Dossier zum WDR in den 1970er Jahren

Beim Essay Film Festival 2017 entstand die Idee, ein Dossier für die Zeitschrift „Critical Studies in Television“ zusammenzustellen, das die sich einigen Facetten der Arbeit des WDR in Köln in der Mitte der 1970er Jahre widmen sollte.

Vorbereitend erschien im Online-Magazin NECSus ein Schwerpunkt, der auch drei Arbeiten aus dieser Zeit, darunter Farockis „Telekritik“ zu Basil Wrights Film SONG OF CEYLON zugänglich machte:

* Towards an alternative history of the Video-Essay: The Case of Westdeutscher Rundfunk, Cologne

Im März 2019, anlässlich des Essay Film Festivals 2019, bei dem Arbeiten von Günter Peter Straschek gezeigt wurden, darunter die beim WDR (Redaktion: Werner Dütsch) entstandene fünfteilige FILMEMIGRATION AUS NAZIDEUTSCHLAND, ist nun das Dossier in CST erschienen

Es enthält einen kontextualisierenden Essay von Volker Pantenburg, einen Erinnerungstext von Werner Dütsch und drei Dokumente, darunter die erste Seite des Exposés zu ERZÄHLEN (1975) von Harun Farocki und Ingemo Engström.

Alle Texte sind für kurze Zeit (link) gratis als PDFs online zu finden, dann verschwinden sie hinter der Paywall.

06.04.2019, Forschung / Projekte

Sara Ahmed on the perfomativity of disgust (from The Cultural Politics of Emotion, 2004): “To name something as disgusting is to transfer the stickiness of the word ‘disgust’ to an object, which henceforth becomes generated as the very thing that is spoken. The relationship between the stickiness of the sign and the stickiness of the object is crucial to the performativity of disgust as well as the apparent resistance of disgust reactions to ‘newness’ in terms of the generation of different kinds of objects. The object that is generated as a disgusting (bad) object through the speech act comes to stick. It becomes sticky and acquires a fetish quality, which then engenders its own effects.”

07.11.2020, Tom

David Graeber (1961-2020) on What Would It Take (from his The Democracy Project. A History, a Crisis, a Movement, 2013, p. 193): „We have little idea what sort of organizations, or for that matter, technologies, would emerge if free people were unfettered to use their imagination to actually solve collective problems rather than to make them worse. But the primary question is: how do we even get there? What would it take to allow our political and economic systems to become a mode of collective problem solving rather than, as they are now, a mode of collective war?“

07.09.2020, Tom

T.J. Demos on why cultural practitioners should never surrender, via  „For artists, writers, and curators, as art historians and teachers, the meaning-production of an artwork is never finished, never fully appropriated and coopted, in my view, and we should never surrender it; the battle over significance is ongoing. We see that battle rise up in relation to racist and colonial monuments these days in the US, the UK, and South Africa. While the destruction of such monuments results from and is enabling of radical politics, it’s still not enough until the larger institutions that support and maintain their existence as well as the continuation of the politics they represent are also torn down. This is urgent as well in the cultural sphere, including the arts institutions, universities, art markets, discursive sphere of magazines and journals, all in thrall to neoliberalism, where we must recognize that it’s ultimately inadequate to simply inject critical or radical content into these frameworks, which we know excel at incorporating those anti-extractivist expressions into further forms of cultural capital and wealth accumulation. What’s required is more of the building of nonprofit and community-based institutions, organizing radical political horizons and solidarity between social formations.“

21.08.2020, Tom
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