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Description
Examining the complex and magical relationship between still and moving images, this five-part series presents films structured around the still photograph and how it can address the perception of time, memory, and the nature of cinema. Included are films by Agnčs Varda, Raúl Ruiz, Jean-Pierre Jeunet, Hollis Frampton, Jean Eustache, Ken Jacobs, and many more.Curated by Gustáv Hámos, Katja Pratschke, and Thomas Tode.
Presented in collaboration with the Goethe-Institut San Francisco.
The series is kindly supported by German Films, AG Kurzfilm, Swedish Filminstitut, and the Cultural Services of the Consulate General of France in San Francisco, and organized by the Concrete Narrative Society e.V. Berlin.
SCHEDULE
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Recall and Memory
Jul 12, 2012 7:30pm
Screening Room
“That-has-been” is what Roland Barthes has described as photography’s defining feature. It always points to something that is no more. One could say photos are souvenirs; photos frequently assume the role of one's own memories. Films, on the other hand, “flicker”—as Susan Sontag noted—and then “go out” again. They always occur in the here and now. Yet film can also be viewed as a memory container: it safeguards something. This program is comprised of photofilms in which private, personal histories and world history confront each other, and features works by Thierry Knauff, Agnčs Varda, Franz Winzentsen, Jerzy Ziarnik, Helke Misselwitz, and Janet Riedel, Katja Pratschke, and Gusztáv Hámos. (93 minutes)
Le Sphinx (The Sphinx), by Thierry Knauff
Ulysse (Ulysses), by Agnčs Varda
Die Anprobe (1938) (The Fitting 1938), by Franz Winzentsen
Powszedni dzién gestapowca Schmidta (Gestapoman Schmidt), by Jerzy Ziarnik
35 Fotos (Bilder aus einem Familienalbum) (Pictures from a Family Album), by Helke Misselwitz
Fiasko – Fragmente nach dem Roman von Imre Kertész (Fiasco – Fragments Based on the Novel by Imre Kertész), by Janet Riedel, Katja Pratschke, Gusztáv Hámos
The Dancing Photo on Film
Jul 13, 2012 7:30pm
Screening Room
In its essence, photography is static and silent. It subtracts sound and movement from everything it captures. But in photofilms, the editing process adds sound, music, and language to the photographs; the static images begin to move, even to dance. This program reveals how illusions of movement are created: from stasis to movement, from rhythm to animation. Featuring work by Sabine Höpfner, Paul de Nooijer and Menno de Nooijer, Agnčs Varda, Arthur Lipsett, Ken Jacobs, Maki Satake, Jean-Pierre Jeunet, and Dan Geesin and Esther Rots. (85 minutes)
Hybrid and Superimposition , by Sabine Höpfner
At One View, by Paul de Nooijer and Menno de Nooijer
Salut les Cubains (Hi There, Cubans) , by Agnčs Varda
Very Nice, Very Nice, by Arthur Lipsett
Capitalism: Child Labor, by Ken Jacobs
Omokage (Remains), by Maki Satake
Pas de repos pour Billy Brakko (No Rest for Billy Brakko), by Jean-Pierre Jeunet
De Tuin (The Garden) , by Dan Geesin and Esther Rots
The Filmic Photographic
Jul 14, 2012 2:00pm
Screening Room
The program brings together films that take as their subject the photographic: the search for the motif, the gesture of photographing, the materiality of the image, the reality beyond the image (hors-champs), and the description of the found image. The film medium requires a linear arrangement of the photographs, which the authors utilize to develop an analytical discussion on perception, recollection, and desire. Featuring work by Silke Grossmann, Shelly Silver, Esaias Baitel, Hollis Frampton, and Sean Snyder. (90 minutes)
Die Gefühle der Augen (The Feelings of the Eyes), by Silke Grossmann
What I'm Looking For, by Shelly Silver
Zonen (The Zone), by Esaias Baitel
(nostalgia) , by Hollis Frampton
Casio, Seiko, Sheraton, Toyota, Mars , by Sean Snyder
Photo Novel
Jul 14, 2012 4:00pm
Screening Room
The narrative photofilms compiled here are, to a certain extent, time crystals in which different worlds appear next to or even mirrored in one another. A multilayered dialogue develops between the spoken word and the image. This program is dedicated to photofilms that quote the history of cinema and experiment with narrative forms. Featuring work by Katja Pratschke and Guzstáv Hámos, Paul de Nooijer and Menno de Nooijer, Leonore Mau and Hubert Fichte, Elfi Mikesch, and Raúl Ruiz. (92 minutes)
Rien ne va plus (No More), by Katja Pratschke and Guzstáv Hámos
I Should See, by Paul de Nooijer and Menno de Nooijer
Der Tag eines unständigen Hafenarbeiters (A Day in the Life of a Casual Dock Worker), by Leonore Mau and Hubert Fichte
Execution. A Study Of Mary, by Elfi Mikesch
Colloque de chiens (Symposium of Dogs), by Raúl Ruiz
The Plasticity of the Moment
Jul 15, 2012 4:00pm
Screening Room
We seem to be obsessed with recording as many images as possible. And nowadays we often mentally record a multitude of photos in a single moment. This permits us to observe the moment from different perspectives. This film program brings together films that appraise the surface of the photographic image, circling the moment and even entering it. Features works by Paul de Nooijer, Jean Eustache, Tim Macmillan, Maki Satake, Jean-Gabriel Périot, and Sirkka-Liisa Konttinen. (92 minutes)
Transformation by Holding Time–Artist and His Muse, by Paul de Nooijer
Les Photos d'Alix (The Photographs of Alix), by Jean Eustache
Ferment, by Tim Macmillan
Kurashi Ato (Vestige of Life), by Maki Satake
Nijuman no Borei (200,000 Phantoms), by Jean-Gabriel Périot
The Writing in the Sand, by Sirkka-Liisa Konttinen
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