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With a delay of over 33 years the last unpublished issue of the magazine, Filmkritik No. 335-336, Nov-Dec 1984,* will now appear.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
On the occasion of the film festival “Reconstructing Realities,” the Broadway Cinematheque in Hong Kong will show the film “How to live in FRG” (1990) from Harun Farocki.
The screening will take place on Saturday, July 11, 2:30 pm (local time) at the Goethe Institut Hong Kong.
Reconstructing Realities – A Film Programme to Celebrate the 50th Anniversary of the Berlinale Forum
The screening will be followed with a talk with Doreen Mende from the Harun Farocki Institut.
The talk will be public via Zoom. A link will follow shortly.
July 8th, 2020, HaFI
Avery F. Gordon, in an interview conducted by Katherine Hite and Daniela Jara in Memory Studies: “Non-participation is one modality of what I call being in-difference. Being in-difference is a political consciousness and a sensuous knowledge, a standpoint and a mindset for living on better terms than we’re offered, for living as if you had the necessity and the freedom to do so, for living in the acknowledgement that, despite the overwhelming power of all the systems of domination which are trying to kill us, they never quite become us. They are, as Cedric J Robinson used to say, only one condition of our existence or being. Running away, living apart, squatting, communing, feral trading, bartering, self-managed currencies, human, debt, labour, knowledge strikes, boycott, divestment, non-policing, throwing your shoe at an occupying president: the ways of non-participation in the given order of things are many, varied and hard to summarize. And they are taken up for a variety of reasons, including the failure or irrelevance of states and the US–European post–World War II social movement model.”
July 7th, 2020, Tom
Denise Ferreira da Silva via Canadian Art: “Visuality or rather visualizability—being available via social media and accessible through electronic gadgets—seems to have become the main (if not the sole) criterion for reality, which becomes crucial for the ethical-political demands for the protection of black lives, for state accountability and for justice. If that is so, the only way is through these conditions of representation. I mean, the creative move first takes the visualizable as it is, that is, as a twice removed re/composition (at the same time a live streaming, news reporting and documenting) of the scene of violence which only tells us that it happens. It exposes the excess that is the state’s use of total violence, of law enforcement as technique of racial subjugation, while simultaneously removing the black person (the father, the sister, the friend) out of the scene of violence and its visualization. It does so by restoring the dimensions of their existence that the camera cannot capture. That is, the creative move must protect (as an ethical gesture) the black person (keeping her obscurity) in the excess that is the very visualization of the scene of total violence.”
June 28th, 2020, Tom