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'Transmission from the Liberated Zones' (Filipa César, 2015)
Repositorium für die Medienwissenschaft Malin Wahlberg Archives of the present − memory work in the making: ‘Transmission from the Liberated Zones’ (Filipa César, 2015) 2017 https://doi.org/10.25969/mediarep/3388 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Wahlberg, Malin: Archives of the present − memory work in the making: ‘Transmission from the Liberated Zones’ (Filipa César, 2015). In: NECSUS. European Journal of Media Studies, Jg. 6 (2017), Nr. 1, S. 237– 244. DOI: https://doi.org/10.25969/mediarep/3388. Erstmalig hier erschienen / Initial publication here: https://www.necsus-ejms.org/test/archives-of-the-present-%E2%88%92-memory-work-in-the-making-transmission- from-the-liberated-zones-filipa-cesar-2015/ Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org Archives of the present − memory work in the making: ‘Transmission from the Liberated Zones’ (Filipa César, 2015) NECSUS 6 (1), Spring 2017: 237–244 URL: https://necsus-ejms.org/archives-of-the-present-−-memory- work-in-the-making-transmission-from-the-liberated-zones-filipa- cesar-2015/ Keywords: Africa, archive, art, exhibition, Filipa César, film, Guinea- Bissau National libraries, museums, and archives are potential sites for knowledge production and shared memory work, but they tend also to be monuments of state power, of selection and exclusion. -
French New Wave Showcase
Drafthouse in Richardson are teaming up in September to present a FRENCH NEW WAVE SHOWCASE. A different classic French film will be screened every Saturday afternoon at 4 pm at Alamo. In-person Interviews with Bart Weiss and Dr Frank Dufour (French New Wave expert): Thursday, September 3: Media roundtable from 7:15- 8 pm (This will be the 2nd of 2 Roundtables on Sept 3 - info on the first one follows shortly.) Interviews will take place at La Madeleine near SMU 3072 Mockingbird Ln Dallas, TX 75205-2323 - 214- 696-0800 (We will have the room, which sits behind the order line.) Snacks and drinks will be available, of course. French New Wave Showcase Video Association of Dallas and Alamo Drafthouse Cinema - DFW co-present the French New Wave Showcase Saturday afternoons in September French New Wave, or in French “Nouvelle Vague,” is the style of highly individualistic French film directors of the late 1950s—early ‘60s. Films by New Wave directors were often characterized by fresh techniques using the city streets as character in the films. The New Wave films stimulate discussion about their place in the history of cinema and film. So whether a cinephile or a casual filmgoer, learn more about this distinctly French film movement. French New Wave Showcase, http://videofest.org/french-new-wave- showcase/, presented by the Video Association of Dallas and the Alamo Drafthouse Cinema - DFW, screens every Saturday at 4 pm at Alamo, 100 S Central Expressway, Richardson http://drafthouse.com/calendar/dfw. “The French New Wave was a reaction to the bigness of Hollywood. -
Cinema in Dispute: Audiovisual Adventures of the Political Names ‘Worker’, ‘Factory’, ‘People’
Cinema In Dispute: Audiovisual Adventures of the Political Names ‘Worker’, ‘Factory’, ‘People’ Manuel Ramos Martínez Ph.D. Visual Cultures Goldsmiths College, University of London September 2013 1 I declare that all of the work presented in this thesis is my own. Manuel Ramos Martínez 2 Abstract Political names define the symbolic organisation of what is common and are therefore a potential site of contestation. It is with this field of possibility, and the role the moving image can play within it, that this dissertation is concerned. This thesis verifies that there is a transformative relation between the political name and the cinema. The cinema is an art with the capacity to intervene in the way we see and hear a name. On the other hand, a name operates politically from the moment it agitates a practice, in this case a certain cinema, into organising a better world. This research focuses on the audiovisual dynamism of the names ‘worker’, ‘factory’ and ‘people’ in contemporary cinemas. It is not the purpose of the argument to nostalgically maintain these old revolutionary names, rather to explore their efficacy as names-in-dispute, as names with which a present becomes something disputable. This thesis explores this dispute in the company of theorists and audiovisual artists committed to both emancipatory politics and experimentation. The philosophies of Jacques Rancière and Alain Badiou are of significance for this thesis since they break away from the semiotic model and its symptomatic readings in order to understand the name as a political gesture. Inspired by their affirmative politics, the analysis investigates cinematic practices troubled and stimulated by the names ‘worker’, ‘factory’, ‘people’: the work of Peter Watkins, Wang Bing, Harun Farocki, Danièle Huillet and Jean-Marie Straub. -
