Radical Film Network Meeting, May 2-5, 2019, silent green, Berlin: OPEN CALL “What is Radical Film?”

HaFI is cooperation partner of the upcoming three-day event Radical Film Network Meeting in Berlin. We would like to draw your attention to the Open Call “What is Radical Film?” currently running until February 28, 2019.

CALL FOR CONTRIBUTIONS

What is Radical Film?
BERLIN 02nd– 05th May 2019

Continuing the spirit in which the Radical Film Network (RFN) was founded, the first RADICAL FILM NETWORK MEETING in Berlin aims to create a temporary space with the intention of initiating open exchange and dialogue between actors of the Radical Film Network, Berlin filmmakers and cultural practitioners. It will bring together activists, academics, filmmakers and artists in Berlin to jointly answer the question, “What is radical film?“.

In recent years an interdisciplinary discourse has developed around counter images and movement images, covering all areas of cultural life, including theatre, exhibitions, cinema, TV, and the Internet. It consistently attempts to find new means of narration and representation that undermine conventional codes and conventions by opposing, alienating and deconstructing them by offering different methods of representing and interpreting the world. Discussions surrounding the formats and forms of radical film will be the theme of the event, along with finding ideas to recontextualise them, with the aim of proving that oppositional and radical filmmaking is as diverse, colourful and lively as ever.

We welcome contributions from individuals and communities both inside and outside academia, from artists, activists, filmmakers, researchers, scientists and others.

Contributions may include, but are not limited to, the following:

Interested participates are invited to submit one proposal in following format:

Proposals should be kept to a maximum of 1 page (lecture), or 2 pages (workshop), and can be sent in either English or German to: opencall@radicalfilm.net

DEADLINE FOR SUBMISSIONS: 28TH FEBRUARY 2019

Limited funds to cover expenses for lecturers, presenters and workshop leaders will be provided. Participants who do not reside in Berlin are eligible to apply for a travel and accommodation grant. The event will be held in English. The programme details will be announced in due course. Please send any enquiries to the above address.

Link to download the open call:
For more information, please visit: www.radicalfilm.net

January 30th, 2019 — Projects / Event
Interface

On Friday, April 6, 2021, at 8 p.m., Akademie Schloss Solitude will host a Zoom event with former HaFI Residency fellowship holder Shirin Barghnavard about her film “Invisible” (2017). Moderated by Doreen Mende. To register, click here.

April 14th, 2021

The magazine MONOPOL currently features an interview (in German) with Shirin Barghnavard about her film “Invisible,” which she conceived and shot during her HaFI residency in 2017.

April 14th, 2021

via Hyperallergic on the environmental impact of blockchain referring to recent NFT (non-fungible token) art sales: “This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)”

 

Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”

 

Sara Ahmed on the performativity 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
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