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october 2017, transfer

Big Cinema, Small Cinema #14
Transport, Tools, Work, Play: 
Children's Film by Harun Farocki

In the 70s, Harun Farocki made films for children, frequently in collaboration with Hartmut Bitomsky. Taking the phenomena of the world as their starting point, the films focus on forms of transport and transport routes such as trains, ships, roads, bridges, and rivers with noticeable frequency. They also show children’s toys and tools being compared with those used by adults: a stone, for example, with which a child can knock a nail into a piece of wood is contrasted with a pneumatic hammer on a building site and a machine in a factory. Farocki’s precise observation create visible connections between the things strewn across the world and conveys a vivid picture of complex contexts. Following the film screening, the children grapple with what they have seen in creative fashion.

(October 15, for children 5+, moderatad by Stefanie Schlüter and Brigitta Wagner)

october 2017, transfer

Harun Farocki Retrospective: 
School Workshops II

On October 17/18 we present another school workshop dedicated to Harun Farocki's work. The start of the "Architects at Work" workshop is formed by the documentary SAUERBRUCH HUTTON ARCHITEKTEN (Germany 2013). Based on six projects at different phases, Harun Farocki observes the division of work at the Berlin architecture office and allows the viewer to reflect without commentary. Following the film, the pupils engage with the surrounding constructions at Potsdamer Platz. (11.10., moderated by Stefanie Schlüter & Brigitta Wagner) The "Image over Sound or Sound over Image" workshop is dedicated to the contexts of sound and image production. Taking selected films by Harun Farocki as an example, the workshop examines how the film auteur thinks about the power of the technically created image. Afterwards, a montage of sound tracks will be created to accompany previously existing images. Does sound dominate image or vice versa? (moderated by Eunice Martins & Laura Mello)

september 2017, transfer

Big Cinema, Small Cinema #13

The 13th edition of "Big Cinema, Small Cinema" moderated by Anna Faroqhi and Haim Peretz on September 24 is drawing on a film by Harun Farocki, whose oeuvre is subject of a retrospective shown at the Arsenal this month.

In his documentary JEAN-MARIE STRAUB UND DANIÈLE HUILLET BEI DER ARBEIT AN EINEM FILM NACH FRANK KAFKAS ROMANFRAGMENT "AMERIKA" (FRG 1983) the filmmaker shows other filmmakers at work. Harun Farocki was a student and admirer of the directors whom he portrays in his film. Straub and Huillet stage-manage rehearsals at the theater very precisely and without paying attention to time. The sound of words is important. There can be no mistakes because the camera will record everything for eternity. What springs to mind is how calm the working environment is. The development of a film is shown as the implementation of an idea. We will watch this film about making films and then afterwards there will be a chance to make a small film scene and to watch with or without a camera.

september 2017, transfer

Harun Farocki Retrospective: School workshop I

As part of the Harun Farocki Retrospective another film workshop led by Anna Faroqhi and Haim Peretz takes place on September 29: In his film essay BILDER DER WELT UND INSCHRIFT DES KRIEGES (Images of the World and the Inscription of War, FRG 1988) Harun Farocki reflected upon the violence of images created through technology. The film talks about the naked faces of Algerian Berber women, of aerial footage taken by the Allies of Auschwitz and of the idea of surveying and ruling behind technical images that surveyors and rulers do not always succeed in pulling off. The film provided a formal and thematic base for Farocki's film oeuvre with its ideas being followed up on more deeply in subsequent works. In the post-screening mini-workshop, participants will create a montage of images of war. How are pictures assembled? What are the possibilities of narration?

august 2017, transfer

Arsenal Summer School: Curating the Archive

This year's Summer School takes place from August 24-26 at silent green Kulturquartier and the Arsenal cinema. Entitled "ONE PLUS ONE. Curating the Archive", it is focussing on questions of digitizing, restoring, and long-term archiving which are currently topics of great concern for the Arsenal.

Time is running short, since analog films are already threatened with disintegration, and the costs are so great that as a rule financing first has to be found for every effort. Despite the pressure to act quickly, we should not overlook that collective memory also contributes to how we engage with film history in the long term. Films live on in the memories of those who have seen them. The way that a film gets burned into memory is closely linked with the conditions of its reception. When, how, and under what conditions was a film seen? What other films or film events framed the screening?

