HaFI 010: Werner Dütsch: WDR – As You See – Lola Montez
Werner Dütsch, together with other commissioning editors of the film department of Westdeutscher Rundfunk (WDR) Cologne, devoted his work to the past and present of the cinema like few others. The editors served as initiators and co-producers, organizing retrospectives of film classics on television as well as accompanying educational film programs (precursors of what are now called “video essays,” flourishing on the Internet); they were mediators and door openers. In the 25 years between “Industry and Photography” (1979) and “Nothing Ventured” (2004), Dütsch has collaborated with Farocki on 15 films.
The publication Werner Dütsch. WDR – As You See – Lola Montez features three texts: an autobiographical essay by Dütsch on his work at the WDR film unit; a concise, as yet unpublished essay on Farocki’s film “As You See” (1986) and a comprehensive review that Farocki wrote after the publication of the book “Lola Montez. Eine Filmgeschichte” written by Dütsch and Martina Müller. The booklet also contains a selected bibliography of Dütsch’s writings and an extensive list of the films and film series he supervised at WDR.
HaFI 010 can be ordered at Motto Books here.
* HaFI 010 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.
August 4th, 2019 — Projects / Publication
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
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