Chris Marker (II)
Chris Marker (II) Special issue of the international journal / numéro spécial de la revue internationale Image [&] Narrative, vol. 11, no 1, 2010 http://ojs.arts.kuleuven.be/index.php/imagenarrative/issue/view/4 Guest edited by / sous la direction de Peter Kravanja Introduction Peter Kravanja The Imaginary in the Documentary Image: Chris Marker's Level Five Christa Blümlinger Montage, Militancy, Metaphysics: Chris Marker and André Bazin Sarah Cooper Statues Also Die - But Their Death is not the Final Word Matthias De Groof Autour de 1968, en France et ailleurs : Le Fond de l'air était rouge Sylvain Dreyer “If they don’t see happiness in the picture at least they’ll see the black”: Chris Marker’s Sans Soleil and the Lyotardian Sublime Sarah French Crossing Chris: Some Markerian Affinities Adrian Martin Petit Cinéma of the World or the Mysteries of Chris Marker Susana S. Martins Introduction Author: Peter Kravanja Article Pour ce deuxième numéro consacré à l'œuvre signé Chris Marker j'ai le plaisir de présenter aux lecteurs les contributions (par ordre alphabétique) de Christa Blümlinger, de Sarah Cooper, de Matthias De Groof, de Sylvain Dreyer, de Sarah French, d'Adrian Martin et de Susana S. Martins. Christa Blümlinger voudrait saisir le statut théorique des mots et des images « trouvées » que Level Five intègre dans une recherche « semi-documentaire », à l'intérieur d'un dispositif lié aux nouveaux médias. Vous pourrez ensuite découvrir la contribution de Sarah Cooper qui étudie le lien entre les œuvres d'André Bazin et de Chris Marker à partir de la fin des années 1940 jusqu'à la fin des années 1950 et au-delà. -
National Gallery of Art Fall10 Film Washington, DC Landover, MD 20785
4th Street and Mailing address: Pennsylvania Avenue NW 2000B South Club Drive NATIONAL GALLERY OF ART FALL10 FILM Washington, DC Landover, MD 20785 FIGURES IN A STRAUB AND LANDSCAPE: JULIEN HUILLET: THE NATURE AND DUVIVIER: WORK AND HARUN NARRATIVE THE GRAND REACHES OF FAROCKI: IN NORWAY ARTISAN CREATION ESSAYS When Angels Fall Manhattan cover calendar page calendar (Harun Farocki), page four page three page two page one Still of performance duo ZsaZa (Karolina Karwan) When Angels Fall (Henryk Kucharski) A Tale of HarvestA Tale The Last Command (Photofest), Force of Evil Details from FALL10 Images of the World and the Inscription of War (Henryk Kucharski), (Photofest) La Bandera (Norwegian Institute) Film Images of the (Photofest) (Photofest) Force of Evil World and the Inscription of War (Photofest), Tales of (Harun Farocki), Iris Barry and American Modernism Andrew Simpson on piano Sunday November 7 at 4:00 Art Films and Events Barry, founder of the film department at the Museum of Modern Art , was instrumental in first focusing the attention of American audiences on film as an art form. Born in Britain, she was also one of the first female film critics David Hockney: A Bigger Picture and a founder of the London Film Society. This program, part of the Gallery’s Washington premiere American Modernism symposium, re-creates one of the events that Barry Director Bruno Wollheim in person staged at the Wadsworth Athenaeum in Hartford in the 1930s. The program Saturday October 2 at 2:00 includes avant-garde shorts by Walter Ruttmann, Ivor Montagu, Viking Eggeling, Hans Richter, Charles Sheeler, and a Silly Symphony by Walt Disney. -
General Education Course Proposal University of Mary Washington
GENERAL EDUCATION COURSE PROPOSAL UNIVERSITY OF MARY WASHINGTON Use this form to submit EXISTING courses for review. If this course will be submitted for review in more than one category, submit a separate proposal for each category. COURSE NUMBER: FSEM 100F COURSE TITLE: THE FRENCH NEW WAVE: CINEMA AND SOCIETY SUBMITTED BY: Leonard R. Koos DATE: 1/28/08 This course proposal is submitted with the department’s approval. (Put a check in the box X to the right.) If part of a science sequence involving two departments, both departments approve. THIS COURSE IS PROPOSED FOR (check one). First-Year Seminar X Quantitative Reasoning Global Inquiry Human Experience and Society Experiential Learning Arts, Literature, and Performance: Process or Appreciation Natural Science (include both parts of the sequence) NOTE: See the report entitled “General Education Curriculum as Approved by