El hombre que lucha por la paz en Líbano (Spanish Edition)
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En la industria de armas las ganancias son muy altas. Hay varias razones para esto. El gobierno militar fue plenamente apoyado por las potencias occidentales todo el tiempo. De hecho, ya lo hicieron dos veces, en y en Vivimos en un mundo de expectativas. Todo el mundo sabe que Israel tiene una potencia de fuego militar como para destruir Gaza. Tienen muchas razones para sentir que han hecho progresos. En el comienzo de la guerra, Israel estaba entusiasmado con su unidad en torno de la causa sagrada.
Incluso el gobierno egipcio tuvo que suavizar su hostilidad instintiva. En todo el mundo se produjo una oleada de actividades y de apoyo a la causa palestina. El futuro de Gaza sigue siendo incierto. Desde entonces, Israel hace todo lo posible para hacer de esta independencia palestina dolorosa. Al ser reacios a dar algo a los palestinos, e impulsado por el deseo incontrolable de acabar con los asentamientos y apropiarse de las tierras, concentra sus esfuerzos en hacer un infierno la vida en Gaza. Pero la lucha no es por Gaza: Tags Corte de Nazaret , Dareen Tatour , el juicio de la poetisa.
Yoni Mendel en el juicio de Dareen Tatour. Guerra contra las drogas en los EE. Oslo map — dividing the West Bank. The masses in Tahrir Square, Cairo. Le muet et le parlant, Paris, Lagrasse, Verdier, , p. Who are May and Fusako Shigenobu? Fusako, leader of an extremist left-wing faction, the Japanese Red Army, hid in Beirut for almost thirty years. A screenwriter and radical activist filmmaker, committed to armed struggle and the Palestinian cause, was also underground in Lebanon for several decades before being sent back to his native country.
In his years as a film director Adachi sought to reveal the structures of oppression that underpin and perpetuate the political system. It is this complicated, dark, and always suspenseful story that Eric Baudelaire chose to tell in this documentary. Grande-Synthe, Northern France, His wild odyssey ends with the murder of a year-old North African. How to activate a document? How to perform an archive? The two films use both the frame of the lecture. A speaker, interpreted by Joana Barrios, in Cacheu and the filmmaker himself in Optical Treatise, give a lecture, playing with words, pictures and screens.
Cacheu and Optical treatise use the same device: The pedagogical lecture has become a filmic and narrative frame. The artist is now a researcher, using different tools of investigation, didactic formats, archives and documents. Is cinema a performative art? The first film, Cacheu, is dedicated to four monumental statues, representing the Portuguese colonists, waiting for restoration in the fort of Cacheu in Guinea-Bissau.
Beyond the story of the narrator, speech reactivates images by renewing the relation between film and lecture. By moving, appearing and disappearing, coming out of the cone of light, the speaker materializes the voice over. Shot in a single sequence, the film orchestrates three perfectly synchronized elements: The film combines two directions: The second film, Optical Treatise, plays also with the context of the lecture and the screening behind the speaker.
Optical Treatise is a lecture film about a previous film, La Chambre noire, shot in during the studies of the filmmaker. Giving a lecture to his students, the filmmaker proposes a new version of his film by updating its promises, trying to refresh it, as a kind of oral restoration. Barrios evokes symbolic conflicts by tracing back different contexts in which the statues make an appearance: The montage is a process that takes place before shooting, so that the image production is a result of a performative assemblage between text, acting, projected image and the framing of the camera by the director of photography, Matthias Biber.
The works of Adrian Paci grow out of a search for meaning guided by inner needs, as an active way of thinking about the contemporary world. They draw on a deep familiarity with art history, combining the observation of social dynamics in our time with an awareness of the symbolic depth of actions, and an interest in the interpretive potential of images. Albanian by birth and Italian by choice since , Adrian Paci sees migration as the most natural state of both man and artist, a constant incitement to imagine new ways of living, new possible relationships with our surroundings, and new languages of expression.
