Radical Film Network Meeting Berlin: OPEN CALL Book “Radical Film at the Dawn of a New Society”

HaFI is cooperation partner of the second edition of the upcoming three-day event Radical Film Network Meeting taking place from October 7-10, 2021, in silent green, Berlin. We would like to draw your attention to the Open Call for the book project “Radical Film at the Dawn of a New Society,” which deadline has been now extended to February 15, 2021.

Radical Film at the Dawn of a New Society

You are invited to make a contribution to a new book arising from the Radical Film Network Meeting Berlin (RFNMB). Under the working title “Radical Film at the Dawn of a New Society”, the book aims to critically interrogate how various actors working at the intersection of radical film, art and digital culture are engaging with issues of our present time shaped by changes and disruptions of seismic proportions.

The events of the year 2020 have fundamentally transformed public life almost beyond recognition. It remains to be seen if these transformations are here to stay or just a passing phase. These events and many of the transformations they have given rise to have fostered a surge of anxiety, feelings of powerlessness and a dark vision of the future. However, if we take a second look at the current situation, we can also see a newly developed focus on the importance of community, of solidarity and on maintaining sociality, all of which hold the promise of a new society. And while anxiety is often said to embody paralyzing features, one could argue that anxiety — a basic human emotion like joy, lust and anger — is a strong motive for collective human action because nobody wants to stay alone in the dark.

We propose to overcome the anxiety together and to collectively develop productive solutions to reclaim control. We are seeking contributions which investigate the possibilities of radical film cultures to regain agency and to offer productive ways out of the current bleakness. How can this state of affairs be aesthetically translated into new forms of radical film or cinema? We welcome contributions from individuals and communities both inside and outside of academia, in particular, from activists, artists, filmmakers, policymakers and researchers. Contributions can either capture entirely new work or engage with past work taking a new perspective. They can take the form of any of, but not limited to, the following formats: academic papers, interviews, essays, photo stories, poems, short stories, diaries, codings or drawings or even memes.

Contributions should engage with expressions of ‘radicality’ that articulate democratic and progressive Leftist politics and culture in their treatment of topics during this moment relating to issues like racism, sexism, classism, identity politics, capitalist exploitation, social care, gentrification, conflict, migration, curatorial and archival practices, digitalization, surveillance, revolutionary movements, concepts of nature, climate change, pollution, pharmaceutics, drug politics and the pandemic measures among other topics.

If you are interested in making a contribution to the book, please send a 500-word proposal or sample contribution to pub@radicalfilm.net by February 15, 2021.

Important Dates:

15 February 2021: Proposal Submission Deadline;
15 March 2021: Notification of Acceptance;
15 August 2021: Full Chapter Submission;
15 December 2022: Peer Review Comments Returned;
15 January 2022: Contributor Revisions Due;
15 February 2022: Final Acceptance Notification.

More information on publisher, contributions to the event RFMNB in Berlin, and the RFMNB team, please consult the website:



January 15th, 2021 — 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

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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