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57 the War Game: Sahte Belgesel Gerçek Endişe
The War Game: Sahte Belgesel Gerçek Endişe Seçkin SEVİM1 “Teknik ve zihinsel açıdan atom çağında yaşıyoruz. Duygusal açıdan ise hâlâ Taş Devri’nde yaşıyoruz.” The War Game Özet Peter Watkins‟in (1935-…) The War Game (1965) filmi, kendini belgesel olarak sunan bir kurmacadır. Postmodern bir anlatı formu olan sahte belgesel türünün en ilginç örneklerinden biridir. BBC‟nin sınırlı prodüksiyon imkânlarıyla gerçekleştirdiği bu televizyon filmi, kurmaca bir içeriğe sahip olmasına rağmen 1966 yılında En İyi Belgesel Film Oscar‟ını almıştır. Filmde Soğuk Savaş döneminin (1945-1991) en büyük tehdidi olan nükleer saldırının yaratabileceği trajik sonuçlara dikkat çekilmektedir. BBC, The War Game filmini toplumda yaratabileceği infial nedeniyle ancak yirmi yıl sonra Soğuk Savaş gerginliğinin azaldığı bir dönemde gösterebilmiştir. Bu çalışmanın amacı, The War Game‟de sahte belgesel estetiğinin nasıl oluşturulduğunu Norman Fairclough‟un Eleştirel Söylem Çözümlemesi (ESÇ) yöntemiyle incelemektir. Çalışmanın bulguları; nükleer saldırı öncesi, nükleer saldırı anı ve nükleer saldırı sonrası olmak üzere üç ana kategoride yorumlanmaktadır. Bir nükleer saldırının özellikle sivil halkı etkileyecek trajik sonuçlar doğuracağı ve Nazi Almanya‟sına benzer iktidar ilişkilerine yol açacağı eleştirel bir dille simüle edilmektedir. Anahtar Kelimeler: Sahte Belgesel, Soğuk Savaş, Nükleer Saldırı, Eleştirel Söylem Çözümlemesi. The War Game: Mock Documentary Real Concern Abstract Peter Watkins‟ (1935-…) The War Game (1965) is a fiction film presenting itself as a documentary. It is one of the most interesting examples of the mock documentary genre which is a postmodern narrative form. This television film, produced by the BBC with limited production means, received an Oscar for Best Documentary Film in 1966 despite its fictional content. It draws attention to the possible tragic consequences of the nuclear attack as the 1 Dr. -
Documentary Film 3. Filmmakers' Theories Introduction
Component 2 Global filmmaking perspectives Section B: Documentary Film 3. Filmmakers’ Theories Introduction (from the specification) The documentary film will be explored in relation to key filmmakers from the genre. The documentary film studied may either directly embody aspects of these theories or work in a way that strongly challenges these theories. In either case, the theories will provide a means of exploring different approaches to documentary film and filmmaking. Two of the following filmmakers' theories must be chosen for study: Peter Watkins Watkins established his reputation with two docu-dramas from the 1960s, Culloden and The War Game. Both document events from the past using actors and reconstruction. In asking questions of conventional documentary, Watkins reflects his deep concern with mainstream media, which he has called the ‘monoform’. Nick Broomfield Broomfield, like Michael Moore, has developed a participatory, performative mode of documentary filmmaking. Broomfield is an investigative documentarist with a distinctive interview technique which he uses to expose people's real views. Like Watson, he keeps the filmmaking presence to a minimum, normally with a crew of no more than three. He describes his films as 'like a rollercoaster ride. They’re like a diary into the future.' 1 Kim Longinotto Longinotto has said 'I don’t think of films as documents or records of things. I try to make them as like the experience of watching a fiction film as possible, though, of course, nothing is ever set up.' Her work is about finding characters that the audience will identify with – 'you can make this jump into someone else’s experience'. -
Anarchist Cinema of Peter Watkins