His artistic practice knows no boundaries. The images he is drawn to are specific and topical, sparking profound reflections on the relationship between economics and social justice. At the same time, the entire history of humanity can be glimpsed within them; these are intimate, restrained, solemn actions, whose deep and ancient roots give them the quality of archetypes; in them, we sense the emotional and cultural substrate that links human beings together like a common denominator.
Daniel is apparently returning from a deployment in Afghanistan. Macmillan said improving early diagnosis was key. For it is assembled from fragments of films that he reviewed—those still extant—to compose a singing out into the hereafter. This work will include a large scale in-flight measurement campaign to gain better knowledge of the air composition and its components, and the development and testing of systems for air monitoring and removal of potential contaminants. The masses in Tahrir Square, Cairo.
And so, in his works, every examination of the present triggers a shift toward other, additional meanings: A Real Game is a fictional game, like Albanian Stories, in spite of its almost documentary style. Like Albanian Stories this video too was originated by a family game. Behind the two characters there is the difficult reality of immigration. Compared to the first video, here the child is more aware of expressions like Birth Certificate, The Banks and Italian Embassy that have already entered her vocabulary.
There is just one moment in the video when her fantasy seems to be peaceful and it is when I ask: I tried to explain him that I am an artist, using this word as a sort of protection.
Nevertheless the conversation in the video shows all the fragility connected to being an artist. A crowd of people moves toward an aircraft boarding staircase, in a silent, stoic manner. They form a queue while planes take off and land in the background. Slowly, the stairs are filled with migrants, both men and women. Their faces mirror the yearning for the fulfilment of a life without discrimination and cultural uprooting.
The camera slowly circles around the free-standing staircase. In doing so, it elicits a subsequent concern: Linguistically, it offers a paradox of meanings, a tension between a temporary and permanent existence; a tension that Paci maintains in this film, where men and women board a plane to nowhere. They remain trapped between the transitory and the fixed, a state that speaks to the dislocation of migrant people across the globe.
Scratchy, grainy images carry the viewers across lands and times. First, with black and white footage, followed by color footage. This work is not about the ones who have passed away; instead, it is about the ones that live. The pain and suffering of a loss is the only thing that links these individuals. Interregnum offers an uninterrupted survey of death rituals within different cultures, social classes and religious groups. This survey spans across Asia to Europe and over the twentieth century.
What does grieving in public connote? How is the performance of such grieving enacted and how does it affect societies? How does the absence of the deceased continue to linger within the community that is left behind? Oscillating between stoicism and moments of sobbing beyond control, there is an almost imperceptible shift of authentic agony in these performances. As the close-ups and intense expressions of people follow one another, the individual faces come together to form families, communities and crowds, finally losing their distinctive features as they become a part of the masses.
Interregnum envelops the viewer in a fog of potential empathy, while at the same time in critical reflection. The end of dictatorship in Albania introduced a situation where freedom and anarchy, the desire of getting back the wasted time and efforts to make a living at any cost, conjoined. Such was the atmosphere when kiosks with various signs began to appear in Albanian cities. At once, oil paintings, copies of artworks, photo-portraits, car plates, slogans and fake documents, from birth certificates to ownership certificates, university diplomas, international visas and even death certificates, were covertly produced in these small kiosks.
Piktori demonstrates pertinent debates, such as the role of the artist within society, the relationships between handcrafted work and artistic action, matters regarding the functional aspects of art, issues of the artistic definition of the interminable chains of activities the artist exercises and the inherent issues in defining the artist as such.
The concept for The Column was born from an anachronistic economic strategy whereby time must be condensed to the point in which delivery coincides with production. En route from China to Italy, a group of Chinese stonecutters sculpt a Classical column. This reflection on the speed with which demand is satisfied constructs the pretext for the documentation of a poetic crossing from east to west.
While mirroring a well known condition of productive efficiency, The Column has its roots in a poetic intuition: The homecoming of a monumental element of architecture renders this as an ancient endeavour, while the characteristics of the journey integrate it into the current social and economic context.
The column returns to a new time, revived through economical dynamics inexistent in the era to which it belonged. Reborn at sea, The Column returns in the exodus that unites east and west.
