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Screen Cultures: German Film and the Visual Series Editors: Gerd Gemünden (Dartmouth College) Johannes von Moltke ( University ofMichigan) After the Avant-Garde Contemporary German and Austrian Experimental Film Edited by Randall Halle and Reinhild Steingröver CAMDEN HOUSE Rochester, New York Copyright© 2008 by the Editors and Contributors Contents All Rights Reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, List of Illustrations vii recorded, or reproduced in any form or by any means, Acknowledgments ix without the prior permission of the copyright owner. First published 2008 Introduction 1 by Camden House Randall Halle and Reinhild Steingröver Camden House is an im print of Boydell & Brewer Inc. 668 Mt. Hope Avenue, Rochester, NY 14620, USA Contexts www.camden-house.com 1: The Future of"Art" and "Work" in the Age of and of Boydell & Brewer Limited Vision Machines: Harun Farocki 31 PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com Thomas Elsaesser ISBN-13:978-1-57113-365-6 2: The Embodied Film: Austrian Contributions to ISBN-10: 1-57113-365-8 Experimental Cinema 50 Bernadette Wegenstein Library of Congress Cataloging-in-Publication Data 3: Interview with Filmmaker Birgit Hein 69 After the avant-garde : contemporary German and Austrian experimental Randall Halle and Reinhild Steingröver film/ edited by Randall Halle and Reinhild Steingröver. p. cm. - (Screen cultures) 4: Videorebels: Actions and Interventions of the lncludes bibliographical references and index, German Video-Avant-Garde 80 ISBN-13: 978-1-57113-365-6 (hardcover: alk. paper) Annette ]ael Lehmann ISBN-10: 1-57113-365-8 (hardcover : alk. paper) 1. Experimental films-Germany-History and criticism. 1. Halle, 5: Media in the Interim: Independent Film in Randall. II. Steingröver, Reinhild. III. Title. IV. Series. East Germany before and after 1989 95 Clans liiser PN1995.9.E96A38 2008 791.43'750943-dc22 6: Blackbox GOR: DEFA's Untimely Avant-Garde 109 Reinhild Steingröver 2008030571 7: In Your Face: Activism, Agit-Prop, and the Autonomy of Migration; The Case of Kanak Attak 131 A catalogue record for tllis title is available from the British Library. Nanna Heidenreich and Vojin Safa Vukadinovic This publication is printed on acid-free paper. 8: Rapidly Expanding Cinema: On Border Rescue Printed in the U nited States of America. and the Tendentiousness of lnterventionist Art 157 Randall Halle Case Studies 9: The Post-Pop Hauntings ofBj0rn Melhus 181 Alice A. Kuzniar 10: Schlingensief's Peep-Show: Post-Cinematic Spectacles Illustrations and the Public Space of History 204 Richard Langston 11: From the Diary to the Webcam: Michael Brynntrup 1. Vergleich über ein Drittes, Harun Farocki, 2007 40 and the Medial Seif 225 2. Vergleich über ein Drittes, Harun Farocki, 2007 42 Robin Curtis 3. Instructionsfor a Light and Sound Machine, "reel number 7," Peter Tscherkassky, 2005 57 12: QWERTY Cinema: Christoph Girardet/Matthias Müller's 4. Preserving Cultural Traditions in a Period of Instabitity, Phoenix Tapes 245 Thomas Draschan, 2004 64 Rembert Hüser 5. Baby, I Will Make You Sweat, Birgit Hein, 1995 70 13: Kirsten Winter: From Avant-Garde to Second Modernity 269 6. Die Unheimlichen Frauen, Birgit Hein, 1992 72 Larson Powell 7. Filmmaker Gino Halmemann ca. 1986 in Jena, Clans Löser 97 8. Cover of Koma Kino, Cl aus Löser 99 14: The Representation ofSpace in the Films ofHeinz Emigholz 289 9. "Russian Super 8 Camera," Claus töser 106 Owen Lyons 10. Miraculi, Ulrich Weiss, 1992 121 15: Shocking the Audience, Shocking the Artist: Aesthetic 11. Land hinter dem Regenbogen, Herwig Kipping, 1991 126 Affmities to the Avant-Garde in Ell<e Krystufek's Work 307 12. Kanak Attak Performance, Hartmut Gerbsch/ dura Jux, Christina Schmid Voll<sbühne Berlin, 2001 132 13. KanakAttak