5 5th Avant-garde Film Festival

GREEK FILM ARCHIVE

CULTURAL ORGANISATION CITY OF ATHENS

5 5th Avant-garde Film Festival

13-22 M 200813-22 May 2008

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GREEK FILM ARCHIVE

BOARD OF DIRECTORS

Nikos KoundourosPresident

Theodoros AdamopoulosVice President

aria KomninosGen. Secretary

Evangelos SorogasTreasurer

Chryssanthi Sotiropoulou Member

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5th Avant-garde Film FestivalChallenging and Creative

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The Avant-garde Film Festival, an initiative of the Greek Film Archive Foundation, aims atcultivating a new cinephilia, to mark the move of Tainiothiki at the Lais movie theatre.Thusa festival which proposes a rich programme that combines contemporary and pre-war avant-garde cinema with the gender problematic and films proposing debates on aesthetic andsocial critique.

The festival is organised around two main events. An expansive exhibition of the work ofVALIE EXPORT at the Athens School of Fine Arts and film screenings at the Trianon movietheatre, together with lectures by visiting artists, which will take place at the auditoriumsof the Athens Journalists Guild and Athens University.The Greek public will thus be pre-sented with the opportunity to meet some of the most important artists of the contem-porary avant-garde, of which and most prominent is the Austrian artist VALIE EXPORT, whohas developed her unique style in her work as a performance and installations artist andas a filmmaker. A brief reference to the other important artists, events and themes that com-pose the festival is necessary:

Screening of the film Seven Easy Pieces, by Marina Abramovic by Babette Mangolte.

Retrospective of the work of Germaine Dulac, the French writer, journalist and filmmak-er, who pioneered the avant-garde movement before 1930.

Reflections that arise from the dialogue of gender studies are revealed in the tributes toHelke Sander and Laura Mulvey.The former worked within the framework of the radi-calisation of the students and womens movement in Germany in 1968, while the latter, aleading theorist, returns to her classic essay Visual Pleasures and Narrative Cinema with thecollaboration of Emma Hedditch.

A tribute to Greek women auteurs Eleni Alexandraki and Maria Iliou, who explore thesubjects of repatriation and female identity.

A Tribute to Udi Aloni.The Israeli artist examines the roots of the Israeli-Palestinian con-flict and reveals his mastery in image-making.

The tribute to Greek avant-garde cinema is especially interesting. It comprises two filmsby Costas Sfikas, one inspired by Marxs Capital and the other by Kafkas Metamorphosis.It also presents two films by Antouanetta Angelidi, who has created a unique style of avant-garde and gender poetics.The section also features a documentary by Stella Theodoraki,a performance by Pepi Rigopoulou based on her latest book, and new and interestingcomposition by Marsa Makris on violence.

The Greek documentary section features two award-winning films, one by Alida Dimitri-ou on the women who fought in the Greek resistance, and the other by Vouvoula Skoura,which is on the Lebanese poet Etal Adnan.

A digital blog in which five well-known Greek directors Lena Voudouri, Despina Karvela,Giorgos Karypidis,Thanasis Skroumbelos and Alexandros Papailiou focus on Athens.

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A tribute to Balkan filmmakers, held in collaboration with the Thessaloniki InternationalFilm festival and SEEDOX. It will be accompanied by a round-table discussion on Balkancinema production.

Selections from the Amsterdam Biennale and the Netherlands Film Museum featuring themasters of Dutch avant-garde filmmakers, and curated by Mark-Paul Meyer, curator of theDutch Film Archive.

Continuing last years initiative to support young artists, the festival presents the work ofstudents of the University of Athens Media Department, the Athens School of Fine Arts,the Thessaloniki University Film Studies Department and the Thessaly University De-partment of Architecture.

We believe that our programme will provide a challenging and creative Festival for all Athe-nians, as well as intellectual stimulation and aesthetic pleasures to the cinephiles.

Maria Komninos

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5th Avant-garde Film FestivalCulture as a Way of Life

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The word avant-garde regains its original subversive significance at the 5th Avant-gardeFilm Festival, organised by the Greek Film Archive Foundation. Over the course of tendays (May 13-22) film buffs and every restless Athenian art aficionado will be bombardedwith documentaries, shorts and features, as well as with lectures by pioneering artists whoonce influenced, and who continue to influence, our outlook on the events that take placewithin us and around us.This, after all, is the very essence of the avant-garde movement.

Through its avant-garde festivals, the Greek Film Archive Foundation has succeeded in es-tablishing an institution that promotes the diversity of the cinematic idiom and cultivates thegrowth of a new appreciation of cinema.

