Arsenal: Current Program http://www.arsenal-berlin.de/ en Arsenal: Current Program http://www.arsenal-berlin.de/typo3conf/ext/tt_news/ext_icon.gif http://www.arsenal-berlin.de/ 18 16 TYPO3 - get.content.right http://blogs.law.harvard.edu/tech/rss Sun, 07 Feb 2106 07:28:15 +0100 A City Called Home – Ten Films from Los Angeles http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6949/2803.html Berlin and Los Angeles have been twin cities for 50 years now. In both cities, numerous events have been held to celebrate this anniversary, with a film series by the UCLA Film & Television Archive set up by the Deutsche Kinemathek bringing the year of festivities to close. As both institutions work together closely as members of the Fédération Internationale des Archives du Film (FIAF), it made perfect sense to commemorate the city partnership by exchanging film programs. Ten films from and about Berlin thus travelled to Los Angeles this autumn and were shown at the Billy Wilder Theater in Westwood, while the return visit to Berlin now follows in December with ten films from the UCLA's expansive collection, curated by the head of its film archive Jan-Christopher Horak. The UCLA Film and Television Archive emerged from collection activities that started up in 1964 and have since made the archive into the second biggest film archive in the US after the Library of Congress. Its collection of nitro films made by the Hollywood majors is unique, as are its massive holdings of source material from Hearst Metrotone News, which contain documentary footage from the period from 1915 to 1975. Under the long-term aegis of Robert Gitt, the UCLA carried out pioneering film restoration work in terms of how to deal with early color systems and to create authentic seeming security copies of important films in American film history. arsenal cinema spalte normal preview Sat, 30 Dec 2017 19:12:00 +0100 Ernst Lubitsch Retrospective http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6950/2803.html Ernst Lubitsch (1892–1947) was a master of wittily directed comedies, which bear his unmistakable hallmark and whose popularity and acclaim remain undimmed to this day. A playful sense of levity, subtle innuendo, eloquent ellipses, dialogue accentuated via sarcasm, irony, concision, and exact timing are characteristic of the proverbial "Lubitsch Touch". Ernst Lubitsch began working as an accountant in his parents' Berlin confectionary company, before he joined Max Reinhardt’s ensemble at the Deutsches Theater as a 19-year-old acting student. In 1913, he was able to take on his first film roles, which were followed one year later by his first works as a director. Between 1914 and 1918, Lubitsch directed numerous one- to three-acters, primarily comedies with a propensity for coarse humor, in which he also appeared as an actor. In 1918, Lubitsch began directing more lavish, feature length films. His first large-scale historical film "Madame Dubarry" and the two comedies "Die Austernprinzessin" and DIE PUPPE, which marked his transition from comedy to satire, brought Lubitsch truefame in 1919. In the year that followed, he frequently moved between genres, with chamber dramas following film epics, and folk plays following melodramas and comedies. As one of the outstanding European filmmakers of his era, Lubitsch went to Hollywood in 1923, where he was able to continue working successfully without a break. He made use of the invention of sound film for inventive film operettas and musicals as well as to perfect his society comedies, with which he, if one believes the quote attributed to Jean Renoir, established modern American cinema. His sophisticated comedies shaped the style of the comedy as a genre of genuine quality, which connected the discriminating with the popular. The recurring themes of the films were the illusion and the reality of high society, love triangles, and the conventions of bourgeois partnership models. Due to the virtuosity of his directing, the subtle art of leaving things out, and the many ideas communicated indirectly, Lubitsch's frivolous allusions and veiled sexual crudities were passed by the censors without comment, even after the Hays Code came into force in 1934. Arsenal is showing 20 films from Lubitsch's comprehensive oeuvre until the end of January, with a focus on the comedies he made in Hollywood. arsenal cinema spalte normal preview Fri, 29 Dec 2017 19:17:00 +0100 Magical History Tour: 
Make Them Laugh – Laughing in the Cinema, Laughter in Film http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6951/2803.html "Make them laugh!" – The Lumière brothers seemingly already made this appeal their own: the first laughter in film history can be seen in the short sketch L'arroseur arrosé (or also Le jardinier), one of ten short films from the 1895 Grand Café program, the first very public film screening worldwide that was held at the Indian Salon in Paris. What we have no record of is whether the audience members present reacted to this first comedy short by laughing themselves or whether the entire screening wasn't accompanied by laughter of wonder and disbelief at the technical miracle of the moving image. 