Ida Lupino was born into a London showbiz family in 1918 and first appeared on camera at the tender age of 13, going on to receive a five-year contract from Paramount just two years later. With the studio system having been subdued by the production code, Lupino initially had little opportunity to show off her talent, given her preference for playing sensual, somewhat crazy characters. It was only the rise of the film noir in the 40s which gifted her a series of classic roles, including the memorable femme fatales she created for Raoul Walsh in HIGH SIERRA and THEY DRIVE BY NIGHT. By industry standards, Lupino had reached the highpoint of her career.
Yet these glamorous leading roles and the film star fame that went along with them did not satisfy her artistic ambitions. In the second half of her career, which stretched from the late 40s to the late 60s, she dedicated herself primarily to producing and directing for both cinema and television. As a woman, she had to found her own company so as to be able to move from before the camera to behind it. Together with her husband Collier Young and screenwriter Malvin Wald, she produced nine films in quick succession from 1949 onwards under the banner of "The Filmmakers", five of which she directed herself. NEVER FEAR (1949) was the first Hollywood film since Dorothy Arzner's "First Comes Courage" (1943) for which a female director was responsible.
On show from July 2-30, the film series curated by Hannes Brühwiler and Lukas Foerster connects both sections of Lupino's career, presenting five of her works as an actress and five as a director.
Edgar Allen Poe describes the flaneur as a man amid the masses, absorbed by the city around him. Charles Baudelaire celebrates the flaneur's ability to retain his anonymity in urban space and stay an individualist. For his part, Walter Benjamin liberates the flaneur from the widely-cited tortoise metaphor, a being linked only to posing and attitude, characterizing him instead as the “central figure of the modern era”, a highly sensitive soul capable of deciphering the city, wandering the streets, and viewing the urban surroundings with the same mixture of attraction and repellence with which he himself is also seen. An archetype key to the literature of the last two centuries, the flaneur has also echoed through film history since the 1920s in a variety of different forms.
In July, the Magical History Tour presents the first generation of city wanderers and those that followed them both before the camera and behind it, expanding the concept to encompass its female equivalent and bringing together ambling documentary and essayistic works – meandering strolls through urban spaces, decelerated observations and conquests of urban structures, explorations of the streets and the crowds that populate them, and reflections on the conditions of modern existence.
The summer Tarkovsky retrospective is a tradition that has grown dear both to us and our audiences for more than 25 years now. In July and August, we are showing the seven feature films and one mid-length graduation film by Russian director Andrei Tarkovsky (1932–1986), whose monumental oeuvre exerts a lasting fascination.
We are showing the film KATOK I SKRIPKA (The Steamroller and the Violin, USSR 1960), with which Tarkovsky graduated from the state film school, together with his last film OFFRET (The Sacrifice, Sweden, France 1986, 8.7. & 26.8.). KATOK I SKRIPKA shows one day in the life of the thoughtful Sasha, who prefers his violin to playing football, leading his schoolmates to mock him. A solitary, isolated island forms the setting for OFFRET: 50-year-old Alexander's birthday celebrations are in full swing when news of an atomic strike stops the party guests in their tracks. Tarkovsky's vision employs striking images and dialogue to connect a poetic film language with a philosophical religious discourse.
Each year the Arsenal – Institute for Film and Video Art offers a Summer School. For three days participants engage with a topic located at the interface of theory and practice in cinema.
This year’s Summer School entitled: Communities of Legacy. On dealing with what will be" takes place from August 25 to 27 at silent green, a new venue that also serves as the home to the Arsenal’s film archive. This year the focus is on concepts of cultural legacy. What does it consist of, who does it come from, who is it for? How does it move from the past into the future? It’s about films, buildings, but also about ephemeral things like messages and performance art. And of course about cinema.
Please register until August 10.
Dealing with the past is an important precondition for shaping the present. It is the only way of legitimizing responsibility for the future. The "Future of Memory - Nationwide School Cinema Program for Remembering the Holocaust in Film" project follows up "Asynchronous. Documentaries and Experimental Films on the Holocaust. From the Collection of the Arsenal." Throughout 2016, school events featuring films from the Asynchronous project such as SHOAH and SOBIBOR, 14 OCTOBRE 1943, 16 HEURES by Claude Lanzmann, VOICES FROM THE ATTIC by Debbie Goodstein and DARK LULLABIES by Irene Angelico and Abbey Neidik will take place all over Germany.
Intensive educational work is crucial in the area of school cinema. When it comes to the culture of memory, there is a huge gap between the generations who grew up with eyewitnesses and today's children and young adults, both in cognitive and aesthetic terms. The classic codification of the topics Holocaust, fascism, National Socialism and anti-Semitism is often not accessible to young people today because the language and form seem to be outdated and therefore no longer understandable. That's why it is important to rethink aesthetic and emotional approaches and find means of opening up the world of memory to this generation and those to come.
Further information about the project will be available soon. If you are a cinema or event organizer, please get in touch with us now.
*Viaggio in Italia Voyage to Italy Roberto Rossellini
Italy 1954 With Ingrid Bergman, George Sanders
35 mm English OV/GeS 85 min
Hard, Fast and Beautiful Ida Lupino USA 1951
With Sally Forrest 35 mm OV 78 min