It returns while weaving a fabric between the ancient and the contemporary, crossing time and space at once. Together with the produced column, the video footage of its creation becomes the tale of a destabilizing procedure that meditates on the impossibility of defining cultural authenticity of which validity and coherence are usually accepted uncritically.
The changing, hybrid identity of the artifact forms itself in the belly of a paradoxical situation where man is identified with profitability, creating a world suspended between reality and imagination. In a quest reminiscent of epic tales, The Column aims to bestow an original viewpoint on contemporary facts. Enacting his own death, he hired an Albanian woman, a professional weeper, to grieve his loss. Paci presents the banal prelude to the ceremony by revealing the mourner as she adjusts the bed sheets and as he fastens his shoelaces and fiddles with his tie before positioning himself as a corpse.
The woman takes a bedside seat and pulls a black veil over her head. With hands clenched, she begins a soft, soulful lament. They shake hands, embrace and depart. In the article Godard argued about the difference among making political films and making films politically. Reading it today, the article stills gives an astonishing account of the vehemence of the debate at that time, it documents the matters at stake, it reminds us the references and lexicon employed and ultimately it testimonies the way the problems were thought and formulated.
However Godard spoke about a fact that is yet pertinent today because he pointed out how the political engagement goes beyond the chosen subject but it concerns the entire chain of production of the film as well as its method and aesthetic approach. In this respect, without completing all possibilities, the films of this program are interesting examples of how today artists think strategies and imagine ways and platforms to finance and realize their audiovisual works. This autonomy allows them to tackle in a very peculiar manner relevant but controversial topics. Furthermore they unveil hidden structures of power in history, in European policy, in intellectual debates, in cinematographic representation and even in filmmaking.
By using challenging aesthetics, each film moves from very Eurocentric points of view or concerns to reverse perspectives that blur certainties and references frames. There is an investigative approach that serves as a hidden leitmotif of the program, but the aim is not simply to denounce, but rather to increase awareness on the viewers by suggesting that they should always look at things critically and question the so-called matters of facts. In his famous essay Mythologies , Roland Barthes demystified French colonial imperialism with a photograph that appeared on the cover of Paris-Match.
This picture, which became an icon of modern criticism, shows a colonial cadet on guard. Vita Nova unveils the biographical ghost underneath the surface of this mythical picture. When recited, Barthes words reveal slowly their hidden meaning: Vita Nova is a spiral movie in which History Histoire , now chaotic in its temporality, returns in a more certain form as story histoire.
The found time of history is here the survival of the image. It is the now, the temporality of the living, the untimeliness of the reciter. They commissioned British reporter and activist Tamasin Cave to write an article with their material about the current situation between big industry lobbies and activists and NGOs in their attempt to create a mandatory register of pressure groups, demanding transparency in the European Parliament. China Girls, used in cinema history since the s, are women with Caucasian skin who are filmed alongside a colour-chart in order to adjust the colours of the film.
They have no lines to memorize or characters to impersonate. All they have to do is have an impeccable white complexion. Their skin, white as porcelain, is used as a reference for the colour grading of camera and printing, ultimately excluding people of colour who do not conform to this implicit norm. LILI tells the story of one of these China Girls through archival material, found footage and documentary recordings, and questions the tradition of China Girls contextualized in a society which, according to anthropologist Michael Taussig, exemplifies chromophobic unease with colour.
The central two movements in For Now are horizontal panorama shots and firm, vertical edits. They show shifts of place without the journey. The film unfolds in waves: The actions are the same: The contrasts between refugees and citizens, between tourists and activists, between Israelis and Palestinians, between Europeans and Americans, all become less clear. The repetition of these unclarified relationships and the enigmatic inclusion of hand signals work together to reveal a certain constellation.
It is a film running alongside the events, and alongside time. A contemporary film in the pure sense of the word—a way of being with time. Corroded emulsion film, affected by a voice-event that recounts the ominous events that occurred at the beginning of May in San Salvador Atenco, when government repression darkened the lives of the resisting peoples. Dark Matter is an experimental exercise, part of the work of excavating excavation 54, folios divided into 85 volumes and 13 annexes about the Iguala Case that were made public by the Mexican Attorney General in The set of documents presented in PDF are unreadable, crossed out, photocopied, scanned and re-photocopied several times until the disappearance is integrated into the document itself.
