Encounters in Columbus, Ohio
From September 1978 to June 1979, I was a professor in the cinema department in Columbus and also met Skip two or three times. But it was little more than brief small talk because I had never met him in Germany and his name only indistinctly meant something to me (per Helmut Herbst). My memory, at least, is extremely vague. In any case, he never came into the bar where I would go in the evening. And I’d also say that he was not studying film at the time, but English (or something else?). Can that be? It seems very unlikely to me that he was doing a PhD in the cinema department. I think they didn’t have a PhD program. Although there was enough intellectual potential going around with Ron Green and Thom Andersen, with whom I spent a lot of time back then, and also later with Noël Burch, who I helped get in the door for my job when I left—since one year in Ohio was enough for me. Most of the students were likely undergraduates.
Photograph by Skip Norman, c. 1982
Be that as it may: we weren’t so close as in the video that Gerd Conradt made with him on Cyprus (and that I just watched). Which I now regret because I also got to know Holger Meins for a few weeks in his early phase and Skip’s description of Holger’s openheartedness is accurate. He was obviously very observant and could describe things with nuance.
I can now recall how I first encountered him in Columbus. It was at the school and, in fact, at one of those dull meet-and-greet events. Yeah, he was sitting there. Which is why I initially thought he had an assistant teaching position in the documentary film section. Since it had extremely luxurious facilities: The entire department lived off of college football. College football: At Ohio State, that meant 100,000 spectators every week and there was a lot of money in it. Therefore, all of the games and all of the training sessions were filmed with 16mm cameras so that the trainer could optimize the plays using an analytic projector. To this end, a small film lab was even constructed where 16mm reversal could be processed night and day. Good for our students. There were 15 or more professors in the department, some with a misty Hollywood past—Robert Redford stopped by once when he was shooting Brubaker (1980) nearby. But also an Egyptian who, because I shared an office with him, at some pointed offered me a job in Tripoli under Gaddafi, although he had never seen any of my films. Well, with the rise of video, all of this probably disappeared. But in 1978, it was still going strong.
At this get-together, I joked around with Skip—Helmut Herbst, Bitomsky, Farocki, etc. etc.—and it consequently took me completely by surprise when he said that he didn’t have a job there but was in Columbus—to study! And I—this is why I remember this so well now—simply did not get why someone who had finished at the dffb and already directed multiple films, was then pursuing a silly BA in a subject that still sounded like nonsense to me at the time. Well, since then I’ve changed my opinion about visual anthropology, but I still remember that—shock. That someone who was over forty would begin such a degree. I myself was only 33 and did not yet have any feeling for urgently necessary strategies to ensure one’s existence.
Today, I think that he had understood that the dffb was useless for him in America, that it had led him down a one-way street, as nice as it had been. And that he saw more realistic chances in a new degree. It’s admirable, then, that he even managed to finance it all the way to a PhD.
From e-mails from August 27 and 29, 2020
Translated by Ted Fendt. German version available as a PDF.
Klaus Wyborny has been a prolific filmmaker, theorist, and teacher since 1967. In 1968, he was one of the founders of the Hamburger Filmmacher Cooperative. His films have been screened at numerous international festivals and his theoretical writings on film have been published in three volumes in 2012, 2013, and 2016. For more information, see his comprehensive websites www.typee.de and http://wyborny.cinegraph.de.
