Peter Lorre Retrospective: Screening and discussion with Felix Hofmann, July 19, 2018, Zeughaus Kino, Berlin

Felix Hofmann Filmkritik author, and together with Harun Farocki, director of the TV feature PETER LORRE – DAS DOPPELTE GESICHT (The Double Face of Peter Lorre) (1984), will talk about the film on July 19 at 8:00 pm within the framework of the Peter Lorre Retrospective at the Zeughauskino in Berlin. A discovery from Farocki’s estate will also be shown.

During the inventorying of the archive at the Harun Farocki Institut we found a 16 mm working copy which features an interview with the actress Gisela Trowe conducted by Felix Hofmann. Trowe played the role of a prostitute in the film DER VERLORENE (The Lost One) (1951) (D: Peter Lorre). The interview was conducted in 1984 in her apartment in Hamburg. It was filmed by Farocki and Hofmann for the WDR feature PETER LORRE – DAS DOPPELTE GESICHT (The Double Face of Peter Lorre) (1984), however it is not contained in the final version of the feature. The working copy, which we have digitized*, will be screened for the first time publically within the framework of the film series “Das Gesicht hinter der Maske. Hommage an den Schauspieler Peter Lorre” (The Face Behind the Mask. Homage to the Actor Peter Lorre) at the German Historical Museum’s Zeughauskino in Berlin, together with the film PETER LORRE – DAS DOPPELTE GESICHT.
Guests: Felix Hofmann and Volker Pantenburg

Thursday July 19, 2018, 8:00 pm
Zeughauskino Berlin
Unter den Linden 2
10117 Berlin

 

* The digitization of the material was completed within the framework of Archive außer sich, a project of Arsenal – Institute for Film and Video Art in cooperation with Haus der Kulturen der Welt as part of The New Alphabet, a HKW project supported by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag.

July 2nd, 2018, Event / Projects
Interface

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.

https://www.goethe.de/ins/cn/de/sta/hon/ver.cfm?fuseaction=events.detail&event_id=21884136&

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
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