The disappearance of the image is also the disappearance of the text. The generated images dissolved to the point of losing their condition as images. Black Pond explores a common land in the south of England and its natural history society. After two years of filming, the rushes were shown to the society.
The film does not give access to the complete knowledge of the history of humans within the area. At 39 and with an arbitrary biological clock ticking, the director of this film faced up to her need to be a mother. Womb is a film essay about women, family and assisted fertility. Using everyday footage and recovering personal archive footage, Reposi Garibaldi reflects on late maternity and the fragility between life and death. With an associative audiovisual lyricism, the director explores an issue that concerns many contemporary women.
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Pietro Bulgarelli, Pablo Polanco. An old blind woman threads an infinite yarn, while her house floats in the sea. Sometimes she asks her god to wake her from the dream of being alive. Sometimes she forgets what the dream is. Each part presents recent films from the Argos collection in which the filmmakers politically engage on contemporary socio-political matters. The films mostly start from a reflection on events in the second half of the twentieth century, although the aim is not to establish a hierarchy or inventory.
Rather we approach different modus operandi in which audiovisual artists investigate the recent past in order to question the present times. Through the presented films, we see how first-hand or intimate experiences are often linked to the Great History, how media and archival material has contributed to shaping our collective memories and perceptions, and ultimately how most of the questions raised in the past are still unsolved today.
Historically, the turning point seems to be the period starting from the end of the fifties to the early seventies when the entire African continent embraced decolonization and the process of European integration e. The artistic production of that period—one need only think of figures like Jean Rouch, Chris Marker or Jean-Luc Godard—also had a great influence on the practices of the artists featured here.
Furthermore, the post political and philosophical debates, both in cinema and visual arts, have shaped current ways of making films and thinking in terms of moving images. Today, artists are beyond this enchantment, they dig for relevant information and make critical use of those audiovisual sources without forgetting to question production techniques.
Yet Politically Today doesn't indulge in nostalgia for a period that most of the artists presented in the programme never experienced. Instead, these films show how contemporary filmmakers reap the rewards of that intellectual and aesthetic research. All in all, what is necessary today, while we are still learning from the past, is to be actively engaged and look towards the future. Between and the organization focused on showing a wide variety of experimental works in Belgium, while acting as a distributor of Belgian audiovisual productions to foreign festivals, cultural centres, museums and television networks.
In , Argos had its first presentation space, presenting and coproducing exhibitions by the likes of Anne-Mie van Kerckhoven, Garry Hill and David Claerbout. In , the video conservation programme started with a project that aimed to preserve the most important Belgian videotapes from the s. From to , five editions of the Argosfestival proposed a wide spectrum of activities—including lectures, concerts, screenings and performances—and offered a platform for various forms of artistic expression in the domain of audiovisual media.
El Instituto de la Paz y los Conflictos de la Univer- Contributions can be submitted in Spanish, cias, hombres y mujeres que piensan otro mundo, la sociedad indígenas y su lucha por la autonomía son una preocupación para los El Líbano constituye un ejemplo de conflicto de baja intensidad. Culture plays a great role in our understanding of war and peace, and art papel en nuestra comprensión de la guerra y de la paz, y el arte define la paz y la comprension internacional y a luchar contra la propaganda belicista, el racismo [. ..] culturales y cívicas, colaborando con todos los hombres de buena voluntad.
In , Argos was recognised by the Belgian authorities as an arts centre. Since then, Argos has combined this function with a fully-fledged collection programme. From , the collection became the focus of the organization and Argos has sought to stimulate and articulate it as a constantly evolving whole. At present, Argos is the largest audiovisual archive in Belgium, including over 5, audiovisual works, a documentation centre and media library, an audiovisual works distributor, and an arts centre with a challenging public programme that addresses a diverse public with whom Argos permanently engages.
We barely notice the prehistoric traces and the contours of the space, but we hear better: The cave becomes a mental world where several histories and temporalities merge. It's a living space with its minimal architecture populated by discoverers, prehistoric peoples, animals and tourists.
