Filmkritik at the Edit Film Culture! festival: Juli 7, 2018, silent green Kulturquartier
On July 5, “Edit Film Culture!” opens in silent green Kulturquartier – a festival, an exhibition, and a film series that takes its starting point from the iconic independent magazine Film Culture and goes on to link current discourse on film criticism with interdisciplinary approaches and global perspectives on historical and contemporary meanings of the term “film culture.”
Within the framework of our cooperation with the “Edit Film Culture!” festival we will be presenting the magazine Filmkritik, which was founded in Germany by Enno Patalas and Wilfried Berghahn, two years after the first issue of Film Culture. Filmkritik also raised questions concerning the relationship between film and society. Its texts, oriented on Critical Theory and film criticism from Paris, reacted to both contemporary cinema as well as the social situation in post-war Germany. Harun Farocki helped shape profile of Filkmkritik as author and editor in the years from 1974 to 1983. The magazine was discontinued in 1984.
With a delay of over 33 years the last unpublished issue of the magazine, Filmkritik No. 335-336, Nov-Dec 1984,* will now appear. This edition – as a theme issue – is dedicated to the film maker Emile de Antonio. Furthermore, we have re-published two texts from Filmkritik No. 275, November 1979* which provide a brief insight into the magazine’s editorial praxis. During the festival “Edit Film Culture!” Jürgen Ebert, an author and editor at the time, will present and talk about the last issue on July 7 in silent green Kulturquartier.
Jürgen Ebert published his first text in Filmkritik on the Spaghetti Western in September 1969. He was one of the magazine’s most prolific authors and editors until it was discontinued in 1984. Ebert was the editor of the issue of Filmkritik devoted to Emile de Antonio.
Saturday July 7, 2018, 5:00 pm
With Jürgen Ebert
Reading with English subtitles, discussion in English
Location: silent green Kulturquartier
More information on the entire program can be found on www.editfilmculture.net
* The publication Filmkritik Nr. 335–336, Nov.-Dez. 1984 and both leporellos on Filmkritik Nr. 275, Nov. 1979 are realised within the framework of Edit Film Culture!, a project by silent green Film Feld Forschung gGmbH in cooperation with Jonas Mekas/Anthology Film Archives, Arsenal – Institut für Film und Videokunst e. V., SAVVY Contemporary e.V., Harun Farocki Institut, Spector Books and Lithuanian Culture Institute. Funded by Hauptstadtkulturfonds.
June 30th, 2018, Event / Projects
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.”
November 7th, 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?”
September 7th, 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.”
August 21st, 2020, Tom