April 2020: Ein Brief von Jim Jarmusch

Bekanntermaßen bekam Jim Jarmusch das Filmmaterial für seinen Kurzfilm STRANGER THAN PARADISE von Wim Wenders sowie Jean-Marie Straub und Danièle Huillet. Wenders hatte Material von DER STAND DER DINGE übrig, der Schwarzfilm zwischen den einzelnen Einstellungen von Jarmuschs Film stammte von Huillet und Straub.

Dass Jarmusch, als er den Film zu einem längeren Spielfilm mit drei Episoden ausbauen wollte, bei Farocki nach übriggebliebenem Negativmaterial nachfragte, findet – soweit wir sehen – in den Publikationen über den Film bisher keine Erwähnung. Allerdings ließ sich bisher nicht klären, ob Farocki tatsächlich übriggebliebenes Negativmaterial (vermutlich aus der Produktion von ETWAS WIRD SICHTBAR) an Jarmusch schickte. In den Credits des fertigen Films wird Farocki gedankt.

Die Zeitschrift FILMKRITIK hatte Jarmusch und seinem Debütfilm PERMANENT VACATION im Oktober 1981 ein Heft gewidmet, das ein Gespräch zwischen Jarmusch und Ralph Eue und Wolfgang Stukenbrock enthielt.

[Ergänzung 10. September 2020: In einem Brief an Rolf Aurich (aus den USA, daher ohne Umlaute) schreibt Harun Farocki am 2. März 1997: „Weil ich bei ‚Stranger than Paradise‘ dem Jarmush [sic] Material schenkte, fuehlt er sich mir verpflichtet – die zweite Haelfte von dem Satz stimmt natuerlich nicht.“]

30.04.2020, Schaufenster

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 tranzit.sk:  „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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