Dezember 2018: Werner Dütsch (1939 – 2018) (#18)
Aus traurigem Anlass: Ein frühes Zeugnis für die langjährige und intensive Zusammenarbeit zwischen Werner Dütsch und Harun Farocki.
Dütsch, der 1970 als Redakteur bei der 1966 gegründeten Filmredaktion des WDR in Köln anfing, sollte für Farocki wie für viele andere über Jahrzehnte zum wichtigsten Verbündeten im öffentlich-rechtlichen Fernsehen werden. Als Redakteur und Produzent betreute er Filme von Mark Rappaport, Helke Sander, Hartmut Bitomsky, Romuald Karmakar, Frieda Grafe/Enno Patalas, Volker Koepp, Elfi Mikesch oder Gerd Kroske. Auch für Günter Peter Strascheks fünfteilige FILMEMIGRATION AUS NAZIDEUTSCHLAND war er beim WDR zuständig. Dütsch ging 2004 in Rente; in diesem Jahr waren mit Gerhard Friedls HAT WOLFF VON AMERONGEN KONKURSDELIKTE BEGANGEN?, Farockis NICHT OHNE RISIKO und Gerd Kroskes AUTOBAHN OST gleich drei erstaunliche Untersuchungen der Gegenwart und Geschichte von Ökonomie und Gesellschaft fertig geworden.
In einem Text über seine Arbeit schrieb er: „Kollegen im Hause fanden unsere eifrigen Festivalbesuche übertrieben. Wir hielten das für angenehme Weiterbildung und brachten Filme mit, die das Erste oder Zweite Programm gar nicht hätte zeigen wollen, z.B. die Debütfilme von Rappaport, Schroeter, Jarmusch, Linklater.“ Später fügte er per Mail hinzu, dass er vergessen hatte, Apichatpong Weerasethakul in die Liste aufzunehmen.
Dütsch führte auch selbst Regie, so bei einer sehr schönen Sendung über Fritz Lang, die man hier ansehen kann, und bei einer dreiteiligen Serie über das frühe Kino, die gemeinsam mit Hartmut Bitomsky entstand.
Harun Farocki hätte den Redakteur gern abgeworben und als „Sekretär“ der Einrichtung gesehen, die er sich 1975/76 ausmalte. Daraus wurde nichts.
Der hier abgedruckte Brief stand wahrscheinlich im Zusammenhang mit dem Projekt einer mehrteiligen „Filmkunde“, an der Farocki und Bitomsky gemeinsam arbeiteten. Unter dem Titel AUVICO hatten die beiden im Herbst 1970 einige Pilot-Spots zu dem Projekt gedreht und hofften auf eine Finanzierung.
Dütsch starb in der Nacht vom 4. auf den 5. Dezember 2018.
07.12.2018 — Archiv / Schaufenster
George Edwards (Zetkin Collective) on war, nationalism and the „anti-climate lobby“ (via Arts of the Working Class): „The latest prognosis of this particular war was spelt out in a flurry of reports from the IPCC; the most recent, described as ‚an atlas of human suffering‘ by the chief of the UN, demanded ‚rapid, deep and immediate‘ emissions cuts in all sectors to ensure an inhabitable planet for all. In step with the science, many wish this conflict to mark the beginning of an intensified programme of decarbonization, ridding economies of not only Russian, but all fossil fuels, wherever their geological source. But whilst political leaders scramble abroad to secure new sources of fossil fuels – sweet-talking sheiks and summoning LNG terminals from the ground – a resourceful and committed cohort, let’s call them the anti-climate lobby, refuse to accept this diagnosis. The partakers in the fossil industry have seized upon this crisis, sensing it as an opportunity to enlarge and entrench economic interests rooted in fossil fuels. As the course of action prescribed by the IPCC imperils this line of business, the attempts to secure fresh investments in fossil fuel infrastructures, to lock-in production and secure profits for the coming decades may feel all the more pressing. The solutions they pose also fit within the national frame and it is with nationalist political forces that they find their most ardent allies.“
„The fundamental difference that we face in Europe at the moment between the Western approach characterized by the pursuit of peace and the Eastern one focused on liberation and independence poses a dramatic challenge – in order to survive and progress, democracy as a political regime has to be capable of defending itself also in a military way.“ Armed Democracy revolves around the concepts of imperialism, liberation, fascism, autocracy, revolution, and militarization in pursuit of the world to come on Europe’s burnt out land. Conceived by the Kyiv Biennial and Biennale Warszawa from the East Europe Biennial Alliance, this special public program, curated by Vasyl Cherepanyn within the 2nd edition of Biennale Warszawa, the program is a first part of the series organized by the East Europe Biennial Alliance discussing Russia’s military invasion of Ukraine and taking place in Warsaw, Prague, Kassel, and Riga over the summer and fall of 2022.
Olena Lyubchenko on Whiteness, Expropriation, War, and Social Reproduction in Ukraine (via LeftEast): „[…] when we hear on the news that ‘Ukraine is fighting a European war’ and ‘Ukraine is defending Europe’, amid images of fleeing ‘poor white’ women with children prioritized over racialized ‘Others’, ‘Ukraine’ is being made ‘white’ in the global imaginary. That is, „the injunction to ‘return to Europe’ by way of Europeanization is enabled and conditioned on the mythologies of Western civilization, and that Europeanization at once marks (promulgates) and unmarks (naturalizes) racial whiteness” [Nadezhda Husakouskaya and Randi Gressgård]. The paradox is that Europe’s existence as such has only been possible precisely because of the exploitation of global working peoples through expropriation of resources and today neoliberal economic reforms and reproduced by feminized labour.“
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.“
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.“