[Suggested citation: Klaus Wyborny, “Encounters in Columbus, Ohio” Rosa Mercedes 03/B (April 2021), www.harun-farocki-institut.org/en/2021/04/30/encounters-in-columbus-ohio/]
go to top April 30th, 2021 — Rosa Mercedes / 03 / B
Tatsiana Shchurko on the War in Ukraine, Entangled Imperialisms, and Transnational Feminist Solidarity, via LeftEast (May 2, 2022): “[An] uneven knowledge production and the many implications of the war against Ukraine reveal the dire need to develop a feminist anti-capitalist critique of multiple imperialisms. This language should grow from within the occupied and suppressed communities of Eastern Europe and Eurasia. An anti-imperialist and anti-capitalist feminist positionality grasps that the local is part of a global in an effort to build transnational connections of mutual aid and support against state and corporate violence. For example, statements of solidarity with Ukraine expressed by the International Committee of Indigenous Peoples of Russia and Native American communities along with the anti-war feminist march in Bishkek (Kyrgyzstan) on March 8, 2022, pointing out that the war in Ukraine should be of concern for a broad transnational community, may serve as instrumental examples of alternative anti-capitalist and anti-imperialist solidarities that stretch beyond state regulations and macro-politics and foreground decolonial perspectives, necessary in addressing entanglements of multiple imperialisms. Such solidarities also bring to light hidden interconnections of the past that allowed for distant communities to survive and support each other against the violence of imperialist intervention and its attendant capitalist exploitation. Thus, the march in Bishkek reminds of the socialist roots of the International Women’s Day to call for internationalist, intersectional, class solidarity against imperialism and militarism.”
Vasyl Cherepanyn on that “It’ll take more than tanks to ease Germany’s guilt” (via Politico): “Since the Soviet Union’s collapse, Germany has been imposing neocolonial optics on its Eastern European ‘peripheries,’ and on the post-Soviet space in particular, where Ukraine was long considered a gray buffer zone about which the EU was ‘deeply concerned.’ Germany didn’t bother itself much with differentiating between former Soviet countries’ pasts. Even until recently, any Ukrainian agenda in Germany was often ‘balanced’ with a Russian perspective, so as to not exclude the latter by any means.”
An unnamed anarchist and art scholar, who joined the Territorial Defense Forces, quoted by Olexii Kuchanskyi in an essay on “Digital Leviathan and His Nuclear Tail” (via Your Art and e-flux notes): “At dawn, Dima and I talked about cinema. Dima believes that cinema is inferior to literature as a means of expression because you spend much more time with a book than a film. It’s a really interesting point, something to dig into. I studied at the department of art theory & history and I never thought of it. Dima served in the military after school and worked at the factory all his life. He listens to rap, smokes pot, and tries to have fun. He is thirty-eight, his child was born last year. He likes Wong Kar-wai and is a fan of Asian cinema in general. Dima communicates by quoting Omar Khayyam, Confucius, and other awesome guys.”
April 20th, 2022
Vasyl Cherepanyn (Visual Culture Research Centre, Kyiv) on Putin’s “World War Z” and the West’s deadly “foot-dragging”, via Project Syndicate: “The main feature of this Western condition is constant belatedness. The West has always been too late, incapable of acting ahead and instead just reacting to what has already happened. As a Ukrainian joke went at the time, ‘While the European Union was taking a decision, Russia took Crimea.’ Then as now, Ukrainians wondered, ‘What is the West’s red line? What will compel the West to act instead of waiting and discussing when to intervene?’”
Barbara Wurm on Lithuanian director Mantas Kvedaravičius, killed in Mariupol, via Die Welt: “Kvedaravičius unfolded a whole spectrum of visual anthropology over a decade with only three films [Barzakh, Mariupolis, Parthenon]. It now awaits evaluation and exploration. The time will come. The films themselves make possible an infinite immersion in the matter of the world, between dream and reality, horror and everyday life, facts and phenomenal imagology.”
April 5th, 2022
Statement by #AfricansFromUA on Equal Treatment via e-flux notes: “Non-Ukrainian nationals from the war in Ukraine arriving in Germany have been facing very different terms of treatment—both in different federal states and cities but also within the very same city throughout time and different facilities. While some received so called ‘Fictitious Certificates’ for one year without further procedures others were pressured to submit an asylum application with their finger prints registered and passports seized. Again others were given a so called “Duldung” including the threat of deportation.”
April 5th, 2022