122 years later, cinema has diversified and amplified laughter, run through all its possible categories and pushed it in infinite different directions. We no longer just laugh at comedies – pars pro toto, one can mention here the classical "comic relief", when feelings of tension, fear, or sadness reach their highpoint and suddenly dissolve in a moment of laughter. Several of these huge varied forms of laughter in film and cinema and the equally wide-ranging ways it is produced and interpreted are being presented in December's Magical History Tour. Moving away from films by and with the comic greats and possible classics of the genre, the program also turns its attention to the apparent (no less amusing) byways of film history and all the many variations of the laugh, whether that which stems from liberation or unease, bursts out of the throat or ends up sticking there, or comes across as uncontrollable or cryptic. arsenal cinema spalte normal preview Thu, 28 Dec 2017 19:22:00 +0100 Harun Farocki Workshop for Schools III http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6952/2803.html 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, 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? (sts) (4.12., moderated by Eunice Martins & Laura Mello) arsenal cinema spalte normal preview Wed, 20 Dec 2017 19:32:00 +0100 New French Cinema http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6948/2803.html Arsenal is presenting current films from France as part of the French Film Week that have received a great deal of international attention but have unfortunately yet to find distribution in Germany. The focus is on five outstanding works of French cinema from 2013-17 made by artistically uncompromising female filmmakers: Pascale Breton, Léonor Serraille, Claire Simon, Rebecca Zlotowski, and Valérie Massadian, who will be our guest for the German premiere of her film MILLA, which recently picked up prizes at Locarno and other festivals. All five titles have English subtitles and are being shown in Berlin for the first time. arsenal cinema spalte normal preview Wed, 20 Dec 2017 19:10:00 +0100 Cinepoetics Lecture #4: Erica Carter: Spectres of colonial whiteness http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6946/2803.html "Look, a Negro": so runs the exclamation from a white child that Fanon remembers as one impetus for investigations in his book Black Skin, White Masks into black bodies under white eyes—visible as an object among objects. The white body is invisible, a white ghost, and the unspoken norm. Film, by contrast, captures traces of white spectres, opening them to historical scrutiny, calling their descendants to account for colonial crimes. In her lecture, Erica Carter (King's College London) explores recent reckonings with white ghosts in postcolonial film. We will show LE MALENTENDU COLONIAL (Jean-Marie Teno, CMR/France/Germany 2004) prior to the lecture. (cs) The Cinepoetics Lectures are organized by Cinepoetics—Center for Advanced Film Studies at Freie Universität Berlin. (4.12.) arsenal cinema spalte rechts preview Tue, 19 Dec 2017 17:07:00 +0100 The DEFA Foundation Presents http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6953/2803.html One of the biggest challenges in preserving German film heritage and keeping it alive is the digitization of films shot on celluloid. How does one perform a successful balancing act between new digital processing technique and retaining original aesthetic and production characteristics? Which criteria exist for choosing materials? Which phases does the film pass through during its digital “resurrection”? This evening of films is dedicated to precisely such question, with the results of two different digitizations being presented to this end: DER FACKELTRÄGER (Johannes Knittel, East Germany 1955) is an attempt at satire about the West Berlin judiciary and kidnapping, which was an explosive topic during the Cold War - famous East Germany lawyer Friedrich Karl Kaul was involved in writing the script. As one of the last features to be made by DEFA, the crime thriller TANZ AM SONNABEND – MORD (Heinz Thiel, East Germany 1961) picks up on the idea of agricultural collectivization and the milieu surrounding it, where a murder must suddenly be solved. (rp) (4.12.) arsenal cinema spalte rechts preview Mon, 18 Dec 2017 19:33:00 +0100 Guest: Trinh T. Minh-ha http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6954/2803.html One of Vietnam’s creation myths tells of the battle between two dragons, whose entwined bodies fell into the South China Sea to formed the S-shaped coast of Vietnam. Due to its geopolitical position, Vietnam depends on the balance between agriculture and water management. Shot in 1995 on Hi-8 and in 2012 on HD and SD, the images in FORGETTING VIETNAM (2015) unfold as a dialogue between the elements of land and water, giving insights into the history of image technology and the political reality in Vietnam at the same time. A third level is formed by the recollections of contemporary witnesses of a war which divided the USA more strongly than nearly any other. (stss) An event as part of the ring lecture “Decolonizing the Arts. Aesthetics Practices of Learning and Unlearning” of the DFG-Graduiertenkolleg "Das Wissen der Künste" of the UdK Berlin. (5.12., moderated by Marc Siegel) arsenal cinema spalte rechts preview Sun, 17 Dec 2017 19:34:00 +0100 Classics Not Just for Children http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6955/2803.html