Public Screening #13: A RUSTLING OF LEAVES: INSIDE THE PHILIPPINE REVOLUTION, dir. Nettie Wild, May 16, 2019, Arsenal Cinema

Public Screening — the Harun Farocki Institut presents:

In accordance with the condition that the “public screening” format be used for first encounters with films and their Arsenal archive prints (and in keeping with a small tradition on feminist and ethnological films within the program), the Harun Farocki Institute presents A RUSTLING OF LEAVES: INSIDE THE PHILIPPINE REVOLUTION (Nettie Wild, Canada 1988). The director placed her work within complex political constellations, in the triangle of participatory observation, partisan engagement and radical ethnography. Her first longer film is set between the fronts of the 1980s revolution in the Philippines, which escalated in 1986 when Corazon Aquino became the first woman to accede to power in the country. The film was shown in the Berlinale Forum of 1989 and received global attention. That’s as much or as little as we know at the moment.

A Rustling of Leaves: Inside the Philippine Revolution
Canada, 1988, 16 mm, 112 min, OV/GeS

Public Screening – The Harun Farocki Institut presents
Thursday, May 16, 2019, 7pm
Location: Kino 2, Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Strasse 2, 10785 Berlin
Free admission

April 25th, 2019, Event / Projects
Interface

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

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;
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;

and much more…

January 6th, 2020, HaFI
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