At the end of "Los Angeles Plays Itself", Thom Andersen's monumental essay film about the cinematic representation of his hometown, the voiceover commentary turns away from the Hollywood films that largely formed the focus of the preceding minutes: "Another city, another cinema: a city of walkers, a cinema of walking." This is followed by excerpts from Haile Gerima's BUSH MAMA (1975) and Charles Burnett's KILLER OF SHEEP (1978) – examples of "a Neorealist movement in Los Angeles spearheaded by a group of young Black filmmakers from the South". Historically, this movement which Andersen's entire cinematic city history feeds into was known as "L.A. Rebellion". Its starting point can be traced back to the mid-60s onwards at the UCLA Film School, where a group of black students had come together to look for aesthetic and political alternatives not just to Hollywood but also to the standard forms of independent and auteur cinema of the time. The cinema of the L.A. Rebellion emerged on the one hand in direct tandem with the social struggles of those years – the civil rights movement, the Watts riots of 1965 – and on the other based on (critical) engagement with the currents of the national and international avant-gardes.
From November 17-30 we are presenting a comprehensive program with newly struck 35mm/16mm prints.
Color design, lighting, composition, mood, subject: Painting – the works themselves, images, sketches, and the people that create them – has always been and continues to be a point of reference for filmmakers, cinematographers, scriptwriters and not least production designers. Using film to breathe movement into motionless pictorial art provides the visual worlds of the original artworks with new contexts and paves the way for a whole range of different semantic and perceptional shifts. Grappling with aspects of the lives and creative processes of artists and stylistic movements in cinematic terms opens up new perspectives on art history as an echo chamber for the production of film images. This month's Magical History Tour is showing examples of the productive relationship between painting and film that span nine decades.
The analogue film prints of Arsenal's archive have a new home. Since the beginning of November, they have been at the silent green Kulturquartier, a space for events and exhibitions in the listed premises of a former crematorium in Wedding. The move was made possible by private sponsorship and not only enables better storage for about 10,000 prints but also facilitates the creation of a living archive that takes into account production of knowledge and contemporary reception in connection with digitalization and restoration projects. The archive will open up new possibilities for research, work, experiments and exhibitions to complement what the two cinemas on Potsdamer Platz already do. We warmly welcome you to the official opening in spring 2016.
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 28, at 4pm. Please register in advance.
Together with Filmgalerie 451, we are publishing two new DVDs that include comprehensive booklets. These both present the films of Klaus Telscher, which were published in collaboration with the European Media Art Festival Osnabrück, and the state theatre films by Daniel Kötter and Constanze Fischbeck.
"Klaus Telscher first appeared with the film ENTWICKLUNGSSTÜCKE (1979/80) at a time when a German experimental film was starting to blossom again. Telscher’s rich, original, witty, subtle, and sometimes cryptic work is characterized by a desire for the technically unorthodox and the sounding out of "unsuccessful" images; at the same time, the obsessive use of musical fragments and the eclectic references to photography and film history are equally typical of his style. His last film LA REPRISE was released in 1995. In 1988, he appeared in Stephan Sachs' Alpine film PARAMOUNT as an actor and was the cinematographer for Noll Brinckmann's 1989 Empathie und panische Angst". (Chr. N. Brinckmann)
state-theatre is a modular art project about the urban planning conditions of the performative based on the six case studies of LAGOS, TEHRAN, BERLIN, DETROIT, BEIRUT and MÖNCHENGLADBACH. These six experimental documentaries examine the relationship between urban space, architecture, and its performative usage. The first trilogy LAGOS, TEHRAN and BERLIN places a focus on temporarily used state and national theatres, while the second trilogy DETROIT, BEIRUT and MÖNCHENGLADBACH is centered around the question of alternative assembly spaces in cities in the grip of processes of transformation and, more generally, the performative quality of places of urban encounter. How does the question of spaces for cultural assembly change where there is no longer a theatre architecture or when there has never been one in the first place?
Accattone Pier Paolo Pasolini
Italy 1961 With Franco Citti
DCP OV/GeS 111 min
Medea Ben Caldwell USA 1973
DigiBeta OV 7 min
Illusions Julie Dash USA 1982
16 mm OV 36 min
As Above, So Below Larry Clark USA 1973
16 mm OV 52 min
All films: Courtesy of the UCLA Film & Television Archive