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UNITED SCREENS: on CINEMA Beyond the Borders of the S C R E E N EXHIBITION 06.07.–22.07.2018 INVOCATIONS 20.07. & 22.0

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UNITED SCREENS: on CINEMA Beyond the Borders of the S C R E E N EXHIBITION 06.07.–22.07.2018 INVOCATIONS 20.07. & 22.0 U N I T E D SCREENS: On CINEMA Beyond The Borders Of The SCREEN EXHIBITION 06.07.–22.07.2018 INVOCATIONS 20.07. & 22.07.2018 CURATOR Abhishek Nilamber ASSOCIATE CURATOR Kamila Mohamed Metwaly ARTISTIC DIRECTORS Antonia Alampi and Bonaventure Soh Bejeng Ndikung PROJECT MANAGEMENT Lema Sikod COMMUNICATION Anna Jäger GRAPHIC DESIGN Elsa Westreicher PHOTOGRAPHY Raisa Galofre EDITING Bona Bell and Laura Klöckner ANNOTATIONS Karen Wong Kelly Krugman Beya Othmani Jasmina Al-Qaisi Raisa Galofre António Pedro Mendes INVOCATIONS CURATION Pia Chakraverti-Wuerthwein MINDMAP ASSISTANCE Trishla Talera ART HANDLING Mungai Wilson Kimani Joseph Clemens Leuschner Behram Sidhwa TECH Bert Günther LIVE STREAM Boiling Head Media Edit Film Culture! is a project by silent green Film Feld Forschung gGmbH in cooperation with Jonas Mekas / Anthology Film Archives, Arsenal – Institut für Film und Videokunst e.V., S A V V Y Contemporary e.V., Harun Farocki Institut, Spector Books and Lithuanian Culture Institute. Funded by Hauptstadtkulturfonds and the Arab Fund for Arts and Culture. With the kind support of ifa – Institut für Auslandsbeziehungen and Jonas Mekas Visual Arts Centre, Vilnius. SAVVY Contemporary The Laboratory of Form-Ideas CONCEPT FADE IN: be made for projects with a content or style that exposes LANDSCAPE/S–SPACE/S their economic exploitation to a high degree of risk.6 EGYPT 2016 Egyptian filmmaker Tamer El Said's internationally acclaimed film In The Last Days of the CUT TO WIDE SHOT: City has never been screened in Egypt. Even though the INFRINGEMENT Egyptian government never officially banned the film, it didn’t receive a screening permit. Which is “a way to ban THE UNITED STATES OF AMERICA the film without announcing it publically,” as described 1964 In an interview7 in 2001, Jonas Mekas expressed by the director in the Guardian article The Cinematic his attempts to engage with the process of “distribution/ Love Letter to Cairo that None of its Residents Will See.1 dissemination system” of films that – as he describes – MAURITANIA 1970 Med Hondo’s critical film seemed to be uninteresting for known and commercial Soleil Ô (Oh Sun!), on the stretching of colonial im peri- distribution platforms, at the time, in the USA. His various alism and its ongoing embeddedness in the contempo- attempts of putting Jean Genet’s Un Chant d’Amour (1950) rary today, was banned in many African countries for and Jack Smith’s Flaming Creatures into the market resul - several years after its release. “Whether I make a film in ted in the arrest of the filmmaker on obscenity charges. Paris or Nouakchott, it is pretty obvious that my country FRENCH-COLONIZED AFRICA 1934 will not see it. Over the long terms the situation La Décret Laval was issued under the purview of the becomes a latent suicide,”2 Hondo articulates in his minister of colonies, Pierre Laval, to control the content groundbreaking work The Cinema of Exile. of films that were shot in Africa, and to minimise the creative roles Africans played in making these films.8 FADE IN: FUNDS MATCH CUT: AESTHETICS IRAN 2018 An Iranian film professional, who goes by the alias Pouya and has a history of collaborating INDIA 1979 “If we have gathered here to discuss with Owj, told Al-Monitor, “everyone knows that Owj the role of cinema in developing countries, I think it is funded by the IRGC.3 The IRGC gets its budget from would be right for us to discuss why these directors face the government. The nature of this funding is no these identical problems. It is because, I think, many different from what is given to other organizations governments would be very happy if we talked about for producing films. The reality is that Iran’s cinema is cinema only as an art form, as an aesthetic medium. ultimately a government-owned business.”4 They would not be so happy if we spoke about the strikes INDIA 2018 During his visit to India, Israeli Prime in our country and the troubles in our country. I person- Minister Benjamin Netanyahu chose to mark his last ally do not see any purpose as a creator to use this evening in the country with a special event for the aesthetic aspect to communicate with this minority Indian film industry. “Bollywood Shalom” was held in of bourgeois people who are in our country.”9 (Ousmane Mumbai and Bollywood stars like Amitabh Bachchan Sembène speaking at Symposium on Cinema in Develop - and Aishwarya Rai were in attendance. It ended with ing Countries.) an Oscar-style selfie and Netanyahu’s declaration: “We want Bollywood in Israel. We are putting our money where our mouth is.”5 PAN TO: GERMANY 2015 An applicant for production ARCHIVING funding should typically furnish a producers’ contribution of 50% of the German financing share. Exceptions can NIGERIA 2014 Hundreds of rusted cans of films were found in the abandoned rooms of Nigeria’s old Colonial Film Unit in Lagos. This led to further discovery 1 Michaelson, R. (2017, July 12). The cinematic love letter to Cairo that none of its residents will see. Retrieved from www.theguardian.com/cities/2017/jul/12/cinematic-love-letter-cairo-last- days-city 2 Martin, M. T. (1995). “The Cinema of Exile”, Cinemas of the Black Diaspora: Diversity, Dependence, and Oppositionality. Detroit, Wayne State: Wayne State University Press, p. 340 3 Established after the 1979 Revolution, The Islamic Revolutionary Guard Corps (IRGC) is a 6 Medienboard, Berlin-Brandenburg GmbH [PDF]. (2015, January). Berlin: www.medienboard.de branch of Iran’s Armed Forces. 