Workshop Presentations

Débora Butruce – Brazilian Audiovisual Heritage at Risk | Andrés Felipe Uribe Cárdenas – Mother’s Day | Ifeatu Nnaobi – Filmmaking for empowerment in marginalised communities | Michael Jenkins – Echoes of Our Ancestors, reflecting on the ghosts of the past | Khahliso Matela – Series: Projections | Yulia Gilich – How to Strike in a Pandemic | Şirin Fulya Erensoy – “Why can’t I walk in my own country?” LGBTI+ community’s Visual Activism in Turkey | Merve Namlı – LGBTI+ Narratives in Late Turkish Cinema | Dana Lorenz – The Re-Appropriation of the Gaze | Mathias Gatti – DOCKLESS: behind the sharing bikes without dockstation | Ainize Sarasola – Mallorca agosto 2019, quit or continue, existential crisis under the sun | Hana Yoo – Splendour in the grass: animal, woman, and utopia | Achim Lengerer – Notes towards “A Year With 52 Days. The Microcinema of Goh Harada“ | Miguel Mitlag – One foot after the other | Gargantúa Guerrilla-Projection Magazine – Guerrilla-Projections: art, activism and politics in the periphery | Unidad de Montaje Dialéctico (UMD) – Theses on Cavern Cinema | Dan Dansen – Survivor Manifesto. A Journey Into The Unknown | Patricia Silva – Fragments from an untitled work-in-progress | Ash Moniz – Akinetopsia and the Time of Supply | Sohrab Hura – A proposition of departure “The lost head and the bird”

 

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On August 7, 2020, I accompanied the 9-hour visit of the delivery of the keys of the Cinemateca Brasileira to the federal government. On that occasion, the government promised that in 15 days everything would be resolved and the Cinemateca would resume activities, with its technical staff hired. (more…)

The communication tactics of the Colombian government in the context of a chronic armed conflict have taken the social media channels to mansplaining ideology on a contemporary massive media level. Founded in 2018, this ready-made video art piece shows the rhetoric of the patriarchal discourse of the so-called “low intensity” war. Here, the army is celebrating Mother’s Day by using soldiers to make fanatical affective statements about the role of women in society using a religious heroic language very much symptomatic of a fascist regime. This cinematographic production makes direct quotations of the spectacular education of American action movies embodied by the military themselves. (more…)

This talk examines the role of community filmmaking within the communities that the films are made in. Documentary films can play a critical role in building public support and engaging policymakers to advance reforms needed to increase access to justice. Additionally, the act of making films in marginalised communities can be a form of empowerment within those communities. (more…)

Michael Jenkins uses audio visuals to reflect on the port city of Bristol and its connection to the African Diaspora.

 

Michael Jenkins is a self-shooting, director, producer and writer of film and TV.He was recently voted among the 100 most influential people in Bristol in the BME power list 2018. An award winning filmmaker, he won Best Short film for ‘Check the Label’ at The Royal Television Society Awards 2018 and won two BBC Local Radio Gillard Awards for the Diversity and Community award categories. He recently directed his first short for CBBC called Topknot or not. Currently part of the BAFTA/BFI Network Crew 2020 as well as a TV Collective Future Breakthrough Leader. A short film he has written and directed – Pickney – funded by the BFI, is currently doing the festival circuit.

Any township with its ‘not-so-temporary’ structural decorum of shacks radiates a claustrophobic air of poverty, contorted dreams and unsavory dilemmas of morality for our survivalist needs. The innocuous inner turmoil experienced often by those who reside here, is eventually externalized in other forms of violence and abandonment. For artists immersed in this existence, there tends to develop a personalized architecture of inner conflict, which then informs the art used to reconfigure all their creative output and responses to crisis. (more…)

Graduate student workers at the University of California were on strike when the COVID-19 pandemic hit the state. The picket line the strikers held for over a month at the entrance to the university became unsafe and ineffective as all in-person campus operations were halted. Yet, we decided to continue the strike: remote teaching translated into remote striking; the picket line went digital; and disruptions became mediated. (more…)

The LGBTI+ community has been the target of Turkish government’s growing hostility. Since 2014, the Istanbul Governor’s Office has banned the Pride March. Yet, LGBTI+ individuals and their allies still gather to celebrate and demand their rights every year. As a result of the relentless hate speech and violence directed at them, LGBTI+ community members have become activists in their own right. (more…)

