The morning and afternoon lecture program will be moderated by “Alternative Fictions”, a collective of visual anthropologists who use film and ethnography to explore issues surrounding representation. They also facilitate interactive spaces to engage in these conversations and continually seek to find new ways to explore the intersections between art, media and academia.

Dastevezi is a new hybrid-journal/archive hosted by the University of Heidelberg and founded by Jürgen Schaflechner and Max Kramer. The journal/archive is committed to promoting various modes of knowing by offering a platform for knowledge production and research on South Asia in both audio-visual and textual forms. (more…)

“United Screens” is a long term research and exhibition project that intends to create a platform through which a network of community cinema programmers can be enabled to screen quality alternative cinema, from a de-centrally curated database of alternative cinema/video works. (more…)

In the current political climate in India, any act or voice of dissent is considered a ‘protest’. In such a setting, what then really constitutes a protest? In his lecture Ujjwal Utkarsh will scrutinise the possibility and the potential of the observational form of film making as a form of radical film making. (more…)

The “Palestinian Film Unit” (PFU) was a collective of film makers and researchers founded in the 1960s, who engaged in the production of films and documentaries within the framework of the “Third Cinema movement”. During the Lebanese Civil War in 1982, the PFU archive was bombed, and most of the archival materials were destroyed. Only the few films that were sent to film festivals in Europe and the Arab world survived. (more…)

For the Radical Film Network workshop Emilia Kurylowicz invites the participants to play with the “dreams” that the highly commercialised music industry is trying to sell us on a daily basis and take the “risk” of singing about mundane or problematic things. (more…)

The interrupted screening comes from two basic premises: 1) radical films alone don’t necessarily encourage action beyond the movie theatre; 2) the screening practices prevalent in the exhibition contexts where radical film culture is lived are not necessarily radical. (more…)

We understand the body as the place where thought and practice, art and life intersect to go across creation. How do we train the body to be aware of being contemporary? (more…)

In the mid Eighties at the German Film and Television Academy in West-Berlin, a second generation of video activism was growing up – mostly in night shifts at the school´s one and only 3/4 inch video editing studio, room “546”. (more…)

LCVA is preserving the work of the Community Video movement in the 1970s and 80s, in London and South East England. In the early 1970s portable video recording equipment became available, and for the first time it was possible for individuals and communities (outside of mainstream broadcasting) to make their own television. (more…)

Oliver Ressler’s work has focused on global warming as a central theme ever since he first began to exhibit. One of his first solo exhibitions was “100 Years of Greenhouse Effect” at Salzburger Kunstverein (1996). Several exhibitions, films, installations, billboards and photographic works on the theme have followed since then. (more…)

The video “O que nos nutre” was commissioned by the Goethe-Institute Rio, Brazil. The German curator invited a group of artists with the intention to show the first “Indigenous World Games”, an Olympiad of indigenous peoples, as an “innocent” counterpart of the Rio Olympics. (more…)

In “One plus one” (1968), Godard famously proclaimed: If an intellectual wants to be revolutionary, he has to stop being an intellectual. Many notions of radicality around 1968 are struggling with the question how the relation between thinking/aesthetics on the one hand and acting/politics on the other can be overcome. Does one need to take sides? If so, which side would it have to be? Is it a false dichotomy in the first place? (more…)

Daniel H. Mutibwa’s recently published book titled “Cultural Protest in Journalism, Documentary Films and the Arts: Between Protest and Professionalisation” takes a transnational and interdisciplinary approach encompassing a range of theoretical perspectives (more…)

Artists Zayne Armstrong and Ellinor Aurora Aasgaard will introduce their experimental serial moving-image project Days, which emerged from a common need for alternatives to state and commercial media funding. The series is a fictional drama, based on the long-running, U.S. daytime television soap opera Days of Our Lives. (more…)

I freely tell stories that appeal to cineastes and fine art viewers and that challenge the traditional seeking audience very much. I don’t seek the positive opinion of the audience, but research in my field of film, formally and interdisciplinarily. I mix cartoon with experimental and real film, feature film with performance and music video. (more…)

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