This year the 5th Festival reveals modern-day trends in avant-garde cinema but also castsa retrospective glance on those of the early 20th century. It showcases the restorationand digitisation work of the Film Archive and actively participates in establishing a networkof film archive foundations from around the world. Furthermore, the festival endeavours tobuild bridges in Southeast Europe and the Balkans by screening films from neighbouringcountries in an effort to create a better understanding of our respective cultures. Howev-er, the true stars of this years event are women filmmakers.

The highlight of this festival is the tribute to one of the most challenging figures of the in-ternational art scene, Austrian artist, performer, filmmaker and theorist VALIE EXPORT. Par-allel tributes will also be held for other prominent women in cinema, such as Germaine Du-lac, Helke Sander and Laura Mulvey, as well as Greek women filmmakers.

The Avant-garde Film Festival is organised in close collaboration with the City of Athens Cul-tural Organisation.The aims and pursuits of this festival are attuned to our own vision of cul-ture in Athens: a constant and lively pursuit of new perspectives and encounters betweenartists and citizens, with the aim of handing the torch of artistic questioning to every citizen.

As president of the Cultural Organisation, but also as a woman, I firmly believe in a cultur-al organisation that walks along the new paths forged by art, that supports true creativityand resists the narrow-mindedness that so often befalls such state-run bodies. Besides, ourslogan, as we have so often said, is Culture as a Way of Life.

Sophie Daskalaki-MitilineouPresident of the Board of the Cultural Organisation of the City of Athens

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23:30-01:00 Subjektitude ( 1966) 419 ( 1967/8) 48

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18:00-20:30 , , , , @thens Blogs ( 2007) 92 ( 2003) 7 Schreber vsSchreber ( 2008) 12

20:30-22:30 VALIE EXPORT (- 1976) 108

22:30-01:00 ( 1980/81) 138

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18:00-20:00 ( 1971)50 , 1, 5, 8( 1984, 1986, 1986) 11, 10,556

; ! (- 1986) 13 (- 1998) 63

20:00-21:30 (1921) 87

21:30-23:00 1( 1968-1996) 715 o -

23:00-01:00 ( 2006) 45 (- 2005)78

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18:00-19:30 ( 2005) 82

19:30-21:30 ( 2007) 107

21:30-23:30 ( 1920) 8 (1923) 38 (1927) 39

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23:30-01:00 2( 1968-1996) 85 o -

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20:00-21:00 Etel Adnan. ( 2007) 52

21:00-23:00 ( 1929) 12 ( 1929) 9 957 ( 1929) 6 ( 1928)40 - HNA .

23:00-01:00 ( 1983) 112

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18:00-20:00 H - ( 1925) 100

20:00-22:00 , ( 2007) 95

22:00-00:00 ( 2005) 74

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18:00-20:00 ( 2007) 75

20:00-23:00 , 1-2 ( 1991/2) 90, 102

23:00-01:00 ( 2005) 32 ( 2001) 90

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18:00-20:00 ( 2007) 60

20:00-22:30 VALIE EXPORT ( 1984) 90

22:30-00:30 ( 2002) 70

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18:00-19:45 male-stream. (- 2005) 92

19:45-22:00 (1982) 92 (2007) 20

22:00-00:00 ( 2006) 97

00:00-01:30 VALIE EXPORT -. - ( 1983) 73

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18:00-20:00 (2001) 110

20:00-22:00 (1974) 84

22:30-00:00 VALIE EXPORT . (- 1989) 30 ( 1966-1980) 8 ( 1966-1967) 130 (- 1966-1967) 1 (- 1971) 5 ( 1971-1972) 6 ( 1983) 18

MINIMAXIMUM,Trianon Film Center (21), 00:00

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17:30-19:30 - ( 1993) 80

19:30-21:00 Metamorphosis OFBY AA ( 1977,1985, 1995, 2001, 2007) 47 121280 Ritual ( 1980,2008) 15

21:00-23:30 ( 1967) 11 Redupers ( 1977)95

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Break the Power of Manipulators (Ger-many 1967-8) 48In presence of the filmmaker

MONDAY19 MAY

18:00-20:30 LENA VOUDOURI, DESPINAKARVELA, GIORGOS KARPIDIS,ALEXANDROS PAPAILIOU,THANASIS SKROUBELOS @thensBlogs (Greece 2007) 92In presence of the filmmakersMARSA MAKRIS Against the Wall(Greece 2003) 7In presence of the filmmakerPEPI RIGOPOULOU Schreber vsSchreber (Greece 2008) 12In presence of the filmmaker

20:30-22:30 VALIE EXPORT Invisible Adversaries(Austria 1976) 108

22:30-01:00 HELKE SANDER The SubjectiveFactor (Germany 1980-81) 138 In presence of the filmmaker

HELKE SANDERs Lecture,AthensUniversity, central building,Drakopoulou Auditorium,(30, Panepistimiou St.), 12:30.