the Faculty Senate,” dated November 7, 2007, for details about the general education categories and the criteria that will be used to evaluate courses proposed. The report is available at www.jtmorello.org/gened. RATIONALE: Using only the space provided in the box below, briefly state why this course should be approved as a general education course in the category specified above. Attach a course syllabus. Submit this form and attached syllabus electronically as one document to John Morello ([email protected]). All submissions must be in electronic form. My first-year seminar (The French New Wave: Cinema and Society), which has already been taught twice, uses the films of the French Wave as its primary “texts.” Secondary readings as well as Blackboard postings help prepare and organize our class discussions of individual films and directors. -
African Film Cultures
African Film Cultures African Film Cultures: Contexts of Creation and Circulation Edited by Winston Mano, Barbara Knorpp and Añulika Agina African Film Cultures: Contexts of Creation and Circulation Edited by Winston Mano, Barbara Knorpp and Añulika Agina This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Winston Mano, Barbara Knorpp, Añulika Agina and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8649-1 ISBN (13): 978-1-4438-8649-9 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Winston Mano, Barbara Knorpp and Añulika Agina Part 1: History, Memory and African Cinema Chapter One ............................................................................................... 14 Memory as Engagement: The Importance of Personal Histories in Sub-Saharan African Cinema Sheila Petty Chapter Two .............................................................................................. 31 Voicing the Archive: -
As Crianças São Seres Carregados De Esperança”: Uma Entrevista Com O Cineasta Flora Gomes
DOI: 10.12957/transversos.2021.58987 “AS CRIANÇAS SÃO SERES CARREGADOS DE ESPERANÇA”: UMA ENTREVISTA COM O CINEASTA FLORA GOMES “CHILDREN ARE BEINGS OF HOPE”: AN INTERVIEW WITH FILMMAKER FLORA GOMES Jusciele C. A. de Oliveira CIAC/UALG- PT [email protected] Mírian Sumica Carneiro Reis UNILAB-Campus Malês [email protected] A conversa com Flora Gomes que resulta nessa entrevista teve origem em uma atividade de abertura do Encontro Virtual Literarte 5 anos, com vasta programação dividida em mesas- redondas e saraus (toda a programação está disponível no canal oficial da UNILAB no YouTube), realizada remotamente em outubro de 2020. A entrevista traduziu-se num rico bate-papo que uniu Flora Gomes em Bissau/Guiné-Bissau/África e nós (Jusciele Oliveira e Mírian Reis) em Salvador e Nova Soure/Bahia/Brasil1. Criado em outubro de 2015, cadastrado no Diretório de Grupos de Pesquisa do CNPq, o Literarte – Grupo de estudos em literatura e outras linguagens é composto por docentes, discentes e técnicos administrativos da UNILAB e de outras instituições de ensino superior. Em 5 anos de existência já formou estudantes de Iniciação Científica e Mestrado, com e sem financiamento de agências de fomento como a Fundação de Apoio à Pesquisa do Estado da Bahia (FAPESB) e o Conselho Nacional de Pesquisa (CNPq), além de bolsas institucionais. Apesar de ser um grupo de pesquisa, cujas ações se desenvolvem através da leitura integrada de textos literários, cinematográficos, fotográficos e musicais e de referencial teórico- crítico, o Literarte sempre realizou momentos de partilha com a comunidade. Para além da formação de estudantes vinculados aos projetos, o grupo desenvolve periodicamente encontros com convidados externos que vêm ao Campus dos Malês compartilhar suas experiências e vivenciar os saraus Literarte. -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
Disruptive Film: Everyday Resistance to Power
FILM AT REDCAT PRESENTS Mon Oct 3 |8:30 pm| Jack H. Skirball Series $11 [members $8] Disruptive Film: Everyday Resistance to Power Curated by Ernest Larsen and Sherry Millner http://www.redcat.org/event/sherry-millner-and-ernest-larsen- disruptive-film-everyday-resistance-power Starting with their first presentation at the 2008 Oberhausen Film Festival, Sherry Millner and Ernest Larsen—artists, filmmakers, writers, educators, troublemakers—have curated and exhibited multiple programs of short films that critically and/or actively represent resistance to power all over the world. Carried out over decades, the duo’s groundbreaking research demonstrates not only the variety of everyday resistance strategies, but also a surprising diversity of experimental approaches to short-form nonfiction media. Their selection for REDCAT draws