June 2013, transfer

Living Archive for Children, with Children

What can I see when I have a filmstrip in my hands. How do I find a film in the archive? Which pictures remain with me after a program of shorts? Over 200 Berlin schoolchildren were able to gain an insight into Arsenal's film collection. They curated their own programs from short, mainly experimental, films in a playful way. They also drew their recollections of films. Stefanie Schlüter presents the results in an exhibition and three events for families and schools. Films, programs and drawings made by the children will be shown. They will also provide live scores. The project was supported by the filmmakers Ute Aurand, Robert Beavers, Milena Gierke and the silent movie pianist Eunice Martins. (For children aged 6 and above, 9.–13.6.)

Films from our archive:

RAINBOW DANCE (Len Lye, UK 1936, 9.6. & 11.6.)
One of the earliest experimental colour shorts,this Post Office savings propaganda film is a colourful and surreal fantasy demonstrating why you should save for a rainy day.

VORMITTAGSSPUK (Hans Richter, Germany 1928, 9.6.)
Objects (hats, cups, collars, etc.) momentarily take on a life of their own and rebel against man and the daily routine. As the clock strikes twelve, they return to their places.

FADENSPIELE II (Detel und Ute Aurand, Germany 2003, 9.6.)
Ute Aurand and Detel Aurand – two sisters, one a filmmaker, the other a painter – have created their second collaborative film. The film arose in the beech grove, on the rape field, in the bare woods of autumn, on the snowy path. Cloths are stretched out between trees, balls roll, stems get tangled – rectangles and squares form on the lines, and then little, cut out paper rectangles in the same colours make new forms.

FANTASMAGORIE (Émile Cohl, France 1908, 9.6. & 11.6.) is one of the earliest examples of traditional (hand-drawn) animation, and considered by film historians to be the first animated cartoon.

POR PRIMERA VEZ (Octavio Cortázar, Cuba 1967, 6.6., 9.6. & 13.6.)
A document of the "audiovisual alphabetization"
of Cuba in the 1960s: Cortázar records the screening of a mobile cinema in a remote mountain village and shows the reactions of the inhabitants upon their first encounter with film, which was Charlie Chaplin's "Modern Times".

HORSE OVER TEA KETTLE (Robert Breer, USA 1962, 9.6. & 13.6.) is a tour de force of line drawing technique that proceeds according to the law of continual transformation. We are reminded of the work of Emil Cohl as we see a hat turn into a bird, a bird into a man and a man into a frog. The film creates a world of gravityles space where characters and objects (ladies with umbrellas, angels, trees, houses) generally float up. (Village Voice, 1975)

LOOSE CORNER (Anita Thacher, USA 1986, 9.6 & 13.6.)
A young man, a young woman, a boy and a dog, as well as several objects like balls, a box etc. take the audience on an 'adventure' to an impossible place, a 'loose corner'. There our perception and the assumptions we rely on are put to the test through visual impossibilities.
(Anita Thatcher)

A MAN AND HIS DOG OUT OF AIR (Robert Breer, USA 1957, 9.6. & 13.6.) is a masterpiece of the metamorphosing line. It begins with elusive images of the wind, a bird, swirls, and movement, and ends with an amorphous image of an enormous man walking his dog around the circumference of the frame.

RABBIT'S MOON (Kenneth Anger, USA 1950/78, 9.6. & 13.6.)
Pierrot tries to reach the moon and Columbine, in vain, to the music of Andy Arthur.

IMAGINATION (Mary Ellen Bute, USA 1957, 11.6.) is a lively and swift collage of animated and photographed images partly taken from earlier films, which was broadcasted in the popular Steve Allen Show.

GERTIE THE DINOSAUR (Winsor McCay, USA 1914, 11.6.)
Although not the first animated film, as is sometimes thought, it was the first cartoon to feature a character with an appealing personality.