TUESDAY 20 MAY

18:00-20:00 HELKE SANDERA Bonus for Irene (Germany 1971) 50From the Reports of Security Guardsand Patrol Services, 1, 5, 8 (Germany1984, 1986, 1986) 11, 10, 556Gluttony? Feeding! (Germany 1986) 13Mother Beast Mother Human (Ger-many 1998) 63

20:00-21:30 GERMAINE DULACThe Beautiful Woman without Mercy(France 1921) 78 Introduced by TAMI WILLIAMS

21:30-23:00 DUTCH EXPERIMENTAL PROGRAM 1(Netherlands 1968-1996) 78Introduced by MARK-PAUL MEYER

23:00-01:00 SRADJAN KECA After the War (Serbia2006) 45 In presence of the filmmaker NEDZAD BEGOVIC Totally Personal(Bosnia-Herzegovina 2005) 78

Round-table Discussion Bridges inthe Balkans and Southeast Europe,Athens Journalists Union (20a,Akadimias St.), 12:30

WEDNESDAY 21 MAY

18:00-19:30 ELENI ALEXANDRAKI The Womanwho Missed Home (Greece 2005) 82In presence of the filmmaker

19:30-21:30 ALIDA DIMITRIOU Birds in the Mire(Greece 2007) 107 In presence of the filmmaker

21:30-23:30 GERMAINE DULACThe Spanish Fete (France 1920) 8The Smiling Madame Beudet (France1923) 38Invitation to a Voyage (1927) 39 TheWoman on the other Side of the Cam-era: Germaine Dulac remembered byLon Danou (France 2005) 8 30The Ursulines Scandal (France 2007)15Introduced by Tami Williams

23:30-01:00 DUTCH EXPERIMENTAL PROGRAM 2 (Netherlands 1968-1996)85 Introduced by Mark-Paul Meyer

Tami Williamss Lecture,AthensUniversity, central building,Drakopoulou Auditorium,(30, Panepistimiou St.), 12:30

THURSDAY 22 MAY

18:00-20:00 YOUNG DIRECTORS EXPERIMENTAL MOVIES

20:00-21:00 VOUVOULA SKOURA Etel Adnan.Words in Exile (Greece 2007) 52 In presence of the filmmaker

21:00-23:00 Closure CeremonyGERMAINE DULACThemes and Variations (France 1929) 12Arabesques (France 1929) 9Disc 957 (France 1929) 6Introduced by Tami Williams The Seashell and the Clergyman (France1928) 40With live music composed and per-formed by MINAS I.ALEXIADIS

23:00-01:00 HELKE SANDER The Trouble with Love (Germany 1983)112

TUESDAY 13 MAY

18:00-20:00 GERMAINE DULAC The Soul of anArtist (France 1925) 100

20:00-22:00 BABETTE MANGOLTE Seven EasyPieces, by Marina Abramovic (USA 2007) 95

22:00-00:00 IVONA JUKA Facing the Day (Croatia2005) 74

WEDNESDAY 14 MAY

18:00-20:00 UDI ALONI A Film about Kashmir (Israel USA 2007) 75 In presence of the filmmaker

20:00-23:00 HELKE SANDER Liberators TakeLiberties, 1-2 (Germany 1991/2) 90, 102

23:00-01:00HELKE SANDERHannelore Mabry A Portrait (Germany 2005) 32Village (Germany 2001) 90

VALIE EXPORTs Exhibition Inaugu-ration, Athens School of Fine Arts(256, Pireos St.), Nikos KessanlisHall, 20:00

THURSDAY 15 MAY

18:00-20:00 COSTAS SFIKAS Metamorphosis (Greece 2007) 60In presence of the filmmaker

20:00-22:30 VALIE EXPORT The Practice of Love(Austria 1984) 90 In presence of the filmmaker

22:30-00:30 UDI ALONI Local Angel (Israel USA2002) 70 In presence of the filmmaker

VALIE EXPORTs Lecture,AthensUniversity, central building,Drakopoulou Auditorium, (30,Panepistimiou St.), 12:30.