The Anarchist Cinema of Peter Watkins By David Armitage “This is round shot. This is what it does.” A three-pounder cannon fires its load; the camera moves into a tight focus on its victims. The wounded men—boys, really—are hard to make out amid the smoke of battle and the graininess of 16- millimetre film. An authoritative voiceover tells us their names, ages, and conditions. Alastair MacInnes, twenty years of age: right leg severed below the knee- joint. Malcolm Angus Chisholm, twenty-four years of age: disembowelled. Ian MacDonald, thirteen years of age: shot. The style is pure news-reel: shaky photography, rough film-stock, confused action, on-screen interviews into camera. - 1 - The battle was the last ever fought on British soil, in 1746, but we suspend our disbelief. Surely there wasn’t a camera-crew on Culloden Moor? This is a short scene from Peter Watkins’s Culloden (1964). The film was first shown on BBC television in December 1964 to such strong audience reaction it was re-broadcast six weeks later (on the day I was born, as it happens).1 Scenes like this established Watkins’ precocious mastery of his medium: he was not yet 30 when he directed Culloden. Only a few moments before the harrowing shots of the wounded, we saw the Whig historian Andrew Henderson cowering behind a stone wall, telescope to his eye, telling his viewers, like some eighteenth-century Walter Cronkite or John Pilger, why his vision would be compromised.2 (“It’s going to be very difficult to see what effect our cannon is having on the rebel lines.”) The omniscient camera sees what soldiers in the melée cannot. -
Peter Watkins on Media
• DOCUMEMTAR IES • Film, TV and the nuclear a~ocaly~se Peter Watkins On Media Earlier this year on the last leg ofa world-wide fund-raising tour on behalf on his global A Film For Peace: The Nuclear War Film, British expatriate documentarian Peter Watkins was interviewed by Cinema Canada editor Connie Tadros. The interview, originally slatedfor the CBe, was n ever aired, possibly for reasons that the sub stance of the interview itselfmake clear. Since the BBC banned Watkins' The War Game in the mid-60s, Watkins began to reflect upon the role of the communications media in contemporary society. The me dia, Watkins maintains, are the electronic equivalent of nuclear weapons, causing social fragmen tation and linguistic terror on a scale as devastating to the human community as would be the actual use of nuclear weaponry. Indeed, Watkins sees a profound relation ship between the development of television and the atomic bomb. Only a wide-ranging public debate and a deeply critical questioning of the role of media today can, he says, hope to begin to redress the mass depoliticization that the me dia have brought about. Watkins' critique of media, published here in a slightly editedform, is a contri bution to that debate. Its publication coincides with the seminar on filmmaking ethics that will be held during the Festival of Festivals. Related to that discus sion of the ethical issues faced by filmmakers in the nuclear age, Toronto filmmakers Laura Sky and Cathy Culkin raise some ofthe diffi cult questions the.v feelfilmmakers should address. And Peter Wintonick ellplains the Canadian involvement in Watkins' A Film For Peace on which shooting begins this month. -
Outubro 2016
OUTUBRO 2016 ANIM: 20 ANOS (I) – O TRABALHO DOS ARQUIVOS E A CRIAÇÃORIAÇÃO COM OS ARQUIVOARQUIVOSS | A CINEMATECA COM O DOCLISBOA: PETER WATKINS E POR UM CINEMA IMPOSSÍVEL: DOCUMENTÁRIO E VANGUARDA EM CUBA | UMA OUTRA VIAGEM PELO CINEMA FRANCÊS | CINEMA ESLOVACO | HISTÓRIAS DO CINEMA: ADRIANO APRÀ / ROBERTO ROSSELLINI | DOUBLE BILL | CINEMATECA JÚNIOR [2] OUTUBRO 2016 | CINEMATECA PORTUGUESA-MUSEU DO CINEMA CINEMATECA JÚNIOR SALÃO FOZ -RESTAURADORES ÍNDICE SALA M. FÉLIX RIBEIRO | SALA LUÍS DE PINA Em outubro instala-se o outono, chega o frio, os dias mais curtos. As folhas das árvores começam a cair e as ANIM: 20 Anos (I) cores do tempo fi cam douradas, como douradas são as cinco sessões programadas para o Salão Foz. Os juniores O Trabalho dos Arquivos 3 mais crescidos poderão ver dois fi lmes ingleses que inspiraram realizadores como Scorsese, Spielberg ou Francis A Criação com os Arquivos 5 Ford Coppola: o épico de David Lean, LAWRENCE DA ARÁBIA e o requintado SAPATOS VERMELHOS de Michael A Cinemateca com o doclisboa: Peter Watkins Powell e Emeric Pressburger. Para os mais pequeninos, estão programadas três sessões de animação que têm em Por Um Cinema Impossível: comum o facto de os protagonistas pertencerem à mesma raça, a canídea. Mas a matilha que invade a Júnior Documentário e Vanguarda em Cuba 6 é diferente conforme o fi lme exibido: em A DAMA E O VAGABUNDO, da Disney, dia 8, assiste-se à história de SALA M. FÉLIX RIBEIRO um amor impossível entre um cão vadio e uma cadela “upper class”; a 22, também da Disney, uns adoráveis Uma Outra Viagem pelo Cinema Francês 9 cachorros sarapintados veem-se em palpos de aranha para escaparem a serem transformados num casaco de Cinema Eslovaco 10 peles chique, em OS 101 DÁLMATAS; e a 29, apresenta-se BOLT, de Byron Howard e Chris Williams, onde um cão Arquiteturas | Os Filmes de Charles e Ray Eames 11 que é uma estrela de televisão confunde a realidade e a fi cção. -