THE GOLD RUSH (Charles Chaplin, USA 1925) Slapstick and anarchy in snow-covered chaos: the tramp (Charles Chaplin) travels to the West in winter to try his hand at gold prospecting. Driving snow leads him to take refuge in a remote hut, where he meets an escaped convict and a gold prospector who has just hit the jackpot. The treasure soon becomes a contested commodity and a liability for the one who originally found it. For his part, vagabond Charlie must be on his guard against the dangers posed by ravenous crooks and bears, and also save himself from steep cliffs and badly secured huts. But in an Alaska gripped by gold fever, all he’s really looking for is a heart of gold. (mg) (10.12.) arsenal cinema spalte rechts preview Sat, 16 Dec 2017 19:35:00 +0100 Short.Film.Tour. 2017/18 http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6956/2803.html The 2017 German Short Film Prize will be awarded on 23.11. and the nominations are already out: a welcome opportunity to take a look at several films from both this year and the previous one at Arsenal on 11.12. This baton-passing of a very special kind includes films of different categories, which sometimes are classical representatives of them, but sometimes also experiment, play with boundaries, make you think, or are happy just to entertain. The 2016 films to be presented are HOMEWORK (Annika Pinske), EIN AUS WEG (Hannah Stragholz, Simon Steinhorst), and HEIMATURLAUB (Franz Winzentsen), while the ones from 2017 are LANDSTRICH (Juliane Ebner), THE LAST TAPE (Cyprien Clément-Delmas, Igor Kosenko), PIX (Sophie Linnenbaum). (fk) An event with numerous guests in collaboration with the Bundesverband Deutscher Kurzfilm. Moderated by Cornelia Klauß. arsenal cinema spalte rechts preview Wed, 13 Dec 2017 19:36:00 +0100 KinoPolska – Guest: Karolina Bielawska http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6957/2803.html The extent to which socio-political aspects are inscribed into the personal and vice versa is the theme of this KinoPolska double program put together by Karolina Bielawska. MÓW MI MARIANNA (Call Me Marianna, K. Bielawska, Poland 2015, 13.12., with guest K. Bielawska) At the age of 40, Wojtek decides to live as a woman, fully aware of the consequences. In the face of much adversity, Marianna tries to create a new life for herself. Without resorting to any sort of clichés, Bielawska creates a portrait of a person who follows what he wants to be and is forced to move beyond the boundaries of society as a result. DRESZCZE (Wojciech Marczewski, Poland 1981, 14.12.: with an introduction by K. Bielawska) As the son of a people’s militia man, 13-year-old Thomas is sent to a communist reeducation camp. After Stalin’s death, the political climate changes and the boy returns to a family that he no longer comprehends. (mg) arsenal cinema spalte rechts preview Tue, 12 Dec 2017 19:37:00 +0100 Big Cinema, Small Cinema #16: Double Exposure and Other Linkages in Film http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6958/2803.html 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! (ua) (17.12.) arsenal cinema spalte rechts preview Mon, 11 Dec 2017 19:38:00 +0100 Filmspotting: Exploring the Deutsche Kinemathek's Film Archive http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6959/2803.html A rich plantation owner on an island in the West Indies hires a nurse for his wife, who is suffering from a mysterious malady. Is the cause of the high fever that leads Jessica Holland to slumber helplessly in a state of semi-consciousness an evil spell or merely a matter of the soul? Jacques Tourneur’s I WALKED WITH A ZOMBIE (USA 1943) is a cinematic poem full of voodoo magic and dream-like visions, whose suggestive power is just as potent today. The Locarno Film Festival recently dedicated its retrospective to the largely unrecognized French director, who primarily shot B-moves in the US, and screened the print from the Deutsche Kinemathek accordingly. Film critic Gerhard Midding gives an introduction to a work whose subtle style, dense atmosphere, and narrative enigmas remain underrated to this day. (ah) (18.12.) arsenal cinema spalte rechts preview Sun, 10 Dec 2017 19:39:00 +0100 Filmmakers' Choice http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6960/2803.html When mermaids circle the night and dreams become more intense: 21.12. Le jour le plus court. The winter solstice. International Short Film Day. A celebration of the short form - both here and worldwide. Today, the night still stands over the day. In three days, there will be a white Christmas (WHITE CHRISTMAS, Harun Farocki, 1968). Sometimes I wish I could summon a family of goblins to my bed – God (THE VOICE OF GOD, Bernd Lützeler, 2012) knocks at the door. A triad can be heard. The miracle (LA REPRISE DU TRAVAIL AUX USINES WONDER, 1968) leads us through the night, which tells of mermaids (THE NATURAL LIFE OF MERMAIDS, Isabell Spengler, 2004). The jungle takes over the role of director - casting light (LIGHTS, Mary Menken, 1964) on shadow (SCHATTENFILM – DIE FRAU MIT DEN ZWEI KÖPFEN, Shuji Terayama, 1977). At the end of the evening, an ephemeral structure has been created, an imaginary conversation between ideas and the long past. (mmh) (21.12., presented by Maike Mia Höhne) arsenal cinema spalte rechts preview Sat, 09 Dec 2017 19:40:00 +0100