Arsenal: Current Program en Arsenal: Current Program 18 16 TYPO3 - get.content.right Sun, 07 Feb 2106 07:28:15 +0100 Technologies of Violence The short film series curated by Maria Morata and Piedad Solans explores the relationship between arts, digital technologies, and the contemporary production of violence over five programs. Technology as a system of organization, services, and control holds the tools for global domination in machines, the Internet and electronic systems – for a new era of political security whose field of representation is cyberspace. In semio-capitalism, digital images are produced, manipulated, and disseminated by the military complex, the leisure industry and the media and are a powerful instrument of ideological propaganda. The role of the technological image in the digital context opens up critical reflection on the paradoxes of the technosphere which frames them: between transparency and invisibility, control and optimization, utopia and dystopia. arsenal cinema spalte rechts preview Wed, 30 May 2018 23:09:00 +0200 Retrospective Pietro Germi Pietro Germi (1914–1974) was one of the outstanding personalities of Italian cinema from the 40s to the 70s. Born in Genoa, the director, actor, and screenwriter was one of the first generation of Neorealist directors alongside Visconti, De Sica, and Rossellini. Much like those of Antonio Pietrangeli, Germi’s directorial works represent a link between Neorealism and Commedia all’ italiana, “which doesn’t betray the former, but rather moves it forward in popular, satirical fashion” (Gerhard Midding). Germi gained international recognition and fame with his third film IN NOME DELLA LEGGE (1949), a milestone in the history of the mafia film which doubles up as a tribute to John Ford and Sicily, where Germi shot a total of five films. IL CAMMINO DELLA SPERANZA (1950), IL FERROVIERE (1956) and the literary adaptation UN MALEDETTO IMBROGLIO (1959), in which Germi also took on the leading role, established him as a significant force in Italian cinema. The Oscar-winning international success DIVORZIO ALL’ITALIANA followed in 1961, which was the start of a series of socially critical comedies about Italian customs, traditions, and laws which polemicized the discrimination of the woman and the dual morals of the bourgeoisie. What’s characteristic of Germi’s films is their precise observation of Italian life, their enthusiasm for the expressive power of faces, and the director’s humanist view of the world – who Otar Iosseliani saw as “one of the most noble-minded filmmakers ever to have existed”. For all their bitterness in the depiction of social living conditions, they are above all films “in which the heavy weight of life is assuaged by the rich depth of feeling, a warming maturity of the heart.” (Martin Schlappner) We are presenting eleven films by Pietro Germi from 1948 to 1972 in collaboration with the Italienisches Kulturinstitut. The retrospective is accompanied by four introductions and a lecture by Mario Sesti (19.5.). arsenal cinema spalte normal preview Tue, 29 May 2018 22:39:00 +0200 Magical History Tour: Production Design The "eye of the director" – that's Ken Adams's pithy description of the function of the production designer (who is referred to variously as set designer or scenographer, depending on the production company, country, or period), who takes responsibility for a broad range of different tasks, starting with the conceptual visualization of the script and taking in the design of the cinematic universe all the way to the creation and implementation of the interiors and exteriors. The work of the production designer doesn't just leave its mark on the look of a film, but also on its atmosphere and mood and not just in design-intensive genre films. Despite being impossible to overlook, the key contribution made by production design to the all-embracing nature of cinematic art is too seldom recognized. All the more reason then to dedicate May’s Magical History Tour to the quite literally multiform world of production design. arsenal cinema spalte rechts preview Mon, 28 May 2018 22:42:00 +0200 Catalogue Presentation: Deborah S. Phillips – Colours, Places, and Ornaments Deborah S. Phillips is an artist who works with different analogue media. She began her artistic career by studying painting, before primarily working with analogue visual materials. From painting, she started making picture series and 