Pdf/ Mow/Nomination Forms United Kingdom Battle of the Somme (Accessed 18.04.2014)
Notes Introduction: Critical and Historical Perspectives on British Documentary 1. Forsyth Hardy, ‘The British Documentary Film’, in Michael Balcon, Ernest Lindgren, Forsyth Hardy and Roger Manvell, Twenty Years of British Film 1925–1945 (London, 1947), p.45. 2. Arts Enquiry, The Factual Film: A Survey sponsored by the Dartington Hall Trustees (London, 1947), p.11. 3. Paul Rotha, Documentary Film (London, 4th edn 1968 [1936]), p.97. 4. Roger Manvell, Film (Harmondsworth, rev. edn 1946 [1944]), p.133. 5. Paul Rotha, with Richard Griffith, The Film Till Now: A Survey of World Cinema (London, rev. edn 1967 [1930; 1949]), pp.555–6. 6. Michael Balcon, Michael Balcon presents ...A Lifetime of Films (London, 1969), p.130. 7. André Bazin, What Is Cinema? Volume II, trans. Hugh Gray (Berkeley, 1971), pp.48–9. 8. Ephraim Katz, The Macmillan International Film Encyclopedia (London, 1994), p.374. 9. Kristin Thompson and David Bordwell, Film History: An Introduction (New York, 1994), p.352. 10. John Grierson, ‘First Principles of Documentary’, in Forsyth Hardy (ed.), Grierson on Documentary (London, 1946), pp.79–80. 11. Ibid., p.78. 12. Ibid., p.79. 13. This phrase – sometimes quoted as ‘the creative interpretation of actual- ity’ – is universally credited to Grierson but the source has proved elusive. It is sometimes misquoted with ‘reality’ substituted for ‘actuality’. In the early 1940s, for example, the journal Documentary News Letter, published by Film Centre, which Grierson founded, carried the banner ‘the creative interpretation of reality’. 14. Rudolf Arnheim, Film as Art, trans. L. M. Sieveking and Ian F. D. Morrow (London, 1958 [1932]), p.55. -
Le Théâtre Performatif Et Les Reportages De « Politique-Fiction » De Peter Watkins
Décadrages Cinéma, à travers champs 20 | 2012 Peter Watkins Le théâtre performatif et les reportages de « politique-fiction » de Peter Watkins François Bovier et Hamid Taieb Édition électronique URL : http://journals.openedition.org/decadrages/225 DOI : 10.4000/decadrages.225 ISSN : 2297-5977 Éditeur Association Décadrages Édition imprimée Date de publication : 10 avril 2012 Pagination : 8-33 ISBN : 978-2-9700668-4-2 ISSN : 2235-7823 Référence électronique François Bovier et Hamid Taieb, « Le théâtre performatif et les reportages de « politique-fiction » de Peter Watkins », Décadrages [En ligne], 20 | 2012, mis en ligne le 10 avril 2013, consulté le 21 avril 2019. URL : http://journals.openedition.org/decadrages/225 ; DOI : 10.4000/decadrages.225 ® Décadrages 8 Dossier : Peter Watkins Politique-fiction Le théâtre performatif et les reportages de « politique-fiction » de Peter Watkins par François Bovier et Hamid Taieb 1 Voir Sébastien Layerle, « Une juste appro- priation des faits. The Forgotten Faces et les ‹ années Playcraft › (1956-1962) », dans Sébastien Denis et Jean-Pierre Maghit (éd.), L’insurrection médiatique. Médias, histoire et Les ilms de reportage de Peter Watkins, dont le mode documentarisant documentaire dans le cinéma de Peter Watkins, est perturbé par l’introduction de structures ictionnelles qui relèvent Pessac, Presses universitaires de Bordeaux, 2010, pp. 77-90 ; Antoine de Baecque, « Peter de l’ordre de l’anticipation, mobilisent systématiquement une stratégie Watkins en direct de l’histoire », L’histoire- de choc, dans une perspective politique : il s’agit de provoquer et de caméra, Paris, Gallimard, 2008, pp. 207-257. prendre à partie le spectateur, dans l’espoir que celui-ci se retourne de 2 Huw Wheldon, le responsable des pro- manière critique sur le façonnage des discours et de la représentation grammes documentaires de la BBC, engage Peter Watkins en tant qu’assistant producteur dans les mass media. -
Der Radikale Filmemacher Peter Watkins Und „La Commune“ Thomas Riegler, Wien