7 Frye, B. L. (2011, June 09). Interview with Jonas Mekas. Retrieved from sensesofcinema.com/ 4 Alipour, Z. (2018, May 04). IRGC funding for cinema stirs debate in Iran. Retrieved from 2001/experimental-cinema-17/mekas_interview/ www.al-monitor.com/pulse/originals/2018/03/iran-irgc-cinema-owj-financial-support- 8 Diawara, Manthia (1992). African Cinema: Politics and Culture. Bloomington, Indiana: Indiana hatamikia-damascu.html#ixzz5Icmuk9s6 University Press, pp. 22–23. 5 Gautam, A. (2018, January 21). Bringing “Brand Israel” to Bollywood. Retrieved from 9 Symposium on Cinema in Developing Countries. (1979). New Delhi: Publications Division, www.aljazeera.com/indepth/opinion/bringing-brand-israel-bollywood-180121135704857.html Ministry of Information and Broadcasting, Govt. of India. SAVVYContemporary – The Laboratory of Form Ideas 02/10 of 10 000 cans of films in relatively good condition at culture(s)? Where is film culture? Who is film culture? the National Film, Video and Sound Archive at Jos.10 A series of questions arise while pondering the existence GERMANY/INDIA 2009 pan.do/ra is devel- and sustenance of film cultures around the world. Ques- oped by Pirate Cinema, Berlin in collaboration with tions that deal with the representation of emerging cinema CAMP, Mumbai. This online open media archive enables and cinematic expressions as a means to resist experi- the annotation, searching and editing of multimedia encing all film cultures from a Euro-American pers pective archives, which led to further instances of pan.do/ra and that encourage our understanding of film and cinema such as pad.ma, indiancine.ma, bak.ma, and 858.ma. industries within the context of their colonial pasts. How cinema emerges and evolves in and around its FADE IN: industry has been – and still is – characterised by a COLLECTIVITY constant negotiation between independent or alterna- tive filmmakers, operating within small-scale grassroots INDIA 1984 Filmmaker John Abraham brings film initiatives, and the mainstream industry. Many such together Odessa Collective – an endeavor to collectivize films consciously and even unconsciously reject industry cinema production and exhibition. In 1986, Odessa standards and practices of production, aesthetics, Collective produced the film Amma Ariyan (Message to distributions, storytelling, funding etc. in order to reap - my Mother) with crowdfunding efforts and exhibited it propriate the medium to the context(s) in which the free of charge across the state of Kerala. images and sounds are produced. Such initiatives strive to activate the potential of films JUMP CUT: to become agents of social transformation through TECHNOLOGY means of indigenous expression. These non-Euro- American cinematic languages are not only attempting INDIA 2007 “From a technical perspective, to reclaim their cultural heritage but also to reinscribe we propose a model of operation that is founded upon it into today’s cinematic expressions. Such a process a flat distributed architecture, the blockchain. One of reinvention of cinematic practices and industry aspect of Surfatial’s work at the moment involves standards, which were imposed through first cinema12 imagining and adapting the blockchain architecture for idealisations and colonial aspirations of the perfect cultural applications, particularly a distributed writing image,13 is an extremely difficult task for many film- platform. The blockchain is set to impact value and not makers to take on “because our viewing audience is just information sharing, plus it is inherently constructed used to a specific film language.” 14 with the principle of preserving trust and integrity between strangers. Trust within this system is established peer-to-peer in a mass collaborative mode, and not via SCENE TWO How can film exist in exile? powerfully centralized brokers. It offers a system Is cinema free? Who sees films? Where are films seen? whereby transparency of transactions is preserved, and Does a film exist, if it isn’t seen? there can be checks and balances formulated depending on the particular application so as to discourage forms Many filmmakers involved in grassroots initiatives of gate-keeping of content.”11 and independent cinema platforms are taking it upon INDIA 2007 According to CAMP, a critical art and themselves to showcase their films, while exhibitors media platform launched by Shaina Anand and Ashok and independent spaces are taking on the role Sukumaran, one of the key objectives of the platform is of curators to hold film screenings relevant to their to “engage with questions, claims and potentials around communities.
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