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january 2018, transfer

Big Cinema, Small Cinema #17 – Far and Close

Khaled Mzher went to Lebanon, Jordan and Greece and made a small series of shorts about children living and working in these countries. In the presence of the filmmaker, we will show three of the films made in Jordan - COLOR MAKER, WHEN CITIES FLY and LET’S CAMERA. Jeannette Muñoz lives in Zurich but films mostly in Chile where she was born. In ENVIOS 21, her niece Barbara laughs a lot. In 1994, Ute Aurand took an afternoon walk through the city NEUBRANDENBURG north of Berlin, which she did not know. Marie Menken uses single frame cinematography to allow people and cars surge through the streets of the huge city of New York, calling her film GO! GO! GO! (January 21, for viewers aged 7+)

december 2017, transfer

Big Cinema, Small Cinema #16: Double Exposure and Other Linkages in Film

On December 17, we are showing films that make use of double exposure as well as ones that link together things in different ways. The title of Anita Thatcher’s film HOMAGE TO MAGRITTE (USA 1975) prepares us for some beautiful magic. Robert Beavers explains how he exposed four images in one in FROM THE NOTEBOOK OF … (Italy/Switzerland 1971/1998). In CAT ON TV (GB 1977), Guy Sherwin links a cat to a horse race on television and Ute Aurand layers three nieces and one nephew on top of one another in 3 NICHTEN UND 1 NEFFE (Germany 1997). In his 1925 FILMSTUDIE, Hans Richter plays with abstract forms in black and Margaret Tait paints colorful figures on transparent film in JOHN MACFADYEN (UK 1970), which duly dance to Scottish music. All six short films invite you to marvel at them!

december 2017, transfer

Harun Farocki Workshop for Schools III

To bring the comprehensive retrospective of the films of Harun Farocki at Arsenal to an end, another school workshop about Farocki’s specific way of working is taking place on December 4, headed by Eunice Martins and Laura Mello. The workshop is entitled "Image Makes Sound Makes Images" and is dedicated to exploring the different contexts of sound and image production. Taking selected films by Harun Farocki as an example, the idea is to investigate how film directors think about the power of the technically created image. Afterwards, a montage of different soundtracks will be created to accompany pre-existing images. Does image dictate sound or sound dictate image?

november 2017, transfer

SchoolCinemaWeeks 2017

Arsenal is represented at the SchoolCinemaWeeks with two films: the documentary SAUERBRUCH HUTTON ARCHITEKTEN (Harun Farocki, Germany 2013, 17.11.) and the feature BARAKAH MEETS BARAKAH (Mahmoud Sabbagh, Saudi Arabia 2016, 20.11.). SAUERBRUCH HUTTON ARCHITEKTEN gives insights into the work of the Berlin architecture office of Louisa Hutton and Matthias Sauerbruch, who are primarily known for the striking colors of their façade designs. The film hones the gaze for architecture, product design, and urban planning just as it does for working processes. Constructed space is able to be experienced as designed space. In the Saudi Arabian romantic comedy BARAKAH MEETS BARAKAH, civil official Barakah meets Bibi, who is a well-known blogger and model. But how are the two of them supposed to get to know each other better in a country that views any form of dating with total hostility? With breathtaking flair, Bibi and Barakah subvert the system of tradition, labels, and religious police.

november 2017, transfer

Big Cinema, Small Cinema #15 – 
We Draw History

The next edition of Big Cinema, Small Cinema on November 19 is addressing children of 9 years and older. Two years ago, Lana left Iraq to flee to Europe with her husband and young son. Thousands of people from Syria, Iran, and Iraq made the same journey as her – looking for a secure, perhaps better life. During her journey, Lana’s cellphone containing all the images of her trip was stolen. Together with children, the vast majority of whom are refugees or have a migration background, the artists of the Arsenal film studio created drawings of the family’s journey to Europe, which were first combined into a short, partly animated film and then augmented with an individual sound montage. With the filmmakers in attendance, the school children present LANAS GESCHICHTE (Germany 2017) together with their sound composition.

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?