On Skip Norman

Johannes Beringer

There was something beautifully forthcoming about the early days of the film academy when the films still had straightforward end credits. For example, it was almost always possible to ask Skip if he wanted to work on this or that film endeavor. He was available (like me, like others too)—the film crews fell easily into place, sometimes almost by themselves. (Students were supposed to support each other within a group assigned to a directing lecturer, but in fact the collaborations rather quickly went above and beyond this—to “strategic alliances,” “inclinations,” or “elective affinities.”) There was an unquenched thirst to be out in the city, to discover the city – to prove oneself with camera and sound equipment on the streets and squares, in interiors. This desire to see the world was more stimulating than the theory and history courses inside the academy. Moreover, we also got to know each other this way. In fact, it was above all from and among each other that we learned—over time, there were enough reasons to come together.

Skip was involved in both of my first dffb exercise films as camera assistant and miscellaneous crew member. Once, as we were filming in front of the Atelier am Zoo cinema, he playfully struck the zoom lever (at the end of the shot)—producing a rapid zoom in from the film title on the marquee (The Deadly Affair) to the people in front of the cinema.

Skip Norman’s rapid zoom in Johannes Beringer’s film Das Zimmer (1966)

While editing, I thought, Ach, I’ll leave that in—and so his explicit gesture is preserved in Das Zimmer. He can also be seen in Situationen—during the staged conversational situation about the future of the dffb (with Gerd Conradt, Holger Meins, Günter Peter Straschek; Lena Conradt, baby Alfa in her arms, he is also seated at the table).

There was a connection that existed back then that I absolutely need to reconstruct here—the one with Li Antes. In fact, I know hardly anything about her as a person. We spoke very little about our “pre-histories” together since we had quite a lot of the present before and around us. Li Antes “lent” (as an outsider) her body to Skip Norman’s Blues People and can also be seen as an actress in a scene in Günter Peter Straschek’s On the Concept of “Critical Communism” in the Work of Antonio Labriola (1843–1904) from 1970. After I had edited this film and drove to the screening at the film festival in Mannheim, I believe I saw Li Antes for the last time—as she said, she herself was considering to make films. (The time, I assume, would have been favorable for her to do so).

Li Antes (right) in Günter Peter Straschek’s On the Concept of “Critical Communism” in the Work of Antonio Labriola (1843–1904) (1970). On the left: Sigrid Ruschmeier

I saw Skip again at the time of FilmSamstag when he rather unexpectedly came into the screening at the small cinema at Babylon – we spotted each other and hugged. Afterward, I sent him an e-mail to Cyprus to ask if he knew something about Li Antes’ whereabouts—Straschek and I had already been wondering back then what had become of her.

Here is his answer from October 1, 2006 (he preferred corresponding in English “since my writing in German is weak, but my reading is very good”):

“Li Antes suffered from epilepsy. For years she took medication to control the seizures. But the medication made her drowsy, tired, and in need of a lot of sleep. She sought various ways of reducing the effects of the medication and even some alternative treatment approaches to the illness, like meditation, spiritual healing, and shamanism. Nothing seemed to give her the energy she sought to devote more of her time to creative endeavors, like filmmaking. One day, with the help and comfort of a new friend she decided to stop taking her medication. Eventually, she would have a seizure from which she never recovered. Her mother came to Berlin to take the body home and I would visit her grave and spend some time with her mother before leaving Germany. I don’t remember the name of the German village and I don’t remember the time of her actual death, but I do not think she wanted to die and for a while I would see her in my mind’s eye. She was a talented and sensitive human being who struggled with epilepsy since childhood and felt imprisoned by the medication, even though it offered some relief from the seizures.”1

I was thankful to Skip for this information and saddened at the same time: “Ah, finally some valuable information about Li—that was like a disturbing blank in my mind (emotion tinted).”

I’ll add one more memory here (from around 1968). We were walking along Potsdamerstraße late at night—there was an American club with good music down the road. There were three of us, I think, and we were walking in the middle of the empty street. (In any case, this is the image that’s stuck in my head. Also a feeling of the lightness of this nighttime walk, as though we could only go further and further… The street belonged to us.) At the time, I was living with Hartmut Bitomsky and Ingrid Oppermann on Kurfürstenstraße and Li lived on Gneisenaustraße—in a bleak apartment that is now around the corner from me when I go out. But I only look that way if the thought happens to cross my mind.

December 30, 2020


Johannes Beringer belonged to the first cohort of students at Deutsche Film- und Fernsehakademie (dffb) Berlin in 1966. He collaborated with Skip Norman on his two student films Das Zimmer (The Room) and Situationen (Situations). Together with 17 other students, Beringer was expelled from the film school in November 1968. Since then, he has worked as a writer (for the journal Filmkritik and many other publications), translator, and film programmer in various contexts. In the 1970s and early ’80s, he was editor and sound engineer of many Harun Farocki productions.

Translated by Ted Fendt. German version available as a PDF.


1 Editors’ note: In the conversation with Carlos Bustamante published in this issue, Bustamante recalls the circumstances of Li Antes’ death differently. 1

[Suggested citation: Johannes Beringer, “On Skip NormanRosa Mercedes 03/B (April 2021), www.harun-farocki-institut.org/en/2021/04/30/on-skip-norman/]

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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.”

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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.”

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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.”

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