Frauen und Film 5, Cover Image
on 15.2.75, the berlin police confiscated film and photographic material of filmmakers skip norman (left) and helke sander (right). the two had filmed a demonstration of “aktion 218” [protests against § 218 which prohibited abortions] in front of the gedächtniskirche in berlin (top right): demonstrators had poured washable red paint on the steps of the church—the red paint as a symbol for the blood that flows during illegal abortions. among other things, the fist in the venus mirror (lower left) had also been painted on the pavement with red paint. while initially the confiscated material was supposed to be used for “preservation of evidence,” against which an objection was raised with reference to the right of journalists to refuse to testify, the public prosecutor’s office has meanwhile made the two filmmakers into defendants, so that the right to refuse to testify need not be applied to them. the accusation is based on the following points:
the filmmakers would have known about the action, although the flyers that had been distributed did not indicate any specific time.
on the flyer, on the pavement in front of the memorial church as well as on the back of the magazine frauen und film an illustration of the fist in the venus mirror was shown.
alexandra kollontai (center)—the first women’s rights activist and people’s commissary for education after the russian revolution, deceased 1952 in moscow—haunts the files of the berlin public prosecutor’s office as an accused and wanted person, since her name was under the flyer published by “aktion 218” as the person legally responsible.
a documentation about this incident will be published at the end of may, in which the right of journalists and filmmakers to refuse to testify and the attempted dismantling of civil rights will be discussed in detail. the material can be ordered from frauen und film against advance payment of dm 3,– + 0,50 dm postage to the post office account berlin west, h. lahtela, special account film no. 47101-108.
the collage on the journal’s cover is by brigitte tast (hildesheim).
Editorial from Frauen und Film, Issue 5, 1975. Translated by Volker Pantenburg.
Image: Frauen und Film 5, 1974 © Brigitte Tast
[Suggested citation: “Frauen und Film 5, Cover Image” Rosa Mercedes 03/Documents (2021), www.harun-farocki-institut.org/en/2021/04/30/frauen-und-film-5-cover-image/]
go to top April 30th, 2021 — Rosa Mercedes / 03 / Docs
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