A journey through time and space. In school, we learn to remember to live, but in life, we learn to forget to enrich living. The image ages with the passage of time, and it still has room to let in unwanted information. Frozen from the film-propaganda against the student movement, Let the student study , by Jean Manzon, made in the pre-coup-d'etat context, a frame is photocopied, stretched and dipped in the cave of time. The original video is a precarious video where I performanced an advertising proposal, as a pitch fictitious for the new institutional image of the FARC party.
I uploaded the video to Youtube and in the same night I tweeted it to the relevant Colombian media. The next day the video went viral and it really came out in the news from Colombia. What I am interested in showing with this video is that the channel where the video is presented begins to play a representative role, not only as an art but also as a suspicion and post-truth proposal.
Yichq'an, Root of Heaven, talks about the participation of women in the Guatemalan guerrilla conflict during the s.
The man's trajectory is a grievous one: It would be absurd to start from the idea that man can learn to be good. To leave a house. To film the trees before leaving, the light that one takes with oneself. To go, with the measure of that light, towards an unknown place. To film the distance between one house and another, a path made of dreams, a place as an abyss. To film fragments of reality in tension with that light. To film that spiral of time, time itself. Found footage short that uses images from the documentary El Grito Mexico, The student movement of in Mexico ends with a State crime that has gone unpunished to this day.
The degraded images of Closer to Our Time reflect on the old wounds that remain open: Celeste, a young photographer, finds in her childhood home garbage bags with thousands of negatives that belonged to her father, a photographer who in the s and 80s fought against the dictatorship in Chile before going into exile in Ecuador.
The photos, the only survivors from thousands of missing images, reveal an unknown world, where clandestinity blends with the living emotion of a past, where the idea of making a different future seemed possible. In the light of the present, the archive images seem to offer a space between documentary and fiction, where the unrepresentable part of memory might materialize.
The script, a central component of the piece, is a narration developed from a reflection on the past and death. Where and when a person ends, and whether we carry the weight of our ancestors with us, are also a part of that reflection.
It is a question about the place where the people who have disappeared exist, and if the experience of a domestic familiar space is informed and altered by the way others before us inhabited a home. A story that is kept alive in Vieques, Puerto Rico, like the hot embers of the resistance to the colonial status of the island. The result of this experience is this short film, which takes an epistolary form as she tells her mother about her impressions of the country, just as President Barack Obama visited for the first time, the first Chanel fashion show was held, and shops were opening with brands like Adidas and Clarins.
The film reflects the impressions of a foreigner amid the imminence of major transformations and of what will remain of the socialist revolution of Abubakar is 46 years old and participates in the zikr, ritual dances performed by Chechen Sufi Muslims. In each zikr he reaches a state of ecstasy and for Abubakar this is an exorcism, a form of liberation from everything that his people have suffered over so many years of occupation. The presence of his mother, his wife and his nine children make ghosts reappear from the past and present: All of this brings memory to life, mixing it with reality.
This is the everyday encounter of one Chechen with two pillars of his society, faith and culture, embodied in the zikr where the sacred merges with the profane. A specter is haunting the cinema: If that apparition is an Angel, we must embrace it; and if it is a Devil, then we must cast it out.
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But we cannot know what it is until we have met it face to face. We are driving alongside a middle-aged couple, Katja and Torsten Fiedler, on their way to pick up their son, Daniel, from a rural train station. Daniel is apparently returning from a deployment in Afghanistan. In , when Continuity was made, Germany was slowly coming to terms with its real involvement in Afghanistan where troops had been fighting for over eight years.
However, in September , a German commander called an airstrike near Kunduz that killed and wounded approximately people, including civilians. This was the bloodiest action involving the German army since and the loudest of a sequence of events that brought to light the reality of its involvement, forcing the government to acknowledge their role in the war.
In many ways, Continuity mimics that slow unfolding, playing up memory and temporality, perception and imagination. Structured in three loops and a discovery shot, Continuity creates a distorted temporality of inconsistency between vision and recognition, concluding in a scene where Katja and Torsten are confronted with the camel wandering down the middle of the road, follow it into the woods, and find a crater staged with the outcome of a battle.
