Arsenal: Current Program en Arsenal: Current Program 18 16 TYPO3 - get.content.right Sun, 07 Feb 2106 07:28:15 +0100 “it is the present, the present of the past” – Films by Ingo Kratisch and Jutta Sartory “A woman becomes aware that she lacks understanding and sets off on a trip that brings her to New York. From here, she goes west and crosses the continent. Constantly on the move and alternating between early sympathies and later rejection, her European illusions yield to concrete American parameters. The subjective experience of the first journey continues in the second part as a search for the country’s structure in analytical form. Roads, buildings, bridges, landscape, cities and traffic create a model that unlocks the country’s reality.” (Jutta Sartory) arsenal cinema spalte normal preview Sat, 30 Jun 2018 21:58:00 +0200 Anna May Wong – Star, Icon, Boundary Breaker Anna May Wong (born Wong Liu Tsong, 1905 – 1961) first arrived in Berlin almost 90 years ago to the month. It was April 1928 and the first Chinese-American movie star, who was already acclaimed internationally, had great expectations. She was glamorous, extremely beautiful and oozing with sex appeal. Her success had not changed the fact that in view of the Chinese-American population being largely excluded politically, socially and economically, she was often cast in (supporting) roles that promoted stereotypical ideas of the “exotic”. She would “joke” about the thousand deaths she had died during her film career, playing meek housemaids or calculating servants, women prepared to sacrifice themselves to their lovers or evil femme fatales, but always trying to bring dignity and elegance to the part. Main roles were rare, as were romances with happy endings. From the late 1920s, Wong travelled to Europe several times to find other opportunities for developing her artistic talents. She wooed the cinema audiences and artistic and cultural scenes of Berlin, London and Paris with her grace and elegance, her unstoppable energy and calculated coolness and her acting skills that allowed her to go from the erotic to the unscrupulous with such ease. Nonetheless, she never really fulfilled her hopes to escape the norms, stereotypes and roles of Hollywood. Despite the contemporary audiences’ enthusiasm and the global coverage of Anna May Wong’s films, her trips to China and her campaign to promote a better understanding of Chinese culture in the US and in Europe, apart from THE THIEF OF BAGDAD (1925) and SHANGHAI EXPRESS (1932), films featuring her have rarely been shown in Germany. Our program comprises 12 films, including a documentary, and illustrates Wong’s career in adverse political conditions, paying tribute to an extraordinary actress who broke boundaries and acted as a mediator between continents and cultures. arsenal cinema spalte normal preview Sat, 30 Jun 2018 06:38:00 +0200 Magical History Tour – Light in Film In the beginning, there was light – a concept inextricably linked to cinema. The projection beam passes through the film strip and the lens, makes its way through the glass pane of the projection room and into the auditorium, hitting the screen at the speed of light as the film begins. The radiant glow of a high-wattage projection bulb is like a shimmering echo of the fundamental subject of film and cinema: light. It’s impossible to even shoot a film without daylight or artificial light, key or fill lighting, soft light or floodlights, to say nothing of the work of the camera and lighting team who design the lighting and position it on set. Lighting forms an essential artistic resource for the director, capable of telling stories or affecting how they are told, creating moods and unleashing different emotions. The 12 films showing in the Magical Mystery Tour in June give an idea of the huge diversity of working methods and effects linked to both light (and shadow). arsenal cinema spalte normal preview Thu, 28 Jun 2018 16:02:00 +0200 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 being screened in May and June. 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. The program “Techno-Öko-Zän” (“Techno-Eco-Cene”, 6.6.) examines the influence of technologies on the earth’s eco-systems in the Anthropocene geological epoch and their impact on programmed climate change, which is subject to the economic interests of what is known as the Capitalocene. The films of the “Der quantifizierte Körper“ (“The Quantified Body”, 13.6.) program focus on the relationship between humans and machines against a backdrop of biotechnology, biometry and recognition technologies. They reflect on artificial intelligence, emotions, neuroscientific image systems, surgical robots and retina experiments. (mm/ps) A project by Art Santa Mónica, with the support of the Institut Ramon Llull and the Embassy of Spain. arsenal cinema spalte rechts preview Mon, 25 Jun 2018 16:14:00 +0200 The DEFA Foundation presents: DEFA Digital - fresh colors for films from the 1980s Color grading poses a particular challenge in the digital restoration of analogue films. What criteria exist when the original lighting and colors have to be maintained or re-created? What has to be taken into account when an analogue print is turned into a digital reproduction? These questions will accompany this film evening which features two premieres of digital restorations: In JADUP UND BOEL (Rainer Simon, GDR 1981, premiered 1988) a small town mayor is reminded of an early love of his whom he abandoned and forced to examine critically not only his political attitudes but his private life as well. In the comedy ICH LIEBE DICH – APRIL! APRIL! (Iris Gusner, GDR 1987), the student Caroline deliberates how to confess to her mother, a successful and divorced lawyer, that she secretly married Tom. (jh) (4.6.) arsenal cinema spalte rechts preview Wed, 20 Jun 2018 16:15:00 +0200 Filmmakers’ Choice: Life between wars The films which were shot in Syria and Lebanon between 1979 and 2017 deal – from different perspectives – with the production of architecture and ideologies, as well as with everyday life during war and between wars. STEP BY STEP (Ossama Mohammad) observes male villagers in Syria who choose to join the army in 1979. MY FATHER