Öffentliche Sichtung #07: Robina Rose: Nightshift, 30. Mai 2018, Arsenal

Im Rahmen der Öffentlichen Sichtung im Arsenal Kino präsentieren wir zwei Filme aus dem Arsenal Filmarchiv NIGHTSHIFT (1981, GB) von Robina Rose und LARISSA (1980, UdSSR) von Elem Klimow.

Nightshift von Robina Rose (in Zusammenarbeit mit Nicola Lane) wurde in fünf Nächten im Portobello Hotel im Westen von London, wo die Filmemacherinnen regulär einen Geld-Job hatten, als low-no-budget Film gedreht. Er entstand parallel zu anderen wichtigen Projekten von britischen Filmemacherinnen der 1970er / frühen 1980er Jahre, die sich mit der Arbeit von Frauen im Verhältnis zu Politik, Film, Begehren und Gesellschaft beschäftigten. Heute ist der Film nahezu unbekannt, obwohl er im Informationsblatt des 12. internationalen forums als der “beste britische Film dieses Jahrgangs” des Edinburgh Filmfestivals vorgestellt wurde; mit dem Londoner Musiker Simon Jeffes geriet Nightshift zudem in die experimentelle Musikszene des Penguin Cafe Orchestra in London und mit dem Filmemacher Jon Jost an der Kamera in die U.S.-amerikanische independent film scene. Wir möchten Nightshift gemeinsam mit dem Essayfilm Larissa von Elem Klimow zeigen, welcher eine cine-hommage an Larisa Schepitko ist, eine der bedeutendsten sowjetischen Filmregisseurinnen.

Nightshift
Robina Rose Großbritannien 1981
16 mm, OmU, 67 min

Larissa
Elem Klimow UdSSR 1980
35mm, OmU, 20 min

Mittwoch den 30. Mai 2018
Um 19 Uhr
Kino Arsenal 2
Arsenal – Institut für Film und Videokunst e.V.
Potsdamerstr 2
10785 Berlin

25.05.2018 — Projekte / Veranstaltung
Schnittstelle

Vasyl Cherepanyn about the „inertness, hiding behind the European Wall“ (via L’Internationale): „Many Western institutions that have been claiming ‚radical political engagement‘ for years, have simply resorted to a white cube radicalism and self-satisfying humanitarianism, too afraid of acting politically beyond their comfort zone and unsettling their publics and authorities by attempting to affect the decision-making process regarding the Ukrainian cause.“

28.05.2022

Tatsiana Shchurko on the War in Ukraine, Entangled Imperialisms, and Transnational Feminist Solidarity, via LeftEast (May 2, 2022): „[An] uneven knowledge production and the many implications of the war against Ukraine reveal the dire need to develop a feminist anti-capitalist critique of multiple imperialisms. This language should grow from within the occupied and suppressed communities of Eastern Europe and Eurasia. An anti-imperialist and anti-capitalist feminist positionality grasps that the local is part of a global in an effort to build transnational connections of mutual aid and support against state and corporate violence. For example, statements of solidarity with Ukraine expressed by the International Committee of Indigenous Peoples of Russia and Native American communities along with the anti-war feminist march in Bishkek (Kyrgyzstan) on March 8, 2022, pointing out that the war in Ukraine should be of concern for a broad transnational community, may serve as instrumental examples of alternative anti-capitalist and anti-imperialist solidarities that stretch beyond state regulations and macro-politics and foreground decolonial perspectives, necessary in addressing entanglements of multiple imperialisms. Such solidarities also bring to light hidden interconnections of the past that allowed for distant communities to survive and support each other against the violence of imperialist intervention and its attendant capitalist exploitation. Thus, the march in Bishkek reminds of the socialist roots of the International Women’s Day to call for internationalist, intersectional, class solidarity against imperialism and militarism.“

Vasyl Cherepanyn on that „It’ll take more than tanks to ease Germany’s guilt“ (via Politico): „Since the Soviet Union’s collapse, Germany has been imposing neocolonial optics on its Eastern European ‚peripheries,‘ and on the post-Soviet space in particular, where Ukraine was long considered a gray buffer zone about which the EU was ‚deeply concerned.‘ Germany didn’t bother itself much with differentiating between former Soviet countries’ pasts. Even until recently, any Ukrainian agenda in Germany was often ‚balanced‘ with a Russian perspective, so as to not exclude the latter by any means.“

An unnamed anarchist and art scholar, who joined the Territorial Defense Forces, quoted by Olexii Kuchanskyi in an essay on „Digital Leviathan and His Nuclear Tail“ (via Your Art and e-flux notes): „At dawn, Dima and I talked about cinema. Dima believes that cinema is inferior to literature as a means of expression because you spend much more time with a book than a film. It’s a really interesting point, something to dig into. I studied at the department of art theory & history and I never thought of it. Dima served in the military after school and worked at the factory all his life. He listens to rap, smokes pot, and tries to have fun. He is thirty-eight, his child was born last year. He likes Wong Kar-wai and is a fan of Asian cinema in general. Dima communicates by quoting Omar Khayyam, Confucius, and other awesome guys.“

20.04.2022

Vasyl Cherepanyn (Visual Culture Research Centre, Kyiv) on Putin’s “World War Z” and the West’s deadly “foot-dragging”, via Project Syndicate: “The main feature of this Western condition is constant belatedness. The West has always been too late, incapable of acting ahead and instead just reacting to what has already happened. As a Ukrainian joke went at the time, ‘While the European Union was taking a decision, Russia took Crimea.’ Then as now, Ukrainians wondered, ‘What is the West’s red line? What will compel the West to act instead of waiting and discussing when to intervene?’”

Barbara Wurm on Lithuanian director Mantas Kvedaravičius, killed in Mariupol, via Die Welt: “Kvedaravičius unfolded a whole spectrum of visual anthropology over a decade with only three films [Barzakh, Mariupolis, Parthenon]. It now awaits evaluation and exploration. The time will come. The films themselves make possible an infinite immersion in the matter of the world, between dream and reality, horror and everyday life, facts and phenomenal imagology.”

05.04.2022
mehrweniger Kurznews