Poster, Sandy Katenborn/ image-shift.net, Volksbühne Berlin, 2001 138 Works Cited 325 14. One Safe Wayinto the Fortress Europe, Harald Filmography 343 Schmutzhard/ Social Impact, 2003 166 15. Project Border Crossing, Route 8, Harald Notes on the Contribntors 349 Schmutzhard/ Social Impact, 2002 172 Index 353 16. Again andAgain, Bj0rn Melhus, 1998 187 17. "Little Jimmy" in Auto Center Drive, Bj0rn Melhus, 2003 193 18. "Piefkes raus!" in Bitte Liebt Österreich, Christoph Schlingensief, 2000 212 19. "Asylsucher Peepshow" in Bitte Liebt Österreich, Christoph Schlingensief, 2000 218 20. Tabul-IV, Michae!Brynntrup, 1988 224 21. Die Statik der Eselsbrücken, Michael Brynntrup, 1990 236 22. Phoenix Tapes, Christoph Giradet/ Matthias Müller, 1998 256 23. "Erste Bilder aus Oberhausen" in Dschungel, Rembert Hüser, 2000 263 24. "Sydney Harbor Bridge" in Clocks, Kirsten Winter, 1995 276 25. "Composer's Hand" in Clocks, Kirsten Winter, 1995 281 26. The Basis ofMake-up II, Heinz Emigholz, 1995-2000 296 27. Goffin thc Dcsert, Heinz Emigholz, 2002-3 301 28. Krystuftkova, Elke Krystufek 315 29. "Elke Krystufek in Blackface," Elke .Krystufek 318 Acknowledgments N THE DEVELOPMENT OF A BOOK PROJECT, one incurs many debts. lt is a I small gesture but our distinct pleasure to offer sincere thanks to the numerous friends and colleagues who have provided supportive insight along the way, including Rita Bakacs, Mohammed Bamyeh, Daniela Berghalm, Joanne Bernardi, Hisham Bizri, Douglas Crimp, Sabine Czyl­ wik, Herwig Kipping, Rick McRae, Andres Nader, Eric Rentschler, Ralf Schenk, Llnda Schulte-Sasse, Stefanie Schulte-Strathaus, and Sharon Willis. At the University of Pittsburgh, we are grateful to the colleagues in the German Department, the Program in Film Studies, and the Program in Cultural Studies, especially Nancy Condee, Sabine von Dirke, Lucy Fis­ cher, Beverly Harris-Schenz, Marcia Landy, Adam Lowenstein, John Lyon, Neepa Majumdar, Clark Muenzer, Vladimir Padunov, Klaus Post, and Philip Watts. Dean N. John Cooper and the Faculty Research and Scholarship Program gave generous funds to support the presentation of this work at the University. At the Eastman School of Music, University of Rochester, we would like to thank the members of the Humanities Department, especially fel­ low film studies· colleagues Jonathan Baldo, Timothy Scheie, and Thomas Donnan. At the George Eastman House, we are indebted to avant-garde film enthusiasts Anthony Banon, Patrick Loughney, Jim Healy, and Michael Neault. Deans Douglas Lowry, Jamal Rossi, and Donna Brink Fox together with the Professional Development Committee generously sup­ ported this publication. The DEFA Foundation provided valuable research support to fund parts of this book. The staff of the archive in the Film Museum Potsdam, especially Birgit Scholz and Heidrun Schmutzer, gave access and friendly guidance to its holdings. We also thank our resourceful librarians in Pitts­ burgh and Rochester, who tirelessly secured even the most obscure materi­ als for this project, especially Sandy Lemmon, Daniel Zager, Frank Scarcelli, and Tom Clifford. Together, these dedicated scholars and admin­ istrators have created supportive working environments in which work on this project could flourish. Many ideas in this book have been tested in the classroom first. We therefore thank our students, who have responded with open-minded enthusiasm, curiosity, skepticism, and excitement to our at times challeng­ ing offerings. 