arsenal 3 – New Concept

The arsenal 3 streaming area – www.arsenal-3-berlin.de – continues from August 15 with a new concept aimed at expanding Arsenal’s activities in digital space. First set-up last autumn, the streaming service for Arsenal members was abruptly retooled into a publicly accessible virtual cinema at the start of the lockdown in March: by the end of June, seven programs each comprising around 20 films from the Arsenal collection had been screened there, as well as a festival.

arsenal 3 now presents its new concept in parallel to the ongoing programming at the Arsenal cinemas at Potsdamer Platz: as a space for associations, reactions, and footnotes, the future arsenal 3 program will be making reference to the specific activities being carried out by the institution: to the cinema program, but also to our distribution range or archival work. arsenal 3 is a monthly invitation for you to join us on new excursions and digressions; an experiment aimed at further honing the relationship between analogue cinema and digital space. arsenal 3 can no longer be offered for free, however, with access to the screening service now to be charged at a monthly fee of 11€. You can find out more about arsenal 3 and register for the service here: www.arsenal-3-berlin.de

From September 15th to 30th, we dedicating the space to our symposium The Right to a Public – Working With TV Archives and the filmmakers Navina Sundaram, Harun Farocki and Sohrab Shahid Saless, who worked closely with NDR, WDR and ZDF.

ORDNUNG (Sohrab Shahid Saless, FRG 1980, OV 105’) A man in a black turtleneck steps out onto the street and looks down the gully of the surrounding buildings. With both hands, he forms a megaphone around his mouth and makes his long, drawn-out call: “Get up.” Herbert performs this ritual wake-up call every Sunday. While everyone else is recovering from the toil of their work week, he alone is driven by a sense of activation. The same can’t be said, however, for the other days of the week: While Herbert’s wife heads off to work, he lives submerged in mundane monotony, the days drifting by without the supporting structure of employment. Set in West Germany, the life of Herbert as rendered by Sohrab Shahid Saless is drab and dull, like a modern elegy for depression. In ORDNUNG, Saless not only indulges in metaphor, but also turns the image into word, creating an unsparing depiction of repression in West Germany. ORDNUNG premiered at the 1980 Cannes Film Festival in the Quinzaine des Réalisateurs (Directors’ Fortnight) section. It is one of six films that Saless produced with the broadcaster ZDF.

EHE MIT AUSLÄNDERN: PANORAMA VOM 13.4.1982 (Navina Sundaram, FRG 1982, 11’ OV) EHE MIT AUSLÄNDERN (Marriage with Foreigners) is a segment from a Panorama broadcast from 1982. The ringing of anonymous phone calls penetrates the private rooms of the Almanasreh family and forms the background sound for stories on the everyday racism that binational families in Germany face. Told from the perspective of women married to Iraqi, Portuguese and Nigerian men, a picture emerges of a society that sees love and transcultural bonds as a betrayal of an imaginary national collective, and in which anonymous letters, open insults and tampered-with tires are a part of family life, along with the struggle for rights and recognition.

ZUR ANSICHT: PETER WEISS (Harun Farocki, FRG/Sweden 1979, 44’ OVengSub) The filmmaker’s detailed discussion with Peter Weiss on his book “The Aesthetics of Resistance,” the second volume of which had just been published, was supervised by the editors of “Literature and Language” (Christhart Burgmann and Annelen Kranefuss) of the WDR network and broadcast on October 19, 1979. In February 1980, the film was screened as part of the “Information Program TV” section of the International Forum of New Cinema. For the festival program, Farocki wrote the following of his film: “Weiss has performed an unbelievable amount of research, studied the lives of people serving as models down to the tiniest detail and attaches great importance to visiting the scenes of the action. The film gives an impression of his work.”

ZUR ANSICHT: PETER WEISS. DREHARBEITEN IN STOCKHOLM (Harun Farocki, FRG/Sweden 1979, 63’ OVengSub) An impression of Farocki’s own work as a filmmaker can be gleaned from approximately one hour of unused interview footage left behind in his estate, which has been managed together with Antje Ehmann of the Harun Farocki Institute since 2015. The material was digitized in 2016 on the occasion of Peter Weiss’s 100th birthday. We screen the material as it was found: as remnants of the working copy in black and white, raw and partially without sound, including the clapperboard, dropouts and other traces of the editing process.