Film and Photo: Film Screenings
A screening of various films on, about, and around the still image. The program is part of a series of screenings that self-reflexively probe the photograph in and of itself. Film and Photo is prepared by artist Oraib Toukan. Full details in the attached file.
* All Films are subtitled in English only. Guaranteed: comfortable seating, turmos, discussions, and cigarette breaks, feel free to bring your own drinks.
Sunday 9th January
Nostalgia (1971), Hollis Frampton, 31 minutes
A series of still photographs, mostly taken by Frampton, slowly burn over Frampton's comments about the next appearing photograph.
Hollis Frampton (UK) is one of the major figures to emerge from the New York avant-garde film community of the 1960s and is considered one of the pioneers of what has come to be termed as structuralism, an influential style of experimental filmmaking that uses the basic elements of cinematic language to create works that investigate film form at the expense of traditional narrative content.
Dog’s Dialogue (1977), Raúl Ruiz, 22 minutes
A story told quickly through a series of stills with synthetic music and quirky narration.
Raúl Ruiz (Chile) rose to international prominence in the early 1980s as one of the most innovative filmmakers in producing ironic and surrealistic films.
Bezhin Meadow (1937), Sergei Eisenstein, 31 minutes
This is a 1968 still image restoration of an unfinished 1937 Soviet short.
Eisenstein is a pioneering Soviet Russian film director and theorist, often considered to be the father of montage. He developed the theory of "montage of attractions," a sequence of pictures whose total emotional effect is greater than the sum of its part. He is known for his intense use of symbolism and metaphor in what he termed "intellectual montage."
Monday 10th January
Images of the World and the Inscription of War (1988), Harun Farocki, 75 minutes
A study of elements hidden in a war image, a photograph of IG Farben Factory taken by American soldiers, but neither intended nor properly ‘seen’ at the time it was recorded.
Videograms of a Revolution (1992), Harun Farocki, 106 minutes
Through a collaboration with Andrei Ujica, Farocki documents the Romanian revolution through hours of amateur and professional archival video footage to study the techniques of spectacle that are used to reconstruct a view of history.
Farocki (Germany) claims “my films are made against the cinema and against television.” Farocki’s films have forced critics to create a genre of the 'essay film' for his works which are in constant dialogue with images, with image making, and with the institutions that produce and circulate these images.
Tuesday 11th January
La jetée (1962), Chris Marker, 28 minutes
A 28-minute black and white science fiction constructed almost entirely from still photos.
Chris Marker (France) is often credited with conceiving the cinematic essay form, having a fascination in his work in the nature of truth, how it is perceived, understood, and most importantly, how it is created, for ourselves as individuals and as members of this or that community.
Ulysse (1982), Agnès Varda, 21 minutes
Varda deconstructs a picture from her early career as a photographer.
Salut les cubains (1963), Agnès Varda, 28 minutes
Varda uses still photos to reminisce the spirit of the Cuban revolution's early days.
Agnès Varda (France) work is often referred to as subjective documentary with a distinct experimental style. Her films, photographs, and art installations often focus on documentary realism, feminism, and social commentary.