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They stand, speechlessly looking into another cinematic zone from above, the camel operating as transitioning device between two constructed realities. What they, and we, see at the climax, echoes a photograph by Jeff Wall entitled Dead Troops Talk A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter The film concludes by confronting us with the reenactment of a reenactment of images of war, revealing multiple layers of mediation by referencing another work of art that references yet other representations of war.
Slowly, the uncanny invades the real as we realize that the boys are being killed after their role has been enacted. Like Wall in his photograph, Fast mines the well digested language of thriller and horror movies to make direct reference to the way we consume horror. For the structuralists, content was peripheral to filmic form. For Fast, content is complicit with the structure; storytelling devices like repetition and reenactment are used as means of referencing content that invariably involve the residues of war.
These structural devices also function to direct our attention to questions of filmic construction, shifting the focus from the story to the methods used for its retelling. Fast builds a specific relationship to reality where the ethics of the documentary interview are intertwined with over-performed fiction, with no clarification of where one ends and the other begins.
The question of what is an interview is in itself problematized. The interviewees are usually shown to us through a veil - the dynamic between filmmaker and interviewee follow the conventions of representation and simultaneously betray them by re-representing them in the same space. In Feet is the Best, the real drone operator is blurred as if to protect his identity, the actors playing him and Fast exist in the same diegesis and yet, are hyper-realistically represented in more filmic color grading.
In other words, the fictitious drone operator and the fictitious Fast are more realistic than the real-life characters. Ultimately, by looping us in the landscape of collective experience that Walter Benjamin described as the true training ground of modern perception, Fast is making portraits. The portraits that emerge are not of the interviewees and their tales but of the viewer and their relationship to the medium.
Commissioned for Documenta 13, Continuity follows a young German soldier returning home after serving in Afghanistan. A familiar domestic environment with emotional parents soon gives way to a series of anomalies that gradually become perverse and uncanny. A total of three different sons spend the night at the house. Each disappears under mysterious circumstances. Originally premiered in the 52nd Venice Biennale, Feet is the Best is based on conversations with a U. Predator drone operator, which were recorded in a hotel in Las Vegas. On-camera, the drone operator discussed the technical aspects of his job and his daily routine.
Off-camera and off-the-record, he briefly described incidents in which the unmanned plane fired at both militants and civilians. Narcisa Hirsch, Tomas Rautenstrauch. Outside, a meadow in Patagonia turns from daylight to dusk to darkness. Inside the cabin, lights turn on; the great windowpane reflects the inside of the living room. While the outside disappears, a man and a woman sit down to read and listen to music. A film whose theme is waiting, recording it in its most varied manifestations. Waiting in line, mystical waits, the waiting of an actor to get into a scene, the harrowing wait for sleep, the wait for the hormonal effects in a gender identity adjustment.
The waiting time is mixed with the time of our own lives, at a time that we are unlearning how to wait. In this video piece I approach these power figures, kissing history, my heroes, my men, cold and erect by the city inviting me to love them. With these subtle gestures I metaphorically attempt to suspend the historical and patriarchal weight they carry. The discussion and provocation I seek in the video work, not in the place of execution.
The kiss for me represents a great sentimental affection, a mutual concession that both parties allow. In this piece the kisses that I give are intense, passionate, in a sexual-erotic tone and maybe a little violent. Ultimately, each character I choose has a powerful historic value for the construction of my Latin American identity, from the pre-Hispanic to the political.
Harry Alan Potamkin, born , was a film critic and poet. In , at age 33, he died of complications relating to starvation in a hospital in New York City. He was beloved in communist circles as a writer of film criticism that charted the simultaneous evolution of formalism and socialism in cinema.
In the mids, Potamkin was an acolyte of Pound and Eliot, a devoted poet working through the vortex of competing forms and ideologies that followed the challenge of Imagism. He was also a community-builder whose passions extended to the editing of little magazines and the committee work of American labour organizations. While likeminded poets were forming the Objectivist school, Potamkin moved toward the cinema, which he perceived as a new form of poetry. For Potamkin this was an art form in which the impulse to modern poetry, to explore new perceptions, was combined with the ambition of social revolution, to stir the common soul of man to justice.