81 allowed for an alternative attempt to use mass media in a technological, consumerist society. The use of technology, especially broadcast television, specifically implied an act of profound social criticism. TV had become the central paradigm of mainstream industrial and technological culture and 4: Videorebels: Actions and Interventions was often harshly criticized as part of an ideology-based cultural industry. of the German Video-Avant-Garde In opposition video became tl1e alternative site of art production in soci­ ety wirb. one central notion: it was to merge art wirb. social life, redefining the relationship between audience and artist, consumer and producer. Video aimed at transforming every aspect of life - whicli was its central Annette Jael Lehmann utopian project - and thus positioned itself in t11e tradition of a revolu­ tionary avant-garde project. N THE EARLY 1950s FRENCH FILMMAKER AND THEORIST Guy Debord Overall, two tendencies, often linked, can be seen in early video art: I developed one of the most original critiques of film as a mass medium. the intent to criticize the media and the focus on exploring mass media's At the age of just under twenty he attached himself to the Lettrist move­ visual and representational structures. Sr Artists' collectives such as Bum ment around Isidore Isou, which attracted his attention because of the Top Value Television (TVTV) and Ant Farm, which were vigorously opposed scandal its adherents caused at the 1951 Cannes Film Festival. His first to television as a mass medium, used the medium of video to produce contribution to Lettrist filmmaking premiered in Paris in 1952, but it was alternative TV news, or experimented with new interview techniques. stopped after twenty minutes because of protests from the public. This was Television sets and television itself were used as a component of Fluxus because Hurlements en faveur de Sade (Howlings in fuvor of Sade) did not performances, and artists such as Nam June Paik and WolfVostell created contain a single image but simply alternated between a brigbtly-lit, white, the first installations using TV sets. Paik, who is generally regarded
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  • Steingröver Spätvorstellung

    Steingröver Spätvorstellung

    Fotografie und Film 393 Reinhild Steingröver: Spätvorstellung: Die chancenlose Generation der DEFA Berlin: Bertz+Fischer 2014, 280 S., ISBN 978-1-86505-404-3, EUR 12,90 Seit über zwei Jahrzehnten hat sich an Gruppe produzierte zwischen 1990 der Universität Amherst (Massachusetts) und 1991 drei Spielfilme:Letztes aus der eine profunde Filmforschung etabliert, DaDaeR (1990), Banale Tage (1991) und die auch die verdrängte Geschichte der Das Land hinter dem Regenbogen (1991), DEFA in den Jahren zwischen 1988 die die Umbruchsjahre, laut Steingröver und 1992 aus der Sicht ihrer Akteure „auf einzigartige Weise einfangen und beleuchtet. Spätvorstellung: Die chan- damit wesentliche Gegenstimmen zu cenlose Generation der DEFA, das unter späteren, häufig westdeutschen Produk- dem Titel Last Features: East German tionen über diese Zeit wie Good Bye, Cinema’s Lost Generation 2014 zunächst Lenin! (2003) und Das Leben der Ande- auf Englisch erschien, beginnt mit einer ren (2006) sind“ (S.16). überraschenden Feststellung: Die letzte Dieses gegenstimmige Potenzial Regiegeneration der DEFA sei weder bildete sich bereits seit 1983 in einem komplett chancenlos gewesen, noch 17 Thesen umfassenden Dokument über seien alle Spielfilme der letzten Periode die Kritik an den Ausbildungsinhalten der Gegenstand dieser Untersuchung. der Filmhochschule, den mangelnden Der Begriff ‚Spätvorstellung‘ beziehe Fördermöglichkeiten für junge Regis- sich auf die Tatsache, dass diese letzte seur_innen und den fehlenden Zugän- Generation erst zwanzig Jahre später, gen zu internationalen Filmfestivals beispielsweise aus Anlass von Jahres- heraus, ohne dass es zu substanziellen tagfeiern oder auf dem Wendeflicks Veränderungen kam. „Statt prak- Festival in Los Angeles 2009, ihre tische Berufserfahrungen zu sammeln Filme einem interessierten Publikum und innovative Ideen zu erproben“, so zeigen durfte.