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Entuziazm (Michael Baute, Volker Pantenburg, Stefan Pethke) the Business Year 1978 a Film Archive, Whether Planned Well in Advan

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Entuziazm (Michael Baute, Volker Pantenburg, Stefan Pethke) the Business Year 1978 a Film Archive, Whether Planned Well in Advan Living Archive Catalogue, p. 82-95, English translation Entuziazm (Michael Baute, Volker Pantenburg, Stefan Pethke) The Business Year 19!" A film archive, whether planned well in advance or, like the Arsenal archive, created more randomly as the result of enthusiastic cinema and festival practice and constantly expanding every since, does not just contain film prints. An archive also consists of a wide range of different objects (film rolls, dialogue lists, photos, letter exchanges, dust, paper clips), which simultaneously serve as evidence of various actions and processes (ordering films, paying invoices, preparing publications, writing letters, taking telephone messages, doing accounts.) hen we decided to devote our efforts to examining the business year !"#$, we hoped that by concentrating on a manageable period of time chosen at random, we would be able to catch a glimpse of the archive%s unspectacular daily existence &5 years ago, for focusing on routine and normality would have to reveal something of this archive%s special nature. (t soon became clear that this would not be entirely possible however. A fire in the cellar of elserstraße *5 that took place at some point in the $+s which no one seems ,uite to remember destroyed some of the files, while the move to -otsdamer Plat. in *+++ meant that additional archive materials had to disposed of. /he ten-year legal storage period for tax-relevant documents had long since passed anyway. And yet despite these restrictions, the various records from !"#$, gathered in folders on individual films, hanging files containing work documents and binders full of contracts and notes, all of which spread across the various offices of the Arsenal staff, still enable different lines and points of emphasis to be made out. /he following !* documents show Arsenal%s various functions as a cinema, place of learning, distributor, organi.er of the (nternational 1orum of 2ew 3inema, publishing platform and much more: the business year !"#$ as represented by one document per month. Living Archive Catalogue, p. 82-95, English translation -ostscript: part of any archive search entails finding things you don%t expect or weren%t looking for. 5uring our research, we came across a film by accident which only has a vague link to !"#$ due to its long production history finally coming to an end in that year. 678 (!"9#0!"#$) by 1ernando :irri, which was shot under the pseudonym 1;7<A8=678, is a jagged “non-film” (:irri) that has hardly ever been shown, consisting of a total of *9,6*5 cuts in !## minutes, with /errence =ill taking on the role of producer and lead actor. /he film unexpectedly took centre stage in our project, as from then on, the focus was not just on the archive year !"#$ but also on the digiti.ation and analytical interpretation of 678. #$%&$'Y /he 1riends of the 8erman 1ilm Archive open !"#$ with a ><onth of American 1ilm @ 1rom A3iti.en Bane% (!"C!) to A=arlan 3ounty, DEA% (!"#9)?. 1or one whole month, only films from the DEA are screened. /he one-line manifesto of the >Bommunal” cinemas, 8ermany%s various publically funded, regional art house cinemas, - >Ehowing 5ifferent 1ilms in a 5ifferent ay” @ is taken here to mean allowing American film history and its wealth of forms to receive acknowledgment. /he program is the continuation of a series that started in January !"##, when American films from !$"5 to !"C+ were shown. /his second part focuses on six central themes: >/he Etory of American Avant-garde 1ilm in Eeven ;pisodes?, >6rson elles?, “Preston Eturges?, >/he :lack Eeries?, >2icholas 7ay?, and “John 3assavetes?. /he “Umfrage” (survey) section of the program sheet lists some of the gaps in this attempt at a historiography. /he way in which brackets are used to reduce any explanation for the various omissions to the point of obviousness reveals that we live in a different cinema age in *+!&. (n moving from repertory cinemas to today%s concept of arthouse cinemas, the business of film exhibition has done away with something that used to be standard practice: the regular screening of non- contemporary productions. /he only exception to the month of American film: <ichael Blier’s Die erfolgreichen Piraten from !"#9 (>about private radio and /G in (taly”). 5irectly underneath is an announcement for The Crimson Pirate (7obert Eiodmak, DEA !"'*) in the Living Archive Catalogue, p. 82-95, English translation >Adventures for 3hildren and Adults” column, while 20,000 Leagues Under the Sea (7ichard 1leischer, DEA !"'C) also sails under the same Hag. !#9 people watch the film on January *$th, with another "! catching it the following day. /his makes it the best-attended film of the whole month, ahead of Easy Rider (5ennis =opper, DEA !"9") with !'