And while there are no images of him, every image herein was a part of his experience of cinema. For it is assembled from fragments of films that he reviewed—those still extant—to compose a singing out into the hereafter. These images are distressed through chemistry. Caligari himself, appears as Kenneth Rexroth. It plays as a shot list, isolated to a few frames per image. It plays backwards and forwards, and even alternates in both directions at the same time.
And when at last it plays backward in full, the horror is impotent: In his writings, he advocated a cinema that would simultaneously embrace the fractures and polyphony of modern life and the equitable social vision of left radical politics. This film-biography is assembled out of distorted fragments of films on which he had written, an impression of erupting consciousness.
The Program
At the Odessa steps, trampling gives breath to the child. The bullet miraculously reforms the face. The carriage is set upright. Throughout the animation, visual and narrative elements generate analogies between the sun and electronic displays, culminating in the following statement: In Brief History of the Sun it is posed as a question what is the human relationship with the digital screens to be used as tools for the production of immaterial and affective labor. Similarly, it evidences screens as the main window for corporate control over our bodies and desires through the use of algorithms.
The Dora Case aims to carry out a practical investigation situated on the border between documentary and fiction, taking as its main reference the film La Chinoise by Jean-Luc Godard. The title refers to the first case study published by Freud, in , which to this day is considered a paradigmatic text for presenting the central tenets of his theory of hysteria. Taking advantage of the coincidence between the pseudonym assigned by Freud to his hysterical patient and the first name of the director of the film, The Dora Case proposes an autobiographical reflection commenting on the position of the artist in the present day.
In mid November, the corpses appeared, floating in the Strait of Magellan. The dead bodies of Yan Cumbao, Wang Hao and Sung Chungman were tied up with life vests, cellular phones, computers and passports. Two of them were found malnourished, another with typhus. Some labors do without a name Video I and II correspond to the micro story of A and E, both self-employed workers and those who have a direct relationship with the economy they produce, distribute and consume their product.
Video II, in the form of a recipe, emphasizes the non-visible production processes behind the product. Video III frames everyday tasks, where the working day is camouflaged with unpaid domestic work. Camelia puts the economic chain into circulation by connecting the three videos, altering the language with a nod to the national debt and the time of the image in movement in contrast with the real time of the production of labor and merchandise.
I have replaced the word "object" with the word "labor. Eviction was imminent and I had a run in with the law. Whatever happened to Josefa, the owner of the apartment, is a well-kept and mysterious secret. Then came two years of court battles that were lost before they even began. The goodbye lasted just as long: I reconstructed each memory through my eyes and the beauty of that refuge. I wish I could have covered my ears. Can film and video coexist in the same film? Here, 16mm film and VHS video tapes need each other in order to exist.
Thanks to the transparent clear leader of 16mm acetate film, we can visualize in movement the materiality of the analogue video support, glued on top of the film, serving as skeleton and structure of the VHS tapes intervened. Both and none at the same time Jeff Zorrilla, Ignacio Tamarit. A defacing of the image of normality sold to the public en masse. We manipulate these images to express our visceral reaction as filmmakers and artists to the inauguration of Donald Trump as President of the United States, the disastrous yet logical conclusion of a system that is finally imploding before our eyes.
Pokhot is the story of two people who do not know each other but at the same time have some things in common. One is a Venezuelan sex worker, and the other is Ukrainian and an Orthodox Christian. Along the way the film focuses on the abundant life all around. A child's dream is indecipherable, we can only embrace that mystery without wanting to solve it and cinema gives us the privilege of trying tometaphorize that bewilderment. With brief descriptions, Mollenhauer examines how our inability to establish contact with the non-human has historically led us to take geological monuments as passive entities, ready to be occupied or used.