FRIDAY16 MAY

18:00-19:45 HELKE SANDER In the Midst of Male-stream.Disputes on Strategy in the NewWomens Movement (Germany 2005)92

19:45-22:00LAURA MULVEY Crystal Gazing (UK 1982) 92Visual and Other Pleasures (UK 2007)20In presence of the filmmaker

22:00-00:00 UDI ALONI Forgiveness (Israel U.S.A.2006) 97 In presence of the filmmaker

00:00-01:30 VALIE EXPORT Action Art International(Austria 1983) 73

LAURA MULVEYs Lecture, Universi-ty of Athens, Kostis Palamas building,(48,Akadimias & Sina St.), 12:30

SATURDAY 17 MAY

18:00-20:00 MARIA ILIOU Alexandria (Greece 2001)110 In presence of the filmmaker

20:00-22:00 COSTAS SFIKAS The Model (Greece1974) 84In presence of the filmmaker

22:00-00:00 VALIE EXPORT Short FilmsElfriede Jelinek.News from Home (Aus-tria 1989) 30 Poems (Austria 1966-1980) 8Orgasm (Austria 1966-67) 130Selfportrait with Head (Austria 1966/67) 1Facing the Family (Austria 1971) 5Interrupted Line (Austria 1971-72) 9Syntactic Construction (Austria 1983)18

Concert by MINIMAXIMUM,Trianon Film Center (21,Kodrigtonos St.), 00:00

SUNDAY 18 MAY

17:30-19:30 STELLA THEODORAKI From the Uniqueto the Multiple (Greece 1993) 80In presence of the filmmaker

19:30-21:00 ANTOUANETTA ANGELIDI Metamorphosis OFBY AA (Greece 1977,1985, 1995, 2001, 2007) 47 T 121280 Ritual (Greece 1980,2008) 20 In presence of the filmmaker

21:00-23:30 HELKE SANDERSilvo (Germany 1967) 11Reduced Personality Redupers (Ger-many 1977) 95In presence of the filmmaker

23:30-01:00 HELKE SANDERSubjektitude (Germany 1966) 420

PROGRAMME OF EVENTS

VALIE EXPORT

VALIE EXPORTThe Experiment Is Not Yet Finished

orn in Linz,Austria in1940, VALIE EXPORT is anartist with a varied andcomplex artistic oeuvre,which is being presented inGreece for the first time.For over 30 years she hasbeen a dynamic figure onthe international art scene,starting with herassociation with theViennese Actionists, whoseactivities criticallyaddressed social andpolitical issues. Throughher installations,performances andcinematic narratives,EXPORT entangles thebody with technologicalmedia, revealing both thespiritual and emotionalaspects of her endeavours.She experiments on socialchange, addressing politicalissues in a personal andrefined manner.As anavant-garde artist, she haspaved the way for the next

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Like no other Austrian artist, EXPORT has carried the torch of womens so-cio-politically motivated art, and like no other artist, she has made clear that inthe overall cultural context,womens art means a sensitisation of aesthetics andnew concepts in terms of form and content. []Waltraud Lehner, alias VALIE EXPORT, after attending the technical school ofarts and crafts she escaped an early marriage to join the Viennese art scene,where she worked as a script girl, cutter and film extra from 1965 to 1968. Shesoon realised that at best women were tolerated in art as extras.A new name VALIE EXPORT, written in capital letters would become both a logo andartistic concept.The moving, technical image was her main theme from the startof her career; EXPORT never even entertained the idea of working with patri-archal art forms, such as painting which had a reputation as a purely male do-main. Instead of a brush, she reached for the camera, and usually for a film orvideo camera. In 1968 she was one of the founding members of the AustrianFilmmakers Co-operative and in the same year, at the 2nd Maraisiade, she wasawarded the prize for the festivals most political film, for Ping Pong. [] Sincethis time EXPORT has been represented at every international art exhibition

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generation by usingmodern audiovisualapplications.The subject-matter she has developedsince the 1960s is relatedto eternal and extremelytimely issues such asconscience, communicationand identity.VALIEEXPORT performs roles,experiments with differentmedia and at the sametime develops her owntheoretical approachesthrough her writing. Shehas been a professor andvisiting professor at manyuniversities in Europe andUSA. Her works areexhibited in the greatestcontemporary artmuseums and galleries.

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dealing with Body-Art: the list of venues ranges from the Centre Georges Pom-pidou, Paris, to the Museum of Modern Art, in New York [] and Vienna. []In the current installations, EXPORT uses new technologies such as com-puters and moving laser projections, in addition to objects, photographs,

video projections and sound, without changing herfundamental orientation on body and material-re-lated themes.The relation to language, which hasalways been an essential element in EXPORTs cre-ative oeuvre, thereby becomes even clearer. []VALIE EXPORTs work is never simply about for-mal, sculptural questions, but instead symbolic rep-resentations of reality, questioning the real andthe transformation of the real over the course ofhistory.Therefore, EXPORT says:The experimentis not yet finished. For me, experiment meansconstantly bringing things in a new, different dia-logue, not seeing any uniformity, clarity, but rather,to aim at changeability.

