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 Film in the Present Tense http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6844/2803.html LaborBerlin e.V. is putting on the symposium of the same name (20.–22.10.) on contemporary developments in analogue film culture and is presenting an evening of films in two parts. "Past Imperfect" brings together seven films which conceive of film as a carrier of memory and subjective experience. Just as memory remains incomplete as the individual resonance of different insights, film is also the personal impression of memories, intentions, joy, and the unknown. Afterwards, "The Elastic Now" gives insights into contemporary artistic work with analogue film material. Six films explore interconnected temporal levels and their individual and collective, technological and social implications. They stem from an "elastic present" frayed at both ends – that which leads to the past and that which leads to the future. (ad) 20.10.) arsenal cinema seitenbereiche spalte rechts preview Tue, 10 Oct 2017 17:50:00 +0200 Harun Farocki: Year by Year / Side by Side (2) http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6835/2803.html The 80s were a hugely productive decade in Harun Farocki's work as a filmmaker and author: productions for television, a feature film for the cinema, written pieces for "Filmkritik" magazine. One reason for this great productivity was his friendly collaboration with Werner Dütsch, who worked as the commissioning editor at WDR in Cologne and commissioned work from numerous auteur filmmakers of the time, thus enabling independent documentary film to survive. In parallel to his documentary political films from the 60s and 70s onwards, Farocki’s work in the early 80s showed an increased interest in the image itself, as he sought to move away from analysis based on image agitation. It wasn't just in economic terms that the 80s were a demanding decade for him, as they were also marked by his attempts to tap into new visual horizons. His collaboration with Jean-Marie Straub and Danièle Huillet, who he had already met at a lecture given by Straub at the dffb in 1966, played an important part in the latter of these tendencies. It was here that Farocki dedicated himself to the image of the feature film as a possible canvas for a form of narrative cinema that set itself against that of Hollywood. His interest in narrative cinema can already be observed in his short films from the 60s and 70s and later intensified in his decade-spanning collaboration and friendship with Christian Petzold, who began studying at the dffb in 1988. His experiences with producing his own feature in the mid-80s led him, however, to the decision to turn his attention to the essay film and, from the mid-90s onwards, to film installations in exhibition spaces. arsenal cinema spalte normal preview Mon, 30 Oct 2017 17:50:00 +0100 Female Gazes from Georgia - Contemporary Documentaries http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6836/2803.html Europe often has a rather vague image of Georgia, even if the country has been increasingly present of late: Georgian films and books, Georgia as the guest of honor at the 2018 Frankfurt Bookfair or as a tourist destination have all meant that the country has increasingly entered the spotlight. The Heinrich-Böll-Stiftung is taking part in this year’s Year of German-Georgian friendship with a series of documentary films by female directors from Georgia. This documentary focus shows us sections of this country in the South Caucasus on the edge of Europe without any need for clichés. The film and discussion series presents documentaries which approach everyday life in Georgia with their own aesthetic style and original journalistic research. The films reflect the ongoing upheaval in the Caucasian country since 1989, which creates a modern image of itself as it searches for its place between East and West. arsenal cinema spalte normal preview Sat, 28 Oct 2017 17:50:00 +0200 Film:ReStored_02: The Festival of Film Preservation http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6837/2803.html "Film:ReStored" presents digitized films from seven decades of German film history, accompanied by presentations, and progress reports dedicated to questions surrounding the digitization of film heritage. This year's debates focus on the cooperation between rightsholders, authors, and archives. The selection of films reflects this fruitful collaboration. arsenal cinema spalte rechts preview Fri, 27 Oct 2017 17:50:00 +0200 Magical History Tour - Cinema in the Plural http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6838/2803.html Films are collective works: The Magical History Tour presents both films that were created in collective working process or have these as their theme, together with ensemble films with suitably starry casts, which forge complex universes in multiple, dynamic mosaics of characters and decentered group pictures. arsenal cinema spalte rechts preview Wed, 25 Oct 2017 17:50:00 +0200 The DEFA Foundation Presents: 
Film City Berlin http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6839/2803.html It was the cafes and bars that became the central location of a new lifestyle in 1950s Berlin: the Presse cfe at Friedrichstraße station, the Hajo bar, the Möwe, the Esterhazy-Keller – although the obvious epicenter was the Berliner Ensemble. The intellectuals and artists that were regulars here and talked and drunk were less united by a joint artistic direction than an approach to life, in which different hopes and visions were expressed and woven together in such a way that had little to do with a conventional bourgeois career. With the documentaries by Peter Voigt, we visit these places and enter into their unique atmosphere. In DÄMMERUNG (Germany 1993), several of these bohemians recall the beginning and the end of that period of awakening, while THEATERARBEIT (East Germany 1975) looks back at the 25th anniversary of the first, not always easy years of the Berliner Ensemble, which was founded by Bertolt Brecht. (jh) (9.10.) arsenal cinema spalte rechts preview Fri, 20 Oct 2017 17:50:00 +0200 KinoPolska / Guest: Jan P. Matuszyński http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6840/2803.html Two well-regarded feature debuts form the focus of KinoPolska in October. OSTATNIA RODZINA (The Last Family, Jan P. Matuszyński, Poland 2016, 10.10., with guest Jan P. Matuszyński) Zdzisław Beksiński, a painter of dark, surrealist scenes, lives with his mentally unstable son, a popular radio DJ, and his selfless wife Zofia, who keeps the family together, in a high-rise apartment in Warsaw. Rooted in pitch-black humor, the film is the portrait of an eccentric painter, a tribute to an unconventional family and the chronicle of a country over a period of three decades. NÓŻ W WODZIE (Knife in the Water, Roman Polanski, Poland 1962, 11.10., with an introduction by Jan P. Matuszyński) A parable and psychological chamber drama on a sailing boat. A married couple invite a young student to spend a weekend with them. The cramped conditions produce a tension-filled love triangle. (mg) arsenal cinema spalte rechts preview Wed, 18 Oct 2017 17:50:00 +0200 Harun Farocki Retrospective: 