Taking into account this inability, the film uses the act of speculation as a method to uncover geological agencies in action. The film has a structure in which all the scenes have equal duration. In this way, the recording apparatus is converted into a measuring tool to explore transfigurations of time as a result of the encounter between the different trajectories that define the place. An investigation into time, its passing and its perception. Composition made from fragments of the recorded image and the space; a space made possible upon the screen. A series of videos. Founded in , the International Short Film Festival Oberhausen is one of the major international meeting places for the short form, unique in the range of forms and genres it presents to the public, and particularly well known for its spotlight on experimentation.
Oberhausen also operates a well-stocked video library, a non-commercial short film distribution branch and a unique archive of short films from over sixty years of festival history. In the festival received over 7, competition submissions from around countries. The festival screened a total of around films and registered around 1, accreditations and some 18, entries. The political films in the Resistance programme, ranging in date from to , often present quite an unpolished view of the world.
In the works, which occupy a continuum from documentary to essay and animation, filmmakers intervene, take a stand and protest on behalf of human rights, freedom and life itself. The programme is conceived as a journey through time, via the history of the festival and its film archive. It includes some of the most important award-winning political works shown in Oberhausen. The programme Despite Everything focuses on films which deal with harsh realities in very different artistic ways. In the Jiu Valley, once a traditional Romanian industrial area, parents now make long journeys to the West wherever they find work.
They return too rarely. Their children are a lot like orphans. The film gives us access to the demilitarised zone and immerses us into the heart of the personal memory of a soldier who tells us about his experience in a reconnaissance mission. A group of peasants enters La Estancia in search of their missing relatives.
Some survivors of the massacre hide in the forest wandering around in shock. Images of stones thrown and beatings blend in with humorous digressions, cinematographic critiques, and the obligatory tea ritual of Arab hospitality. The Labour Reform for the super wealth of businessmen. A World Coup in Brazil. This project explores through my family history the political parallelism between Spain and Guatemala during the 20th century, with their respective wars and post wars.
The thread for this exploration is given by the madness due to the case of schizophrenia of my brother and delirium due to the alcoholism of my father. The approach of this political history was made as a victim and as a victimizer, having in mind how easy is to go from one side to the other and the terrible and corrosive apathy from the society. Quehuaya is the story told by a fisherman on Lake Titicaca, about an island that only exists once a year, during the rainy season. His story transports us to the origins of the lake, the customs of its people, their language and the close relationship they have had with the water for centuries.
A warlock reads the future of the water in the coca leaves. He alerts us to what the future holds for a civilization that refuses to disappear. Using found footage, The Space Shuttle Challenger connects the Challenger disaster, Guantanamo Bay, the Pinochet coup and the experience of being sixteen. It reflects on the personal impact of major events in world history, and the small moments of hope that survive. Karen Akerman, Miguel Seabra Lopes. I know it's false, an induced error, but This video was made with footage collected from the CD-ROM for the Encarta 98 encyclopaedia and footage made especially for the piece.
It narrates and confronts two logics or forms of storytelling. One is the information from the Encarta 98 with which I used to play as a child. The other is a dream. My voice narrates the video in Spanish, while subtitles in English are provided. The English subtitles intentionally omit part of the information given by the voiceover. The video plays with language hierarchies, changing the role of those who read the subtitles, delivering less information to non-Spanish speakers, making them aware of the lack of information delivered.
The work also emphasizes the history of science as a form of hegemonic storytelling. Starting from a series of weekly meetings with a group of people from the Villa slum in Buenos Aires, this project became a documentary, bringing out a rich variety of points of view, mostly from the slum inhabitants themselves.
With the purpose of bringing audiovisual production closer to them, these individual stories are intermingled in a series of images that build as a whole and from what is missing a search for identity and collective memory. Watching cinema, we spend half the time in complete darkness without being able to perceive it because of the effect of retention of images in our brain. Exercises in Disappearing is a brief questioning about the gaze, its limits, what we show, what others hide from us, what lives behind the curtain, out of frame, or just disappears from our field of vision. The colours on the screen turned red and magenta.
As far as they were concerned, it was still functioning perfectly. This anecdote gave the name to Life in Red, a project begun in , which takes as its starting point the private and political life of my family. It is an artistic investigation into the history of communism in the twentieth century, the use of personal documents to reflect on history, and the change of representation of images and words in different times and contexts.