Kino der Solidarität: Der radikale Filmemacher Peter Watkins und „La Commune“ Thomas Riegler, Wien Dieser Beitrag behandelt das Werk des 1935 geborenen britischen Regisseur Peter Watkins mit besonderem Augenmerk auf seinen letzten Film La Commune (1999). Watkins Schaffen verbindet die Konventionen des Underground- und Alternativkinos mit jenen des Third Cinema, aber auch mit dem klassischen kommerziellen Kino. Seine Filme thematisieren oft schon in ihrem Produktionsprozess eine bestimmte Form von Gemeinschaft und Solidarität. Dies dient als Ausdruck eines kollektiven Engagements, das in den emanzipatorischen Dynamiken der Sechzigerjahre seinen Ursprung nimmt, und oft die neuen gesellschaftlichen Verhältnisse zwischen Medien, Kultur und Politik vorwegnimmt. Sein letzter Film La Commune, in dem Laien-Darsteller ihr jeweils eigenes historisches „Script“ entwickeln und vor laufender Kamera kollektive Diskussionen über aktuelle politische Themen abhalten, entspricht genau dieser Konzeption. Im Rahmen dieses Beitrags wird der einzigartigen Ästhetik und den radikalen Vermittlungsstrategien von Peter Watkins Kino nachgegangen – im Zentrum steht dabei der Film La Commune und die Fragen, wie darin solidarisches Handeln dargestellt/ästhetisch vermittelt wird. 1. Der Regisseur Peter Watkins hat im Filmemachen seit dem Beginn seiner Karriere ein revolutionäres, kommunikatives Potential gesehen. Bereits als Absolvent von Cambridge begann er Dokumentarfilme zu drehen, die sich radikal gegen konventionelle Formen der filmischen Darstellung und Vermittlung richteten. Von der BBC früh unter Vertrag genommen, schaffte Watkins mit Culloden (1964) den Durchbruch. Darin berichtet eine Fernsehcrew über die Vorgeschichte, den Verlauf und die Folgen der Schlacht von Culloden 1746: Es handelt sich dabei um die letzte kriegerische Auseinandersetzung auf britischen Boden – den Untergang der rebellischen Hochländer unter ihrem Anführer Charles Edward Stuart im Kampf gegen waffentechnisch überlegene Regierungstruppen. -
Peter Watkins 05
WAHRSAGER IM FILM: Werkschau—Filme—Vorträge —Workshop—Ausstellung Wolf Kino Wolf Studio 05. Mai Weserstrasse 59 Wildenbruchstrasse 6 PETER WATKINS 30. Juni 2018 12045 Berlin 12045 Berlin Tickets Filmprogramm: 8/7€ Tickets Vorträge / Diskussionen: 8/7€ werkschau: programm: Peter—Watkins—Pass: 80€ Ticket The Journey 1—19: 24/21€ WOLF WOLF PETER WATKINS MAI JUNI (*1935), Filmemacher, Kulturkritiker, Visionär und „Enfant Terrible“ des briti- 05.05. 18.45 Uhr Eröffnungsdiskussion (auf englisch) 02.06. 15.00— La Commune (F 1999, 375 min, OmeU) Gäste: Patrick Watkins, Oliver Groom 22.00 Uhr Ein Abend mit dem Rebond pour la Commune Kollektiv schen Films hat in seinem außergewöhnlichen Werk seit den 1960er Jahren immer Moderation: Kristofer Woods wieder den Status quo herausgefordert und mit seinen dokumentarisch anmuten- 03.06. 19.00 Uhr Resan / The Journey, Teil 4—7 (*1987, 174 min, OmeU) 21.00 Uhr The Diary of an Unknown SoldIer (GB 1959, 20 min, OV) den Filmen sein Publikum erschüttert. Die konfrontativen Arbeiten des bis heute The Forgotten Faces (GB 1960, 17 min, OV) in Deutschland wenig bekannten Regisseurs sind in ihrem Wesen auch immer kluge The War Game (GB 1965, 48 min, OV) 05.06. 19.00 Uhr Begleitprogramm: Medien- und Kapitalismuskritik. Sie führen uns eindrücklich die autoritären Struk- Einführung: Patrick Watkins No quarto da Vanda / In Vanda’s Room (Regie: Pedro Costa, PT 2000, 170 min, OmeU) turen westlicher Konsumgesellschaften und die Rolle, die die Massenmedien in ihr 06.05. 19.00 Uhr Culloden (GB 1964, 69 min, OV) Einführung: Bert Rebhandl einnehmen, vor Augen. Dabei haben sie bis heute nichts an Aktualität verloren, in Einführung: Sulgi Lie 06.06. -
23Notes on the Media Crisis
2 portàtils Quaderns Quaderns 2 3 Notes on The Media Crisis Peter Watkins 3 4 As the professional repression against my work became more extensive, I travelled to schools and universities in North America, Europe, Scandinavia and Australasia, speaking about the media crisis and trying to organise critical media education. In the mid-1970s I ran two summer courses under Dr. James Shenton at Columbia University in New York City, in which we analysed a series of American news programmes. From this emerged my awareness of what I call the Monoform - I have written about it extensively over the past 30 years. Our research at Columbia revealed the development of a formatted and repetitive TV language- form of rapidly edited and fragmented images accompanied by a dense bombardment of sound, all held together by the classical narrative structure. Although this language-form