Since the 1960s, there has been more visibility of queer characters and themes in Turkish cinema. The last decade has especially witnessed more daring and authentic storytelling of LGBT+ narratives in contrast to the ever-rising oppression and censorship of the political and social powers.The focus of this short lecture is to outline the transforming representations in queer cinema practices in Turkey. (more…)

The video work Re-Writing Gaze shows five different portrait situations of women* who open up a sensual space in an intimate gaze relationship with the artist. In an examination of the theory of Female Gaze, the work questions conventional looking and being looked at, as well as binary identities. In a re-appropriation of the gaze, her protagonists look back self-confidently at the viewers and thus critically question the canonized image of women* in our collective pictorial memory. (more…)

In the last years a bunch of tech-companies appeared, promising to improve mobility issues in cities around the globe. Eco-friendly and community discourses are part of their strategies. DOCKLESS is a video that exposes the fallacy of these statements and defends the bicycle as a tool for autonomy. The short lecture will show some cuts of the video, introducing what is behind the business of sharing bikes without a dockstation. (more…)

A contemplation on the question: Why do I keep on making films?

 

Ainize Sarasola, Artist-Filmaker. I am originally from Orio, a small village in the Basque Country. After studying fine arts in Bilbao I moved to Berlin. I have been here for years now doing movies and art.

The project started with inspiration from an experiment conducted on cattle at a dairy farm in Moscow, showing them a virtual image of peaceful grassland on a cow-customized VR headset. The article that describes this experiment implies the VR experiment reduces the anxiety of cows and has shown a possible increase in milk production. (more…)

In 2019 Lengerer visited his friend, the Japanese filmmaker Goh Harrada, in Tokyo. Presenting sketch-footage of the trip, excerpts from Harrada’s digitial films, and excerpts of conversations between Lengerer and Harrada about socially normed conditions of labour, filmmaking as a “small form” of a resistant, amateurish practice in a highly efficient meritocracy, the contribution aims to articulate the complex transcultural negotiations of a long-standing friendship between Frankfurt, Berlin, and Tokyo. (more…)

A brief description on the process of recording reality with a cheap super 8 camera in the context of digital technology.

 

Miguel Mitlag, born in Buenos Aires, Argentina, lives in Berlin. Film studies at the Universidad del Cine Buenos Aires and photography at I.C.P. New York. Besides experimental and documentary filmmaking, Mitlag is also a Visual Artist and participate regularly in exhibitions. Since 2017 Mitlag runs Carrots Tapes, a music label from Berlin focused on releasing sound artifacts on cassette.

We will explore tactics and methods artists and activists are using projectors in public space to influence and invade with art and political messages. We will take a close look at Gargantúa Guerrilla-Projection Magazine and the research archive being presented, talk about the Latin-American scene of guerrilla projections, its contents, its logics of organization, collaboration, artwork deployment strategies and, yes, guerrilla tactics for arts in the midst of social and political crisis in the region. (more…)

This fragmentary film essay, written in the form of a series of Theses (in the style of Luther’s 95 Theses or Marx’s Theses on Feuerbach), explores the principles of Cavern Cinema, a radical way of making and watching cinema in a (post-)pandemic world.

 

The Unidad de Montaje Dialéctico (UMD) is a research agency and a faceless artistic collective established in 2020. Their refusal to show their faces and to use proper names stems from a defense of clandestinity and collectivity as a tactic to confront the logic of the spectacle and the industrial-celebrity complex.

“Survivor Manifesto – A Journey Into The Unknown” is a politcal video essay on survivorhood. Based on material Dan Dansen has gathered for the feature documentary “Wandering Between Worlds” a multitude of trauma survivor voices casts a wild utopian vision of another society. (more…)

Playing with elasticities and elongations of montage, this short work contemplates the visual scales of what passes for social realism in contemporary Western media. To read the news is to climb a mountain of harrowing images only to realize that the reader is really at the bottom of a funnel. This visual study questions the role of iconographies, the malleability of meaning, and the potential spaces within filmic language. (more…)

My current research project is based around the abstractions, modes of representability, and constitutions of time that shape the securitization of supply-chain logistics. In doing so, my written and filmic work manifests how the criminalization of transport workers forms a dramaturgical relationship between prop and property, such that cargo (property) operates as a characterizing index (prop) for the worker who’s “responsible” for its potential loss. (more…)

A disorientating and absurd world, where the boundaries between fact and fiction blur, and the undercurrents of hysteria, rage, euphoria and violence lurk beneath the surface, erupting in ever more frequent outbursts. The Lost Head & The Bird explores a frighteningly fast-changing, post-truth world where actions are fueled by appeals to emotions and facts are increasingly ignored. (more…)