Public Screening #02: Ann and Eduardo Guedes et al. Rocinante, March 17, 2017, Arsenal


Friday, March 17, 2017
7.30PM
Arsenal at “Kino 2”

Great Britain, mid-1980s: In the very moment neoliberalism’s triumph in the realm of Margaret Thatcher seems irreversible, Ann and Eduardo Guedes, two veteran members of the socialist documentary film collective Cinema Action (founded in 1968), shoot their first feature film: ROCINANTE (UK, 1986) is a mythological road movie, a squatter and hacker story, starring John Hurt, Maureen Douglass, Ian Dury, Carol Gillies and others. Raymond Williams’ cultural analysis of Britishness and socially produced landscape is being tied up with the dramatic bucolics of Michael Powell and Emeric Pressburger and Derek Jarman’s transgressive dreamy England. We haven’t seen the movie, but we are curious how the conjunction of documentary and fictional practice, a problem Harun Farocki became very familiar with in the 1970s and 1980s, is being played out here.

Ann and Eduardo Guedes, Rocinante, GB 1986, with John Hurt, Maureen Douglass, Ian Dury, Carol Gillies and others, 35mm, 93 min

March 17th, 2017, Event / Projects
Interface

After all the buzz and clamor caused by the 2019 re-opening of the extended MoMA and the much celebrated rehang of its permanent collection, N+1 publishes a sobering curatorial fantasy (by Claire Bishop and Nikki Columbus) on what should have been done instead to come to terms with the “outrageous disconnect between saying and doing at this museum—the brazen hypocrisy and superficial multiculturalism.”

January 8th, 2020, HaFI

You have probably watched Ricky Gervais yesterday’s Golden Globe speech already, or read about it, so this is not exactly news to you. Still, it deserves mentioning and posting, particularly if you haven’t seen it yet, notwithstanding all its shortcomings. If simply for the fact that Gervais here shows a welcome (and rare) structural, dialectic, and pretty pitiless understanding of

a) his own debatable role at the ceremony and in the industry as such;
b) the game-shifting changes in the media industry caused by monopoly digital streaming platforms such as Netflix, Amazon, Apple;
c) the necessity to (once again) question the public performance of the political amid the liberal Hollywood establishment;
d) the systemic contradiction between “progressive” media content (“quality TV”) and the outrageously destructive economies and technologies on which this content and its providers gleefully rely;
e) the blatant inconsistency in the actions of the media industry people when it comes to not only complaining about racism but actually fight it;

and much more…

January 6th, 2020, HaFI
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