had originally been conceived by Hollywood, it was disturbing to discover its common use throughout virtually all contemporary TV programming, from soap operas to news broadcasting. This standardisation - and the imperatives behind it - has become worse in the last decades, and now embraces virtually all forms of ‘professional’ film and TV usage, including ‘reality TV’, sports broadcasting, most documentary films, etc. Because of its extreme rapidity (especially the version developed over the past 20 years), the Monoform gives no time for interaction, reflection or questioning. Its dense layering of sound, its lack of silence (except for manipulative purposes), is again hostile to reflection. The rapidly edited images are like small railway cars, and the rails they run on the monolinear narrative structure as originally developed by Hollywood and designed to move the story (the message) in a pre-determined line (pre-determined by the producers, not the public), rising and falling between impact points to a final climax and termination. -
Wetenschappelijk Artikel
UNIVERSITEIT GENT FACULTEIT POLITIEKE EN SOCIALE WETENSCHAPPEN VOICING A POLITICS OF POLARISATION. MEERSTEMMIGHEID EN DE POSITIE VAN DE AUTEUR IN PETER WATKINS' PUNISHMENT PARK. Wetenschappelijk artikel aantal woorden: 9588 SARAH BRUYNOGHE MASTERPROEF COMMUNICATIEWETENSCHAPPEN afstudeerrichting FILM- EN TELEVISIESTUDIES PROMOTOR: PROF. DR. DANIËL BILTEREYST COMMISSARIS: LENNART SOBERON ACADEMIEJAAR 2015 – 2016 Mijn oprechte dank gaat uit naar mijn promotor professor Daniël Biltereyst, voor het vertrouwen en de feedback, en naar Nicolas en papa voor hun kritische inbreng. Too much ugly talking Too many bad politicians We need some practical dreamers and maybe a few magicians Shall we get away from here where no one can find us? The north wind will blow us away We’ll leave this all behind us We’ll vanish No one will know where Into thin air Voor mijn twee Pop Kids, Nicolas en Maj. Love you. Abstract For years film critics have regarded Peter Watkins as an overtly political director. His works are not movies but pamphlets, his documentary approach a caricature of political reality. His cinematic voice, in other words, has been scolded for being too one-sided. This article suggests that, using his thoroughly subjective position, Watkins aims for full-on audience participation and, by doing so, reduces his own voice to one of the many participants in what is ultimately a polyphonic oeuvre. An analysis of his controversial feature Punishment Park (1971) is the starting point of this study. An open, more modern approach to Mikhail Bakthins concept of polyphonic narration will be used as theoretical background. Watkins’ role as the narrator of this story differs from his role as the director of the film, as I will demonstrate. -
Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins and Lars Von Trier
Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins and Lars von Trier by Nenad Jovanovic A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto © Copyright by Nenad Jovanovic 2011 Abstract Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins and Lars von Trier Nenad Jovanovic, Degree of Doctor of Philosophy (2011) Graduate Centre for Study of Drama, University of Toronto In this dissertation I investigate the stylistic shift in the cinema of selected filmmakers whose work is rooted in Bertolt Brecht’s dramatic theory: Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars von Trier. Through the work of these filmmakers, I trace the ongoing change in the cinematic applications of the theory. By and large, the change consists of a lessening of the role of montage – a technique that occupies a paramount place in Brecht’s theatrical and filmic practice – in favour of the objects within the camera’s field of view and the sounds within the microphone’s range. Since the ultimate effect for which the Brechtian filmmaker aims is that of Verfremdung , theatrical stylisation – itself estranging within the context of cinema – appears as a natural corollary of the described shift in emphasis. I also suggest a causal connection between the aforementioned shift and the growing self-consciousness of the style employed by meainstream cinemas (of which Hollywood is the foremost representative), which often manifests itself in the use of unorthodox editing patterns.