School Workshops II http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6841/2803.html 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? (sts) (17. & 18.10., moderated by Eunice Martins & Laura Mello) arsenal cinema spalte rechts preview Tue, 17 Oct 2017 17:50:00 +0200 Big Cinema, Small Cinema #14
Transport, Tools, Work, Play: 
Children's Film by Harun Farocki http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6842/2803.html 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. (sts) (15.10., Moderation: Stefanie Schlüter & Brigitta Wagner) arsenal cinema spalte rechts Mon, 16 Oct 2017 17:50:00 +0200 Filmmakers' Choice – Odyssey and Cosmic Resonance http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6843/2803.html We are repeating the program for June that had to be cancelled due to technical problems. In Luc Moullet's La CABALE DES OURSINS (France 1992), abandoned strip mines appear next to volcanoes and pyramids. The director-cum-pataphysical cartographer creates a wasteland of the secret paths through his childhood memories. Opinions as to what is considered a historical monument, a magnificent natural landscape or industrial waste vary. I'm interested in the moment when the shift occurs, the "in-between" and its emotional consequences. CORPUS CALLOSUM (Michael Snow, Canada 2001) combines the realism of a normal metamorphosis in credible "real" inner spaces with "impossible" changes of form. In both films, the shift is a physical place, a fissure: a place of entrancement. Both films take the viewers to the equilibrium point between shifting modes of perception. (ld) (16.10., presented by Lucile Desamory) arsenal cinema spalte rechts preview Sat, 14 Oct 2017 17:50:00 +0200 Georgian Cinema - 
From the Arsenal Collection http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6834/2803.html For many years now, Arsenal has maintained a close, special relationship with Georgian filmmaking. Since Erika and Ulrich Gregor, founders and long-time heads of Arsenal, were able to see films from Georgia on their visits to Moscow, Georgian films have regularly formed part of the programs of both the Arsenal cinema and the Forum. This enduring interest in Georgian cinema means that Arsenal's collection of around 130 Georgian films is now the second biggest collection in the world outside of the country itself following the Russian state film archive Gosfilmofond and thus plays an important role in preserving Georgian film history. arsenal cinema spalte normal preview Tue, 31 Oct 2017 17:50:00 +0100 Cinepoetics Lecture #3: Robert Burgoyne http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6845/2803.html The Cinepoetics Lectures are a lecture series put on by the colloquium and research group of the same name at the FU Berlin, which invites well known film and media scholars to present a selected film. The current Cinepoetics Lectures are concerned with questioning the historicity of audiovisual images: where does this historicity lie, beyond the representational level of historical subjects? How is a realm of historical experience produced, which is reshaped with each new appropriation of film images and each media shift? In his presentation "Intimate Violence: Drone Vision in Eye in the Sky", Robert Burgoyne (University of St Andrews) will explore intimacy and distance as the relationship of tension that governs how modern war is conducted and represented in view of a new permutation of somatic testimony. We are showing the film EYE IN THE SKY (Gavin Hood, USA 2015) beforehand to this end. (er) (23.10.) arsenal cinema spalte rechts preview Mon, 09 Oct 2017 17:50:00 +0200 Filmspotting. Exploring the Deutsche Kinemathek's Film Archive http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6846/2803.html DER LETZTE MANN (Friedrich Wilhelm Murnau, Germany 1924) shows the fate of an aging hotel porter at the turn of the 20th century in Berlin, who is demoted and has his uniform and main source of pride taken away from him. Murnau's outstanding silent film drama makes do with just a small number of intertitles, as the "unbridled" camerawork by Karl Freund creates a visual language that reflects the porter's inner life. Giuseppe Becce composed the music played at the world premiere, which has been re-edited for the restoration of the film. In the 20s, Becce wasn't just known as a composer for feature films, but also as the author of the "General Handbook of Film Music", in which he set out standards for the musical accompaniment of silent films. Music scholar Maria Fuchs made the handbook the basis for her investigation of the theory and practice of silent film music and will be presenting this work. (ah) (30.10.) arsenal cinema spalte rechts preview Fri, 06 Oct 2017 17:50:00 +0200 Public Screening http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6847/2803.html After writing a script about the sham trials held against the Jacobins in Hungary, Hungarian director Judit Elek was handed an unofficial ban at the start of the 70s and was unable to shoot any features for a period of eight years. During this time, she made ISTENMEZEJEN, EIN UNGARISCHES DORF (Hungary 1974) and EINFACHE GESCHICHTE (Hungary 1975), the impressive documentary portrait of two girls named Ilonka and Marika, who have to decide various between working in the fields and school and between marriage and moving to the city, without actually being able to take the decision themselves. The two-part long-term documentary was shot in a small village in the northeast of Hungary, where men and boys work in a mine and young girls are married off at fifteen years of age. Not even the birds manage to fly away from here, but are rather caught again and again, as the opening scene of the second part shows. (bg) (12.10.) arsenal cinema spalte rechts preview Wed, 04 Oct 2017 17:50:00 +0200