IS STILL A COMMUNIST: INTIMATE SECRETS TO BE PUBLISHED (Ahmad Ghossein) depicts the civil war in Lebanon as an intimate portrait from his mother’s everyday life. The 2006 Lebanon War provides the backdrop for the films of Maher Abi Samra and Sandra Schäfer. Abi Samra films a rescue operation of trapped people during the emergency of war itself. Schäfer observes the reconstruction of a Beirut district 10 years later. (ss) (11.6.) arsenal cinema spalte rechts preview Tue, 19 Jun 2018 22:18:00 +0200 Filmspotting: Exploring the Deutschen Kinemathek’s film archive LEBENSGESCHICHTE DES BERGARBEITER ALPHONS S. (Christoph Hübner, Gabriele Voss, FRG 1978) is a four-and-a-half-hour-long portrait of the miner Alphons Stiller that was made in 1978. In the documentary, which won the Adolf-Grimme award, Stiller talks about his childhood as the son of a drinker, about his youth as a miner in the Ruhr and Saar regions, his time as a hobo in 1920s Germany, working as a laborer on properties in Mecklenburg, as an anarchist and a left-wing socialist - but above all as a clever and alert eyewitness of everyday history in the years from 1906 to 1939. The film has now been restored and digitalized and a DCP is available at the Kinemathek. Christoph Hübner will present three of the eight episodes to mark the release of the DVD. (ah) (18.6.) arsenal cinema spalte rechts preview Sun, 17 Jun 2018 22:20:00 +0200 Closing event - Youth Make Movies! ICH HAB’S DOCH GESEHEN (G 2018): Two friends are on the way to a basketball match but their plans are thwarted by a phone call. Matthis has to go to the church and Vincenz goes with him reluctantly. A church visit with consequences in which more than one commandment is violated. Students from the Catholic School Liebfrauen made this short film, which premiered in Paris, as part of this year’s film exchange program "Youth Make Movies!”. They will present it at Arsenal alongside a selection of films made by other participants of the project, and will talk about their work and the exchange with other schools. We invite you all to watch the results of this unique project. (ah)(19.6.) arsenal cinema spalte rechts preview Fri, 15 Jun 2018 22:21:00 +0200 Petro noir Revue Fossil resources are the sources of energy and material media of the (geo-)historical transformation that technology has made into a giant. Its key element is oil. To kick off a seminar at the Slavonic Studies Department of Humboldt University entitled “Energy Humanities East“. Discourses of Energy and Resources in Russian and (Post-)Soviet Culture” (25.–26. Juni, HU Berlin) Beauty of Oil (Bernd Hopfengärtner, Alexander Klose and Benjamin Steininger) will present an artistic and scientific multi-channel installation with film snippets, images and Sounds of Oil. In the revue format chapter, Alexander Klose will moderate specialist discussions with participants of the seminar and juxtapose emblematic extracts from “petro noir” classics with propaganda and promotional films that stem from the heyday of the oil age as well as scenes from a light classic of Soviet (Azerbaijani) cinema Möcüzələr adası (Hasan Seyidbeyli, 1963). (bw) (24.6.) arsenal cinema spalte rechts preview Thu, 14 Jun 2018 22:22:00 +0200 Public screening: re-selected – Five films from Latin America, 1969–1980 The Oberhausen Short Film Festival’s three-year “re-selected” project is examining “film history as a history of film prints” (as part of “Archive außer sich”). Special attention is paid to films stored both in the Oberhausen archive as at Arsenal. The idea is to re-examine the visible relationship between the two institutions in the context of public screenings that will take place every two months. The program will kick off on 19th June with five films from Uruguay, Colombia, Argentina and El Salvador, which were made as part of the struggle against despotism and render visible the political landscapes of the 1970s. Peter B. Schumann who in the past was the most important specialist on independent filmmaking in Latin America for both institutions will be our guest. (th) (19.6.) arsenal cinema spalte rechts preview Wed, 13 Jun 2018 22:24:00 +0200 Guest: DAAD Grantholder Davi Pretto The Brazilian filmmaker Davi Pretto (*1988) is currently the guest of the DAAD's Artists-in-Berlin program. In his two feature-length films, documentary observation, mise-en-scene and fictional elements are connected and in both he works with amateur actors and different guises of genre. CASTANHA (2014) depicts the actor and transvestite João Carlos Castanha, whose best years are behind him. He lives with his mother on a middle-class estate. In the evenings, he performs in gay bars. Details from his everyday life are juxtaposed with elements of fantasy and the visualization of memories. RIFLE (2016), which is set in the deserted expanses of southern Brazil, borrows from the road movie, western and thriller genres. A taciturn former soldier is employed to protect the estate of a smallholder, resorting to drastic measures when a big agricultural corporation makes a bid to buy the land. (bik) (27. & 28.6.) arsenal cinema spalte rechts preview Wed, 13 Jun 2018 22:23:00 +0200 Vaginal Davis Presents Contemporary Vinegar Syndrome Vaginal Davis is back! Our film archaeologist is returning with a brand new program! Vinegar syndrome (with its strong smell) is the name given to the degradation of film caused by the chemical reaction of cellulose triacetate meeting humidity (this can be observed at the terrarium at the MARS restaurant). But is that all? Or are there other theories linked to the vinegar syndrome that are still to be discovered? Along with Daniel Hendrickson, Ms. Davis will examine the cause and effect of aging processes in many parts of the city. The first edition will take place in the Fichte-Bunker. NB: You need to have Arsenal membership to attend. You can get this from the cinema or at the bunker (Fichtestrasse 6) itself on the evening. If you want to help save other films from succumbing to vinegar syndrome, you can do this by becoming a member of arsenal freundeskreis. (27., 28. & 29.6.) arsenal cinema spalte rechts preview Mon, 11 Jun 2018 22:25:00 +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