16mm films. Thanks to the support of the Senate Department for Cultural Affairs’ Female Artists’ Program, she is able to present a comprehensive catalogue which offers insights into her diverse forms of artistic expression and the multimedia aspects of her work. Over two evenings, we will be examining Deborah S. Phillips’ oeuvre: colors, people, places, ornaments on Super 8, 16mm and 35mm and in the form of performances. Her first 16mm films came about from ideas generated while helping colleagues with their own film projects, such as UNTITLED COLOURMATION. Shortly afterwards, she spent nearly a year animating bread with the support of members of an artists’ collective in Braunschweig (BREAD). During this period, she continued to do printing; at some point, it also seemed logical to print on film. BREAD and A PRINTED FILM then formed part of the Days of German Culture in Central Asia in the mid-90s. She began to supplement her silent films by creating sound for them in performances. Via discussions with people in the Muslim-majority and former Soviet countries of the region, she came up with the idea of creating a project in which Jewish and Islam ornaments and sounds would flow together, which was called MOSAïC. The engagement with genius loci and the people she came into contact with create their own dynamic here. In this way, she repeatedly made films that revolve around places and ornaments. More at (24. & 25.5.) arsenal cinema spalte rechts preview Sun, 20 May 2018 23:10:00 +0200 The DEFA Foundation Present Actors Christian Steyer and Ulrike Krumbiegel read from the first novel by director and author Siegfried Kühn entitled “Die Erdorgel oder Wunderbare abgründige Welt”. The book describes the story of the life of its protagonist Friedrich, moving from his childhood in Silesia to his jobs working in an East German mine and at the DEFA until reunification. Kühn mixes autobiographical and fictional elements to this end. After the reading, Kühn’s satirical film of the era of the time DAS ZWEITE LEBEN DES FRIEDRICH WILHELM GEORG PLATOW (East Germany 1973) will be shown, the story of 57-year-old railway station worker, played by Fritz Marquardt in wonderfully off-the-wall fashion. Platow, who becomes “surplus to requirement” after the railways are electrified, won’t allow himself to be sidelined and sets out to get additional training. Due to its critical tone and unusual form, the film didn’t receive an official cinema premiere and was handed an export ban. (jh) (7.5.) arsenal cinema spalte rechts preview Sat, 19 May 2018 23:11:00 +0200 UdK Seminar FILMFILM Film as celluloid, coated, exposed, projected has become a medium which – barring its obvious obsolescence – is finding another “role”. The program taps into the materiality and corporeality of analogue filmmaking and watching: WEISSFILM consist of white and blank film and stems from the end of Birgit and Wilhelm Hein’s structural period. Without a negative, each screening is inscribed into the material. The footage in PEGGY’S BLUE SKYLIGHT from Joyce Wieland and Michael Snow’s loft captures one day in the life of the New York avant-garde in playful, impulsive fashion. In AUSTERITY MEASURES, the effect of the camera – exposed three times on film in red, green and blue – can be read as a commentary on Greek austerity policy. What can be seen is how technology inscribes itself into thought or how ideas materialize. Once the only alternative, deciding to use this material and its apparatus is now an option chosen intentionally. (stg/bs) (8.5.) arsenal cinema spalte rechts preview Fri, 18 May 2018 23:12:00 +0200 Points of View The Udk film institute presents new monographies from graduates of the Art and Media program. Ljupcho Temelkovski’s MARGINA documents the arduous everyday life of a Macedonian Roma family, which is marked by sacrifice, humiliation, and a talent for improvisation born of necessity. Esteban Rivera Ariza’s trilogy deals with knowledge and belief. DIE VERSTEINERTEN explores the preservation and the resuscitation of the dead. In FIRMAMENTUM CONTINUITAS, a cosmonaut gives an account of his secret agreements with the Pope. WISDOM TEETH describes the geological research carried out by Nikolaus Steno (1669) on fossilized sharks’ teeth on a mountain. Cavo Kernich’s feature MIKEL depicts the everyday life of a young asylum-seeker called Mikel (Jonathan Aikins). He accompanies him at work and on his wanderings through