HaFI 009: Ingemo Engström / Gerhard Theuring: Escape Route to Marseilles
In 1977 Ingemo Engström and Gerhard Theuring embark on a journey through France. They trace the escape route of the German emigration in France 1940/41, documenting the places, talking to witnesses, relating the temporal layers. The film ESCAPE ROUTE TO MARSEILLES that was the result of this journey, carries the subtitle “Images from a working journal (1977) on the novel Transit (1941) by Anna Seghers”. Produced by the WDR, it premiered in Mannheim and had success at international festivals. Accompanying the film, Theuring and Engström conceived an issue of the journal Filmkritik that extends the movie, comments upon it, provides an insight into the research and production process. On the occasion of its theatrical release in Great Britain, Framework: The Journal of Cinema and Media published the comprehensive essay by Engström and Theuring in English translation.
HaFI 009 republishes the essay from Filmkritik and its English translation in facsimile. In addition to the essay by Theuring / Engström, the booklet contains two texts by Paul Willemen and Steve Neale, who contextualized the film in the UK for Framework, as well as a commentary by the Harun Farocki Institut.
HaFI 009 is available for 9 Euro at Motto Books.
* HaFI 009 is published 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 the ruling of the German Bundestag.
April 24th, 2019, Projects / Publication
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