One Plus One: The Summer School 2017 assumes that an archival film can only have significance in relation to the present, and cannot be remembered separately from the concrete situation of its presentation. The contributions and workshops are about the practice of curating. How do I create spaces for perceiving archival films, in which film history can become an experience of the present? How can exhibition and screening practice contribute to the formation of memory and thus to the processes of archiving?

august 2017, transfer

Analog Workshop

The more we are dedicated to preserving, rediscovering, and revitalizing archival films, the more we have to make sure that there is enough competence in dealing with analog film material in the future.

For this reason we are offering a six-day analog workshop for the first time from August 18-23. Arsenal members and partners will accompany the participants through the entire process: from producing a 16mm film, to digitizing it, then on to projecting it in the cinema, with added insights into archiving and caring for prints. The last day will involve a tour of the archive.

The workshop will delve into the various working areas, covering the basics with equal parts theory and practice. Starting in 2019 the Arsenal will be offering extended workshops in the specific areas.

april 2017, transfer

Arsenal Filmatelier: Big Cinema, Small Cinema #12

The next Arsenal film atelier "City rhythms" for children 8 years and older will take place on April 30, moderated by Anna Faroqhi and Haim Peretz.

City as a place of life is a popular film motif. It is sometimes depicted as being friendly, often as hostile and full of rejection, but almost always as fascinating. Our four short films show clearly how different city portraits can be and how a city's movement can be captured. In VORMITTAGSSPUK (Hans Richter, Germany 1928), objects (hats, cups, collars etc) become independent and rebel against people and daily routines. In SCHATTEN (BRD 1960), Hans-Jürgen Pohland tells the story of a city with light and darkness. WOCHENENDE (Walter Ruttmann, Germany 1930) uses found sound material to talk about the metropolis Berlin. DIE SPRACHE DER STADT (2016) makes a similar attempt when 15 children set out one afternoon with their cameras to see what is going on in the city. After the screening, viewers will have a chance to create their own city panoramas, using expressive shadows.

april 2017, transfer

Next Projection Room Tour on April 29

picture of projection room at Arsenal

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 April 29, at 4pm. Please register in advance. 

march 2017, transfer

Arsenal Filmatelier: Big cinema, small cinema #11

The next Arsenal Filmatelier will take place on March 26 and is for all childeren 8 years and older.

What's ringing, scratching, rattling in the film? Ever since the first cinema screening in 1895, films have been accompanied by sounds and music. Before we conduct our own sound experiments and find ideas for a soundtrack for HORSE OVER TEA KETTLE and play it live, we will discover what can be seen and heard in seven shorts: FLUKE by Emily Breer (USA 1985) travels through air. HORSE OVER TEA KETTLE (USA 1962) by Robert Breer lets shapes and colors fly and lights spiral through the night in LIGHTS (Marie Menken, USA 1965). Machines dance in Len Lye's RHYTHM (USA 1957) and in 4000 FRAMES – AN EYE-OPENER FILM (Arthur & Corinne Cantrill, AUS 1970) the images speed up into a maelstrom. We listen in on a girl in Gunvor Nelson's MY NAME IS OONA (USA 1981). In Georges Méliès’ LE TONNERRE DE JUPITER (France 1903) a planet has unexpected problems with thunder.

february 2017, transfer

Think Film No. 5: Archival Constellations

Forum Expanded is presenting the 5th edition of the Think Film conference series on February 16, which is entitled "Archival Constellations" and takes place at the silent green Kulturquartier in Wedding. Eight archive presentations, three archive visits and a performance are planned. What role does the location of an archive play, whether as a shelter, repository, production facility or sometimes even as a danger zone? Archives are movable entities; they can make new connections which bring them to life. The film archive of the INCA (Instituto Nacional de Cinema e Audiovisual) in Guinea-Bissau thus also holds films from the former Soviet Union. Works from the Kiev School of Scientific Film ended up in a contemporary art context in similar fashion. The archive visits lead into Amos Gitai’s exhibition at SAVVY Contemporary as well as into the Arsenal – Institute for Film and Video Art film archive, where concert footage (including that of Einstürzende Neubauten, Malaria, Nick Cave) from 1980s West Berlin can be seen that stems from the !K7 archive.

The day comes to a close with a special edition of the Rising Stars, Falling Stars series at which archivist and performer Ms. Vaginal Davis will be presenting a small 16mm excavation.

All lectures, panels and presentations will be held in English.

february 2017, transfer

Big cinema, small cinema #10