Brigitte HuckExtracts from the article VALIE EXPORT. Expanded Arts. BrigitteHuck is art historian-critic and curator of the exhibition on VALIEEXPORT at the Athens School of Fine Arts.

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/SCREENINGS AT CINEMATHEATER R

/ FEATURE FILMS

DIE PRAXIS DER LIEBE / / THE PRACTICE OF LOVE1984, 35mm, 90 /Direction Screenplay:VALIE EXPORT / Cinematography: JrgenSchmidt-Reitwein / Music:Stephen Ferguson, Harry Sokal /Cast:Adelheid Arndt, Rdiger Vogler,Hagnot Elischka, ../et al.:VALIE EXPORT, / Vienna Knigsmark & WullenweberFilmproduktion, / Hamburg

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The film begins with the filming of a tel-evision report on peepshows, a stage for the

feminist and post-feminist era, and address-es the separation of private from public, re-vealing the political dimension of the debate.The introduction stands out for the calm andbeauty it presents, so different to conven-tional views of the peepshow: as the cred-its roll,we see womens bodies projected onwomens bodies,a face in profile is seen againsta belly, eyes on hips, lips on shoulders.This ideal situation naturally lasts only for a shorttime as the reality of the peepshows of Ham-burg invades the soundtrack, a different mu-sic bringing a different pace.

UNSICHTBARE GEGNER / / INVISIBLE ADVERSARIES 1976, 16mm, 108 / Direction:VALIE EXPORT, Peter Weibel /Screenplay: Peter Weibel,VALIE EXPORT / Cinematography:WolfgangSimon / Cast: Susanne Widl,Peter Weibel, Helke Sander ../et al. / Producers: VALIE EXPORT

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/ THE PRACTICE OF LOVE

/ INVISIBLE ADVERSARIES

VALIE EXPORT MedialAnagrams - , - - , 15/5, 12:30

VALIE EXPORT will give alecture under the title Me-dial Anagrams at the AthensUniversity, central building,Drakopoulou Auditorium,15/5, 12:30.

Courtesy Charim Gallery Wien

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/INTERRUPTED LINE1971-1972, 16mm, 6 / Cinematography:VALIE EXPORT

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A line (a road) reflected in the wind-screen of a moving car, continues in therearview mirror.The forward motionand past motion are interrupted onlyby the moving car.The repeated inter-ruptions of the space/time line are asbig as a car.

SYNTAGMA / SYNTACTIC CONSTRUCTION1983, 16mm, 18 / Screenplay:VALIE EXPORT / Cinematography:Fritz Kober / Cast: Irmelin Hofer

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The film Syntactic Construction islike a persistent stare that one exchanges

with oneself looking through the eyesand looking through the camera. Re-flections of identity, the mirror as an im-penetrable surface, an inquisitive veil.The more the mirror reflects, the moreit head towards oblivion.

/ ORGASM1966/7, Normal 8mm, /blow-up 16mm, 130 /Cinematography Performance:VALIEEXPORT / Cast: Peter Weibel

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One of VALIE EXPORTs earliestfilms, Orgasm is a brief, matter-of-facttreatment of lust.The question of whetherthe man and woman actually had sexu-al intercourse and who was responsiblefor the womans orgasm remains open.

SELBSTPORTRAIT MIT KOPF / / SELF-PORTRAIT WITHHEAD1966/7, / transfer to DVD: 2003, Normal 8 mm, 1

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In her first self-portrait,VALIE EX-PORT wears a striking wig and caressesa womans breasts in slow motion, thenlasciviously bats her eyes.The brevity andslow motion are reminiscent of AndyWarhols Screen Tests, in which ever ysingle one of the faces movements be-comes visible.

. 18-8-88 / ELFRIEDEJELINEK. NEWS FROM HOME 18-8-881989,Video, 30 /Direction:VALIE EXPORT / Cinematography:Peter Roehsler / Editing: Hannes Deinbck

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Writer Elfriede Jelinek (of the nov-el The Piano Teacher) has repeatedlyoften spoken about her television-watching habits. She watches TV for

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Anna, a photographer and televisionreporter in Vienna, hears a radio reportabout an invasion of invisible aliens -the Hyksos - who intend to take overthe Earth and its inhabitants. But whatmakes VALIE EXPORTs film interest-ing is not just the subject,which is abouta young schizophrenic woman and herrelationship to a father figure/man, butalso the aesthetic style she suggests.The films aesthetic does not evolvethrough a clear separation between anormal, objective spatial environmentand that of an unnatural, schizophrenicdistortion and projection. In contrast,the films aesthetic evolves from thevery fact that it includes both points ofview.