an inhospitable Berlin. Outside the shadowy realm of his illegal job, he remains alone with his dreams and desires. (bs) (9.5.) arsenal cinema spalte rechts preview Thu, 17 May 2018 23:13:00 +0200 FilmDokument: 50 Years of 1968 In August 1967, a group of students (including Helke Sander und Harun Farocki) at the Deutsche Film- und Fernsehakademie in Berlin formed the so-called “Group 3” in order to be able to react to the political situation of the time in fast and flexible fashion. The group’s first big project was the agitatorial film BRECHT DIE MACHT DER MANIPULATEURE, which reflects on the protests against the Springer company and continues them in cinematic form. In DEMONSTRANTENSELBSTSCHUTZ, Dietrich Schubert was also looking for new forms to convey political content. Documentary filmmaker Günther Hörmann from Ulm shows the last delegate conferences of the German Socialist Students’ Association (SDS) in Hannover in 1968 in DJANGO UND DIE TRADITION – and thus also the breakdown of one of the most important movements that brought “1968” to Germany. (ft) An event by CineGraph Babelsberg in collaboration with the Bundesarchiv-Filmarchiv and the Deutsche Kinemathek. Introduction: Fabian Tietke (14.5.) arsenal cinema spalte rechts preview Wed, 16 May 2018 23:14:00 +0200 Cinepoetics Lecture #6: Erhard Schüttpelz The longing to invert one-dimensional perspectives on anthropology, is as old as anthropology itself. Among filmmakers it is Jean Rouch who focuses most consequently on the reversion of (post-)colonial interpretations and observations. His improvised works function both as a mixture of jocularity and seriousness, allegory and slapstick. In his presentation “Mai 1968 und die Umkehrung des ethnographischen Blicks”, Erhard Schüttpelz (University of Siegen) examines Jean Rouch’s inversion of (post-)colonial and ethnographic ideas referring to PETIT À PETIT (Rouch, F 1971) – a film introducing us to the concept of a reinterpreted model of anthropology through the eyes of a businessman from Niger. Following the lecture, PETIT À PETIT (Rouch, F 1971) will be screened. (cs/dd) The Cinepoetics Lectures are organized by Cinepoetics—Center for Advanced Film Studies at Freie Universität Berlin. (28.5.) arsenal cinema spalte rechts preview Tue, 15 May 2018 16:58:00 +0200 Filmspotting: Exploring the Deutsche Kinemathek’s Film Archive On this journey through the Hungarian Puszta, a young painter meets a mysterious woman on a horse. She seems to be mysteriously connected to Major Murai, a friend of the painter’s at whose estate he’s staying. While he wanders through nature, he doesn’t just get to know the country and its people, but also gradually learns the story of Brigitta and the Major, a story of damaged love, separation, and coming together again. BRIGITTA (Dagmar Knöpfel, Germany 1994), the adaptation of a novel by Adalbert Stifter, offers fantastic black and white images, which capture the wide landscape, the faces of the locals, and the calm atmosphere of the literary source in appropriate fashion. BRIGITTA has recently been added to the distribution range as a digital print. (ah) (28.5.) arsenal cinema spalte rechts preview Mon, 14 May 2018 23:15:00 +0200 Public Screening – The Harun Farocki Institute Presents NIGHTSHIFT (1981) by Robina Rose (in collaboration with Nicola Lane) was shot as a low budget film over five nights at the Portobello Hotel in west London, where the filmmakers regularly worked to make ends meet. It was created in parallel to other important projects by British filmmakers of the 70s and early 80s, which explored the work of women in relation to politics, film, desire, and society. Today, the film is largely unknown, although the info-sheet for the 12th International Forum of New Cinema states that it was the “best British film of this edition” of the Edinburgh Film Festival; with filmmaker Jon Jost on the camera, it also entered the American independent film scene. We are showing NIGHTSHIFT together with LARISSA (1980) by Elem Klimow, a cinematic tribute to Larissa Scheptiko, one of the most significant Soviet film directors. (dm) (30.5.) arsenal cinema spalte rechts preview Sat, 12 May 2018 23:17:00 +0200 Archive außer sich: Italy ’68 Between 1968 and 1977, there wasn’t just an increase in the number of campaigns conducted by the New Left on the streets of Italy, new forms of cinematic mass communication also sprung up alongside them. Labor disputes