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.
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.
As part of our School Cinema series on cinematic recollections of the Holocaust, in January we are offering two programs for school classes in the Arsenal:
Debbie Goodstein's films VOICES FROM THE ATTIC (USA 1988) and ECHOES FROM THE ATTIC (USA 2015, 23. & 24.1.) circle around an attic in the Polish village of Urzejowice in which a couple named Grocholski hid 16 members of the director's family from the Nazis. In two trips 25 years apart, Goodstein traveled to Poland to learn more about the history of her family and their rescuers.
WAS BLEIBT (WHAT REMAINS) (Gesa Knolle, Birthe Templin, Germany 2008, 25. & 26.1.) takes as its subject a family’s coming to terms with the Holocaust. Through the montage, a dialogue occurs between the relatives of a German-Jewish camp survivor and those of a camp overseer.
Please register in advance at email@example.com by January 13.
Play belongs not just to life, but also to film. The opening film in this program for children from the age of 5 on January 22nd is SHADOWPLAY (Germany 2016), made by Wedding Elementary School pupils in the film workshop "Light and Color" at the Arsenal Filmatelier. In the film SALLY (Luna Maurer & Roel Wouters, Netherlands 2005), marbles defy the laws of gravity: in the interior of a glass box, they effortlessly roll up the sides. The film 33 YO-YO TRICKS (P. White, USA 1976) contains just what the title promises: a yo-yo champion shows his tricks, which have great names like “walk the dog.” The silent film TOYING WITH STRINGS (Detel Aurand & Ute Aurand, Germany 1999) lets objects—sticks, threads, stones, and sand—come to life as though without human intervention. Following the film program, special guest Sebastian Holzkamp (German yo-yo competition runner-up and winner of the European Juniors 2016) will make his yo-yo fly for you. Bring your own yo-yo along and learn some new tricks!
Language, sound, type, live scoring: starting with two words from their mother tongues and from German—which they either recently learned or will soon learn—pupils from a "welcoming class" at the Albert Gutzmann School were guided by the artists Eunice Martins, Laura Mello, Heidrun Schramm and Nicolas Wiese to design their own typefaces, based on their handwriting. Then, using stop-motion techniques, they put the typeface in motion and added a score to the brief film using spoken sound pieces. In a multimedia spoken word performance and accompanying exhibition in the Rote Foyer, on January 11 these schoolchildren will present the results of their work at the Arsenal.
A joint project of Tagscape and Sononolux, supported by Projektfonds Kulturelle Bildung
Film, theatre, and fine art also use the rehearsal as an artistic format, yet it has yet to receive any real attention in art discourses. The recently published book "Putting Rehearsals to the Text. Practices of Rehearsal in Fine Arts, Film, Theater, Theory, and Politics" examines the role and function of the rehearsal as a method, modus operandi, medium, and place of representation and reflection. Edited by Sabeth Buchmann, Ilse Lafer, and Constanze Ruhm, the aesthetic and political potential of the rehearsal will also be discussed in view of its economic and ideological logic.
The Arsenal hosts a book presentation with film examples attended by the editors and several authors on December 20.
Under the title of "6 Short Portraits – Poetic Cinema for Everyone 7 and Above", Ute Aurand and Robert Beavers show a series of films that are portraits in one way or another on December 11: ENVIOS 26 (Chile 2013) by Jeannette Muñoz is the portrait of a Chilean mountain landscape with horses, children and a very old camera, filmed in black and white without sound. In A PORTRAIT OF GA (USA 1952), Margaret Tait filmed her mother on the Orkney Islands running under a rainbow and smoking at the window. FIRST WEEKS (USA 2014) by Robert Beavers is the portrait of a baby. Ute Aurand's godson FRANZ (Germany 2011) is getting older. Everyday observations of children, blossoming trees and old monasteries are edited together by Renate Sami in JAPAN MÄRZ 2014 to form a tender visual poem; in IN THE STREET (USA 1948), photographer Helen Levitt Mitte filmed many children playing and the occasional adult in Spanish Harlem, New York in the 1940s.
As part of the "Zugang gestalten! Mehr Verantwortung für das kulturelle Erbe" (Shaping the Future! More Responsibility for Cultural Heritage) conference, Arsenal is presenting a premiere on Neovember 17: Michael Palm's CINEMA FUTURES is dedicated to the questions which go hand in hand with the "digital revolution": do film archives now find themselves at the beginning of a dark age? Is there a risk that collective audiovisual memory will be lost? Is film dying or is it merely changing? Following the screening, there will be a studio report by the ZKM and a podium discussion.