from works by an array of filmmakers including Ariella Azoulay (Israel/USA), Zanny Begg & Oliver Ressler (Australia/Austria), Filipa Cesar (Portugal), Chen Chieh-Jen (Taiwan), Chiapas Media Project (Mexico), Sylvain George (France), John Greyson (Canada), Armand Guerra & Le Cinéma du Peuple (France), Birgit Hein (Germany), Mosireen Collective (Egypt), Olga Poliakoff & Yann Le Masson (France/Algeria), René Vautier (France/Rhodesia/Algeria), Želimir Žilnik (Serbia), and Millner herself. In person: Sherry Millner, Ernest Larsen “Demontrates the remarkable power of film to engage, move, provoke and contend.” —Bill Nichols “Disruptive Film creates a constellation where the past and present meet. Film becomes a perfect metaphor where the past is simultaneously both too far and too near. It’s always beyond one’s reach, nothing more than the flickers of light and shadow, yet it’s also so immediate as it unfolds before us like a fevered dream, tempting us into its movement and ephemeral images.” – Chris Robé, Pop Matters “A visual demonstration of the powers of film. -
Bamcinématek Presents Chris Marker, a Retrospective of the Master Cine-Essayist, Aug 15—28
BAMcinématek presents Chris Marker, a retrospective of the master cine-essayist, Aug 15—28 Featuring the North American theatrical premiere of Level Five in a new restoration, Aug 15—21 The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Jul 10, 2014—From Friday, August 15 through Thursday, August 28, BAMcinématek presents Chris Marker, a retrospective of the late auteur (1921—2012) whom Phillip Lopate dubbed “the one great cine-essayist in film history.” A sui generis cinema poet, French filmmaker and artist Marker used highly personal collages of moving images, photography, and text to explore weighty themes of time, memory, and political upheaval with a playful wit and an agile mind. Influenced by the Soviet montage style of editing, Marker rejected the label of cinéma vérité in favor of “ciné, ma vérité” (cinema, my truth), crafting witty, digressive, personal movies on a range of favorite subjects: history and memory, travel and Asia, animals, radical politics, filmmaking itself, and ultimately the whole of “what it’s like being on this planet at this particular moment” (Jonathan Rosenbaum, Chicago Reader). Born Christian François Bouche-Villeneuve, Marker took his pseudonym from the Magic Marker and remained an enigmatic figure throughout his career, eschewing interviews and photographs, present only and always in his films (and later CD-ROMs, Second Life, and other pioneering multimedia). Opening the series is the North American theatrical premiere run of Level Five (1996), screening from August 15—21 in a brand new restoration. Developing a video game about the Battle of Okinawa, a programmer (Catherine Belkhodja) becomes increasingly drawn into her work and haunted by her past in this provocative, retro-futuristic essay reflecting on the traumas of World War II and early internet culture. -
“On the Origin of the Video Essay” JOHN BRESLAND
http://www.blackbird.vcu.edu/v9n1/gallery/ve-bresland_j/ve-origin_page.shtml “On the Origin of the Video Essay” JOHN BRESLAND Beginning with this Spring 2010 edition, Blackbird is featuring a new form of creative nonfiction we’ve chosen to call the video essay. In its intent the video essay is no different from its print counterpart, which for thousands of years has been a means for writers to confront hard questions on the page. The essayist pushes toward some insight or some truth. That insight, that truth, tends to be hard won, if at all, for the essay tends to ask more than it answers. That asking—whether inscribed in ancient mud, printed on paper, or streamed thirty frames per second—is central to the essay, is the essay. So it’s been, since shortly after Christ, when a Delphic priest named Plutarch wondered which came first, the chicken or the egg. A thousand years later in Japan, Sei Shōnagon compiled a list in her Pillow Book of “Hateful Things” and “Things That Give a Hot Feeling.” These early works of nonfiction were meditations, lists, biographies, diary entries, advice. But it took an amateur in the time of Shakespeare—a French civil servant in midlife crisis who quit his job to become a writer—to attach a name to the act of exploring the limits of what we know. He called these works Essais. Attempts. Trials. Michel de Montaigne drew thematic inspiration from Plutarch, but his meditations could be associative, rambling, prickly, polyvalent. Like Shōnagon’s. Which isn’t to say a personal assistant to the Japanese empress during the Heian dynasty shaped the work of Montaigne.