
These special audiovisual documents of their times are in danger of fading into obscurity. On the one hand, the film print stock is under threat from both decay and wear and tear, while the media shift of recent years on the other means that there are fewer and fewer places capable of screening analogue films. In order to ensure this form of cinematic remembrance also remains accessible for coming generations, a selection of around 50 titles from our film collection has been put together, ten of which will be digitized or, if already available in digital form, acquired for digital cinema projection (DCP) over the next 10 months. The selection includes both well-known films as well as those that have received less attention or been undeservedly forgotten. From January 2015, a catalogue of the 50 thematically relevant works from our collection will be available to present and contextualize the films in question.
What do 16mm, 35mm and 70mm actually mean? What is screen masking and what is it used for? How does a dissolve work? And what is actually happening when the image on the screen stops moving and begins to melt? If you’re interested in finding out how films get on to the screen, Arsenal would like to invite you to take a peek behind the scenes on one of our projection room tours. Our projectionist Bodo Pagels will show you round the projection room, tell you all about film formats, projectors and projection techniques, demonstrate how films are fed into the projector and provide a full introduction to the secrets of film projection. He will also be happy to answer any questions you might have about the cinema set-up and will adapt the tour to your wishes and interests as far as possible. The next scheduled tour will take place on Saturday November 29, at 4pm. Please register in advance.
Pickpocket Robert Bresson
35 mm OV/EnS 75 min
La última película Raya Martin, Mark Peranson
35 mm OV/EnS 88 min