Since cinema began, part of the fascination of the moving image has stemmed from the way in which the bodies of the people acting on the screen are represented: it’s no coincidence that the first ever film footage shows contented workers, men exercising or boisterous children. It wasn’t long before Méliès extended these short documentary scenes by adding cinematic (corporeal) experiments of a fantastical or dramatic nature: images of elegant dancers that disappear as if by magic, images of headless skeletons on the prowl or of heads that inflate like balloons and explode. With these two poles as a starting point, the staging of bodies (and body parts) in film went on to become a fundamental means of cinematic expression whose diverse manifestations have had a substantial effect on how we think about human physiology.
This month's Magical History Tour presents notable images of the body from 80 years of film history, showing the special physical presence exuded by bodies of longing, objects of projection, foreign or collective bodies, the reanimated and corporeal hybrids.
On the occasion of the current edition of the journal "Frauen und Film" about migration we will be showing ALMANYA ACI VATAN by Şerif Gören (TR 1979) in the presence of some of the contributors on February 28.
Translated the title means "Germany, bitter homeland" and is a line from a song that has become a classic among the Turkish community in Germany. The film was mostly shot in West Berlin (camera: Izzet Akay) and tells the story of a self-confident young woman, Güldane (Hülya Koçyiğit), who works in an electric typewriter factory, lives with other women in a shared apartment, has a successful sideline exporting goods to Turkey - and imports a paper husband. However, the situation does not allow for a simple end. Presented by Nanna Heidenreich.
The filmography of the renowned, award-winning Czech director Helena Třeštíková contains over 50 documentaries. Since the mid-1970s, she has been making portraits – often long-term observations – of married couples, personalities in Czech history and also of social outsiders for both television and cinema that are as discreet as they are impressive. Třeštíková will attend our retrospective running from March 2-20 to present her formidable oeuvre, which revolves around relationships between people, social and political upheavals and also the potentials and boundaries of documentary.
*Po Sakonu By the Law
Lew Kuleschov USSR 1926
35 mm OV/GeS 75 min
*Riddles of the Sphinx
Laura Mulvey, Peter Wollen UK 1976
DCP OV/GeS 91 min
A Streetcar Named Desire
Elia Kazan USA 1951 With Vivien Leigh, Marlon Brando
35 mm OV 120 min