+ admissions and Rebel Without a Cause (2icholas 7ay, DEA !"55) and The Lady from Shanghai (6rson elles, DEA !"C9) each with !*9 admissions. Although the various handwritten breakdowns of audience figures do not entirely add up, it would appear that January was the month with the largest number of screenings in !"#$ (the number varies between !+# and !*+). And as far as total audience figures are concerned (5,09# - 5,4'# admissions), there were at most two months that were better attended. /he average for January was close to the yearly average of C# viewers per screening (which represents *'I of seats being sold in the !$5 seat auditorium). /here is no information as to how Arsenal audiences responded to the survey. /hree American films were shown in the <ay !"#$ program, all under the heading of >3inema for 3hildren and Adults”: The Ad"entures of Robin Hood (<ichael 3urti., !"&$, <ay 'J9, 9$J9* admissions respectively), Sinbad the Sailor (7ichard allace, !"C#, <ay !&J!C, C$J'C admissions respectively), $roken Arrow (5elmer 5aves, !"'+, <ay *+J*!, *CJ&! admissions respectively). (EB'&$'Y /he (nternational 1orum of 2ew 3inema took place over one week in !"#$, running from 1riday, 1ebruary *C to 1riday, <arch &. (t was a very warm 1ebruary in :erlin, with average temperatures of around !+ degrees. A total of C! film programs were shown, some of which containing several films, including a block of works by Japanese director Ehuji /erayama from !"#5 and !"##, with the two largest series being >2ew 8erman 1ilms” (!& mostly feature length films) and >2ew American 1ilmmakers” which was itself divided up into !+ film and eight video programs originally shown at the hitney <useum in 2ew Kork. Another central theme was formed by popular films by Eoviet director Gasily Living Archive Catalogue, p. 82-95, English translation Ehukshin, who had died in !"#C at the age of C5. /he oldest film shown was <argarita :arskaja%s 7 A2K(; :AE3=<AB( (/672 E=6;E) from !"&&, “the first sound film for children” from the DEE7. ;rika 8regor mentions this film in a conversation in June *+!*: >( discovered it by accident, no one knew it any more. /he good thing was that we always went to the <oscow 1ilm 1estival, which took place every other year. Eo we saw the film there in !"## and then ordered it from 8osfilmofond.” /he majority of the films shown in !"#$ were however made between !"#5 and !"#$. 6ther themes included the films of the Zurich 1ilm 3ollective, 1ilms from the ;ast 8erman University for 1ilm and /elevision and films from est 8ermany directed by women (5AE L ;(/; ;7 A3=;2 5;7 3=7(E/; BMA8;E by <argaretha von /rottaN 5(; AMME;(/(8 7;5DL(;7/; -;7EO2M(3=B;(/ @ 7;5D-;7E by =elke Eander; E(28, (7(E, E(28 @ 17AD;2 M;72;2 <P22;7:;7D1; by <onika =eld and 8isela /uchtenhagen). /he films shown over the course of the week came from a total of *+ different countries: Australia, 3hile, 3uba, ;ast 8ermany, 1rance, =ungary, (ndia, (ran, (taly, Japan, 2ew Lealand, -oland, Ewit.erland, Epain, the United Bingdom, the DEE7, the DEA, Genezuela and est 8ermany. A report made by the Eenate to the 3hairman of the 3ommittee for 3ultural Affairs in the :erlin 3ity -arliament from April !5 !"$# describes the 1orum%s achievements by mentioning an additional program consisting of *# ja.. films, some of which only consisting of excerpts. /hese belonged to a private film collector from :erlin and were shown in midnight screenings at Arsenal *. /he 'ilm as Film exhibition mentioned in the ad had already been put together by :irgit =ein and Wulf =erzogenrath in !"## to accompany the documenta 6. /he exhibition stopped off at several 8erman cities after Bassel, including at the Akademie der BQnste in est :erlin between 1ebruary !" and <arch !$ !"#$, before travelling on to Mondon and through the DEA and 3anada. 'ocal points of the February 1+78 Arsenal program. Ne& French Film Week – Eisenstein1$recht1Kluge – Cinematic Adaptations of Hermann Hesse Living Archive Catalogue, p. 82-95, English translation MA')* /he focus on cinema from countries outside the centers of estern production is a key aspect of the work carried out by the 1riends of the 8erman 1ilm Archive, the 1orum and Arsenal. /his contextuali.ing approach towards viewing film is exemplified by the introduction to Das Neue Venezolanische Kino (2ew Genezuelan 3inema), which explores wider economic and political contexts before turning to the situation of individual filmmakers. Allusions to sympathies with popular forms also provide the first indication of a change in stance. 3ertain doubts with respect to the left-wing culture of instruction can be read into the text from the point of view of *+!&, even if the choice of words remains characteri.ed by tropes of a sociological and contentist bent. 7enowned Matin America specialist -eter :. Echumann, who had been linked to the 1orum since its inception in the capacity of a program advisor for the region amongst other things, holds the position of sole editor for the publication.
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