/ DOCUMENTARY

AKTIONSKUNST INTERNATIONAL.DOKUMENTE ZUM INTER-NATIONALEN AKTIONISMUS / . / ACTIONART INTERNATIONAL 1989,Video, 73 / Screenplay:VALIE EXPORT / Interviews:Vito Acconci,Jean Baudrillard, Karen Finley, DickHiggens,Allan Kaprow, Otto Muehl,Jorgen Nash, Gina Pane, Mark Pauline /Survival Research Laboratories, GerhardRhm, Carolee Schneeman, Jens Jo/ rgenThorsen,Wolf Vostell / Cinematography: MichaelAnderson, Bert van Munster, JoeFriedman,Kurt Oblak, Peter Rhsler,Walter Khler, Erwin Mayer, Sepp Thoma

/ Producers: mungo-filmGmbH, / Commissioned byORF/Kunststcke

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The documentary Action Ar t Inter-national is about modern ar t move-ments from 1945 to the present. Itbegins by showing film footage and pho-tographic material relating to the In-ternational Situationists, Cobra, Spurand the Vienna Group in Europe, thenproceeds to the international Happeningand Fluxus movements, including Vien-nas Actionists, and then onto 1970s in-ternational body and performance art.The goal of these movements, all ofwhich were defined by artistic innova-tion and political provocation, was to

break ties with traditional art forms, toadopt reality as a means of expressionand to transcend the bounds of lan-guage, painting and theatre.

/ SHORT FILMS

/ REMOTE... REMOTE...1973, 16mm, 12 / loopK 16mm, / 16mm film projector,loop top / Cinematography: Didi / Editing Performance:VALIE EXPORT

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Human behaviour is influenced byevents in the past.There is, therefore, aspiritual parallel time running beside ob-jective time, where the prayers of angstand guilt, distortions that tear away theflesh, never fail to leave their mark.Thesegashes are where the drama of an es-say on the self is played out.Visibilitiesthat reveal what the past is in the pres-ent and the present in the past.

/ ACTIONART INTERNATIONAL

/ SYNTACTIC CONSTRUCTION / REMOTE... REMOTE...

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The nature of communication be-tween the sexes is predetermined inour society.The politics of behaviourthat our society imposes upon menand women can be represented inphysical forms.The escalator, headingdownwards, expresses existing com-munication systems in five separatephases.A man and a woman are con-nected by a rope tied around theirbodies.

GEDICHTE / / POEMS1966-1980,Video, 8 / Poetry Performance:VALIE EXPORT

VALIE EXPORT [] [] 1966

Abstracts of VALIE EXPORTs poetryI was born at the hospital whichbelongs to the city of Linz I suckled at the breast which belongs tomy motherI hid from the bombs that belonged tothe country of England I wore the clothes that belonged to mysister []I lived on money that belonged to myboyfriendI breathed the air that belonged to GodThats the life that belongs to me screamed with the voice that belongsto meI bit with the teeth that belong to meI scratched with the fingernails thatbelong to meI cried with the tears that belong to me [...]I slept with the dreams that belong to meThats the life that belongs to me1966

T / BODY TAPE 1970,Video, 4 / Performance:VALIE EXPORT / Site: Electric Cinema, / Amsterdam

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Touching | Boxing | Feeling | Hearing |Tasting | Pushing | Walking

In a series of witty, minimalist exer-cises that are introduced by mid-titles,VALIE EXPORT explores the relation-ship between words and action.

HAUCHTEXT: LIEBESGEDICHT / : / BREATH TEXT:LOVE POEM1970-73,Video, 2 / Performance:VALIEEXPORT

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powerfully simple performance inwhich VALIE EXPORT creates tensionby breathing compulsively.

RAUMSEHEN RAUMHREN / / SPACE-SEEING SPACE-HEARING1973/4,Video, / transferon DVD: 2003, 619 / Performance:VALIE EXPORT / Cinematography:Wink van Kempen, Henk Elenga,Frederic Kappelhof

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hours, yet it is rarely for pleasure orfor gaining knowledge. On the con-trary,TV shows are one of her favoritesubjects of study. On three separateoccasions of one single day, while sit-ting in her comfy chair, she commentson Austrian television news to VALIEEXPORT.

