Public Screening #08: Emile de Antonio: In the King of Prussia, July 11, 2018, Arsenal
Issue 335/336 of Filmkritik in 1984 was supposed to be dedicated to Emile de Antonio. The layout for the texts, including a 40-page conversation between Antonio and Arno Luik, had already been completed, but there was no money left for printing; the magazine ceases to be published. As the HaFI’s contribution to the “Edit Film Culture!” project, the issue is now finally to appear 400 months late via Brinkmann & Bose, conceived by Jürgen Ebert. To accompany the publication, we are showing de Antonio’s IN THE KING OF PRUSSIA (1983) – “a film about the legal process against the “Plowshares Eight‘, eight members of the Christian peace movement in US, who hammered a nuclear warhead to pieces at a weapon’s factory.” (Ebert) The accused play themselves, while the police, jury, and court staff are played by actors, with Martin Sheen as judge Samuel Saulus II.
In the King of Prussia
Emile de Antonio, USA, 1983
35mm, OV/GeS, 92 min
Wednesday July 11, 2018, 6:00 pm
July 2nd, 2018, Event / Projects
Arsenal Cinema 2
Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Strasse 2
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
Heute um 18 Uhr hält Volker Pantenburg den Vortrag “‘Zusammensetzen und auseinandernehmen’. Arbeit mit dem Para-Archiv des Harun Farocki Instituts” an der Universität der Künste in Berlin.
January 7th, 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;
January 6th, 2020, HaFI
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;