and police violence found their way into the films of the New Left, with feminist groups drawing attention to female living realities and themes such as abortion or machismo. The anti-psychiatry movement had a greater effect in Italy than in other countries, which ultimately brought about the abolition of closed psychiatric clinics. The films of the Italian New Left were a laboratory of cinematic forms. Prints from the Arsenal archive make up the bulk of the program put together by Cecilia Valenti and Fabian Tietke, which is supplemented with additional works by Aamod (Archivio audiovisivo del movimento operaio e democratico) and Cineteca Nazionale, and placed in a broader context by various guests and introductions. arsenal cinema spalte normal preview Tue, 08 May 2018 22:35:00 +0200 The Past in the Present – New Films from Algeria Over the last few years, a young generation of filmmakers has formed in Algeria whose works deal with the current state of their country while equally referencing its past. Numerous social taboos have meant that artistic engagement with Algeria’s history – such as the historical and cultural legacy of the colonial era, the Algerian War (1954-62), and the “Dark Decade” (1991-2001) – is hardly a matter of course. Perhaps the most deafening silence in Algeria is reserved for the bloody period of terror in the 90s, when the war between Islamist groups and the military led to 200,000 deaths. With this in mind, Arsenal is presenting seven films from 2013-2017 which sound out the reverberations of the past in the present. They offer insights into a society traumatized across different generations and social strata and show a country in stasis. The burden of the unspoken, the scars of history, and the extent of the hardship faced by the younger generation become clear in all the titles in the program, whether fiction, documentary or essay film. The contours of today’s Algeria come into sharpest relief when past and present become superimposed. This new Algerian cinema has also set things in motion, whether in relation to its films, which have received considerable international attention as well as numerous prizes, or with respect to the filmmakers themselves, who have brought about a revitalization in cinema culture in Algiers by setting up ciné-clubs and screening films there; the city is otherwise largely devoid of cinema auditoria nowadays. We are very happy that three filmmakers from Algeria will be our guests at Arsenal thanks to the support of the Goethe-Institut Algiers and the Leibniz-Zentrum Moderner Orient: Narimane Mari, Djamel Kerkar, and Karim Moussaoui will all be in Berlin to discuss their films with our audiences. A panel discussion in English will also be taking place on May 6th to explore filmmaking conditions and the state of independent cinema culture in Algeria. arsenal cinema spalte normal preview Wed, 02 May 2018 18:45:00 +0200 Archive außer sich: ANNA The following could be read in the Berlinale Forum catalogue in 1975: “ANNA (by Alberto Grifi and Massimo Sarchielli) is a video cassette recorded in 1972-13 which Grifi transferred to 16mm film in 1975 with a device of his own invention, the “vidigrafo”. (…) It shows the real-life situation of Anna, a 16-year-old pregnant drug addict who Sarchielli got to know on the Piazza Navona and eventually allowed to move in with him. At the same time, the directors filmed what was happening in Rome in the milieu of the marginalized.” Constanze Ruhm came across this central work of the Italian (post-)68-movement as part of her research. In a film essay, which she worked on with Emilien Awada and will be presenting as an introduction, she places the character constellations that give the film its structure in an analytic relationship with the cinematographic apparatus and its archives. (stss) (8.5.) arsenal cinema spalte rechts preview Tue, 01 May 2018 23:16:00 +0200 filmPOLSKA_Kamerakunst: Małgorzata Szyłak One of the novelties of last year’s filmPOLSKA was the creation of a competition to strengthen young Polish filmmakers. Anna Zamecka’s documentary Komunia (2016) won it and the jury expressly mentioned the impressive work of the camerawoman and art historian Małgorzata Szyłak. This particular tribute provided us with a welcome occasion to invite Małgorzata Szyłak with two of her films back to Berlin to talk about her work. arsenal cinema spalte rechts preview Thu, 26 Apr 2018 19:20:00 +0200