/ FACING A FAMILY1971, , / Video,TV Action, 5

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Two families sit facing one another,one inside the TV and the other inthe apar tment.The focus is not onthe programme, but on the reactionsto the programme, as the screen beingwatched by one family is also that be-ing watched by the other.This reaction,though, is the same as that of the audi-ence, because the reaction of this fam-ily is also/still a programme for the oth-

er family (extract from VALIE EXPORTSdraft notes).Facing a Family was originally broadcaston Austrian television on February 2,1971.

H / SCREENINGS AT ATHENSSCHOOL OF FINE ARTS

/ PERFORMANCES

- VALIE EXPORT

The films being screened are of VALIEEXPORTS performances

ASEMIE DIE UNFHIGKEIT,SICH DURCH MIENENSPIELAUSDRCKEN ZU KNNEN / / ASEMIE OR THEINABILITY EXPRESSINGONESELF THROUGH FACIALEXPRESSIONS VALIEEXPORT , 1973 / Filmed action of BodyPerformance by VALIE EXPORT in herVienna studio, in 1973, video 7 / Cinematography:Kurt Talos / Screenplay Performance: VALIE EXPORT / Material: , ,, , , ( ) /small podium, nails, bird, knife, hot wax,

liquid, human body (a dead bird wasused for the action)

- , -. , , - -, VALIE EXPORT - , .

This work documents a ritualisticperformance about asemia, or the in-ability to encode or comprehend signssuch as gestures. Using symbolic ma-terials hot wax, a knife, a dead bird as well as a text, EXPORT investi-gates human expression, and how com-munication can fail.

/ BODY POLITICSVideo, 1974, 3 / Cinematography:Peter Weibel / Cast: Hermann Hendrich / Performance:VALIEEXPORT

. - - - . - - .

/SPACE-SEEING SPACE-HEARING

T / BODY TAPE / ASEMIE /FACING A FAMILY

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TAPP und TASTKINO VALIEEXPORT, , - - -. , EXPORT (,, , ) . -, , , - - , . . , - , , . - , - .

Tap and Touch Cinema is one of VA-LIE EXPORTs most important proj-ects, a spectacular feminist action inwhich she protested the burgeoiseideology of the cinema establish-ment.With a simple box tied to herbare chest she went out into the streetsof several European cities (Vienna, Mu-nich,Amsterdam, London) and invit-ed people to visit the cinema for fiveminutes.The body of a woman becamethe screen, the film, which could notbe seen but was instead expanded toinclude another aspect of perception,the sense of touch.Tactile instead ofvisual communication. Sociological mod-

els, as reinforced in movies, are thusbroken down, new ones such as thesocialisation of sexuality emerge. Stopprivate ownership of eroticism, so-cialise sexuality.

SPLITSCREEN SOLIPSISMUS / /SPLIT SCREEN SOLIPSISM , /Expaned movie, film-installation 1968, 16mm, / 16mm film projector,loop top, 3 /Cinematography: VALIE EXPORT / Actor: Hubert Weniger( Generali Foundation /Generali Foundation Collection)

- . - ( - , ).

A strip of aluminum foil attached tothe screen mirrors the projected im-age.This achieves an illusory effect (oneboxer becomes two, another spars withhimself).

- / PING PONG , /Expanded movie, video-installation 1968,8mm, / transfer toDVD, 230 / loop / TV actionafter the film action of the same name, , -, , /

ping-pong table, rackets, balls, audience /Cinematography Performance:VALIE EXPORT

, - . - . , - - : -. -, - . - - (, -) ().

If you believe that physical and men-tal exercise is fun, then Ping-pong is foryou. Get the ball and the racket and tryto hit the areas shown on the screen.The relationship between screen andviewer is clearly defined, free of se-mantics: stimulation-response.The aes-thetics of conventional movies is aboutthe psychology of behaviour, the man-ner in which we communicate is an actof perception. Ping-pong reveals thepower game between the producer(director, screen) and the consumer(viewer).

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, - - (. 3) - - (. 6). - , EXPORT , , , - .

In the beginning, we see positionsin space and the sounds that have beenselected and classed together; thencomes their combinations in time (timeplasticity = melody) in a vividly geo-metrical manner.The six pieces are di-vided by a sequential classification ofthe elements, according to the will ofthe ar tist, a composition that beginswith the image-postion (No. 3) or thesound-audial composition (No. 6).Therecording was simultaneously a per-formance, because in reality the audi-ence saw VALIE EXPORT standing per-fectly still, while on screen she appearedto come nearer and go further away,to shrink or to grow, to go left andto go right, etc.

MANN & FRAU & ANIMAL / & & /MAN & WOMAN & ANIMAL1970-1973, 16mm, /transfer on DVD: 2003, 12 / Cinematography: Didi / Performance:VALIE EXPORT / Voice: Hermann Hendrich

(,, ), - (, , ) (,, ), , (, -, ). ( , -) .