The "Zugang gestalten! Mehr Verantwortung für das kulturelle Erbe" (Shaping the Future! More Responsibility for Cultural Heritage) conference is taking place for the 6th time at Hamburger Bahnhof – Museum für Gegenwart. The digitization of cultural heritage has made huge progress. Yet in the face of the rapid development of electronic media, the project-oriented nature of cultural funding, and the fleeting character of digital communication, questions of sustainability are becoming increasingly significant.
Since the very start of cinema, entertainment has always played an important role in its progress. For the first Sunday of Advent on November 27, short film comedies from both the early cinema era and the present are being presented that only whet the appetite for more. DER NEUE SCHREIBTISCH (Karl Valentin, Germany 1913) shows the treacherous nature of the world of objects more than 100 years ago. In THE MIDNIGHT PATROL (Lloyd French, USA 1933), Stan Laurel and Oliver Hardy manage to get in their own way. In the short film comedy DAS LICHT (Anna Faroqhi, Haim Peretz and pupils of the Anna-Seghers-Gemeinschaftsschule) from 2015, the Arsenal cinema itself becomes a location. After the screening, we will be making an optical lens from household objects. Do you know what a laterna magica is?
For children 8 years and older.
Accompanying the Nationwide School Cinema Program for Remembering the Holocaust in Film, the Arsenal is showing to films by Debbie Goldstein in an additional evening event on Novemver 7: VOICES FROM THE ATTIC (USA 1988) and ECHOES FROM THE ATTIC (USA 2015). The grandparents, great uncles, mother, and aunts of director Debbie Goodstein survived the Holocaust in Urzejowice, Poland in the attic of the Grocholski family. In 1988, she travels to Poland accompanied by her aunt Sally and several cousins to find out more about the story, which is not talked about within the family. 25 years later, a second trip follows, in which the family of the rescuers forms the focus. Günter Saathoff, Chairman of the "Remembrance, Responsibility and the Future" Foundation (EVZ) will given an introduction to open the evening. After the films, Veronika Nahm from the Anne Frank Center will be in conversation with film scholar and author Sonja M. Schultz, who has created school materials on the films. An event in collaboration with the Anne Frank Center and the EVZ Foundation.
Dealing with the past is an important precondition for shaping the present. It is the only way of legitimizing responsibility for the future. The "Future of Memory - Nationwide School Cinema Program for Remembering the Holocaust in Film" project follows up "Asynchronous. Documentaries and Experimental Films on the Holocaust. From the Collection of the Arsenal." Throughout 2016, school events featuring films from the Asynchronous project such as SHOAH and SOBIBOR, 14 OCTOBRE 1943, 16 HEURES by Claude Lanzmann, VOICES FROM THE ATTIC by Debbie Goodstein and DARK LULLABIES by Irene Angelico and Abbey Neidik will take place all over Germany.
Intensive educational work is crucial in the area of school cinema. When it comes to the culture of memory, there is a huge gap between the generations who grew up with eyewitnesses and today's children and young adults, both in cognitive and aesthetic terms. The classic codification of the topics Holocaust, fascism, National Socialism and anti-Semitism is often not accessible to young people today because the language and form seem to be outdated and therefore no longer understandable. That's why it is important to rethink aesthetic and emotional approaches and find means of opening up the world of memory to this generation and those to come.
Further information about the project will be available soon. If you are a cinema or event organizer, please get in touch with us now.
Since January, Arsenal's Filmatelier presents a program for children including a workshop on a regular basis. The next event takes place on October 16.
What sounds, speaks, rustles in film? Since films were shown for the very first time in 1895, sounds and music have been played to accompany them. Today, sounds, voices, music, and noises are put together on the soundtrack. Before we ourselves start experimenting with sounds, voices, and noises and develop ideas for a soundtrack to a scene from BEHIND THE SCREEN (1916) by Charles Chaplin to be played live, we discover what can be seen and heard in five shorts: In PACIFIC 231 (Mitry, France 1949), a locomotive rushes musically through the world, LE CHAUDRON INFERNAL (Méliès, France 1903) transforms both people and things in unexpected ways. In CATFILM FOR KATY AND CYNNIE (Lawder, USA 1973), cats open up the line of sight. With his lines in movement, Len Lye shows the music of the Bagirmi in Chad and there is chirruping in Robert Breer's A MAN AND HIS DOG OUT FOR AIR. 31 SPRÜNGE (Winkelmann, West Germany 1967) tells of what it’s like to jump 31 times.
"The Language of the City" is the title of a two-day documentary film workshop for children and young people aged between 10 and 14 that Anna Faroqhi and Haim Peretz are offering on August 30-31 and October 18-19 from 10 am to 4 pm in collaboration with Deutsche Bank KunstHalle and Arsenal. All results will be shown at Arsenal Cinema on October 30.