Instead of the Holy Trinity theFather, the Son and the Holy Spirit instead of the earthly trinity (mother,family, nation), instead of the social trin-ity (father, mother, child), the film ad-dresses the true triad (man, woman,animal).What connects man and woman(not exclusively, but camouflaged) isthe story of nature.

/EXPANDED CINEMA

ADJUNGIERTE DISLOKATION /E /ADJUNCT DISLOCATIONS1973, 16 mm, 2 Super 8 ( DVD), 10 Super 8 / Super8 Cameras:VALIE EXPORT / Camera 16 mm:Hermann Hendrich / Performance:VALIE EXPORT ( GeneraliFoundation / Generali FoundationCollection)

-, Super 8 . , - , -

, . , - 16mm. , - , , .

The artist stands in space with one8mm camera mounted on her backand another on her chest. When shebends forward, one camera films theground, the other the sky, when shetwists sideways, both cameras docu-ment opposite side views, and so on.At the same time, these events arefilmed with a 16mm camera.Thus, thesurrounding space resembles a bodyin its own right, the extension of thebody, the environment.

TAPP UND TASTKINO / / TAP AND TOUCHCINEMA 1969, Video, 3 TAPP und TASTKINO = TAPP undTASTFILM (1968) , , Helmut Dinko Peter Hajek /Documentation of the first and secondbody and social action of expandedcinema TAPP und TASTKINO = TAPPund TASTFILM (1968) through photo-graphs, texts and a video from Munichby Peter Hajek and Helmut Dimko. / Performance:VALIE EXPORT

/TAP AND TOUCH CINEMA

/ SPLITSCREEN SOLIPSISM

- / PING PONG / ADJUNCTDISLOCATIONS

& & / MAN & WOMAN & ANIMAL

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GERMAINE DULACPure Cinema

Germaine Dulac (1882-1942), together with JeanEpstein is one of theleading representatives ofearly French avant-gardecinema of the 1920s and isconsidered to be one ofthe first women to standbehind the camera.Anactive feminist, she firstworked as a journalist andtheatre critic. In 1916 shefounded a smallproduction company withher husband whom shedivorced shortly after,before going on to sharethe rest of her life withher colleague Marie-AnneMalleville.With symbolismmaking its appearance as amajor influence from veryearly on in her work as afilmmaker (1915-1918),Dulacs struggle for purecinema, liberated frominfluences that wereoutside its world, runsthrough her entire opus in an effort to merge

1920, (1882-1942), . , . 1916 , , -. (1915-1918), , , : , (1919-1928) (1927) (1929) (1930-1936).

, 1920 1930, - - . ( Germaine Dulac, Ecrits sur le Cinema, . Paris Experimental,Paris 1994) -, 30 , -, . - , . 19, , , , - . , -, ( , ) - . annesfolles ( 20), -

Feminist, socialist, and pioneer filmmaker of the French avant-garde inthe 1920s and 30s, Germaine Dulac played a founding role in the evolutionof the cinema as both art and social practice. Beyond her theoretical writ-ings (Germaine Dulac, Ecrits sur le Cinema, ed. Paris Experimental, Paris 1994)and her passionate combat for the legitimization of the cinema, she direct-ed more than 30 fiction films, many developing new tendencies, from Im-pressionism to abstraction. She also made an equivalent number of news-reels and documentaries, which greatly enriched the landscape of non-fictioncinema.Her earliest films express the influences of 19th century symbolism,pre-Raphaelitepainting, Ibsens theatre, the music of Debussy and Chopin, as well as the dancesof Loe Fuller. Early on, Dulac forged the conviction that the cinema, by relyingon its own expressive means (life with its lines and forms,movement and rhythm),could visualise spiritual states, and transmit via sensation certain notions ofemancipation. In a society traumatised by war, and marked by a striking contrastbetween a conservative official moral discourse and the new liberties of les an-

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, , . , ,

. Germaine Dulac

Cinema as we conceive it today, is nothing but a mirror of other arts.Well, it is too great a thing to remain only a mirror ;it must be freed from its chains and be given its true personality. Germaine Dulac

, , - - , . , - , . -, , , , . , -, - : (1919), - , (1923),

nes folles (the Roaring Twenties), Dulac believed that the modern instrumentof cinema could express, better than any other art, the inner life and socialreality of the New Man, as well as the New Woman.To this end, she pio-neered new strategies and techniques, ranging from reflexive narrative struc-tures and performance styles to abstract visual associations and technical effects,which allowed her to communicate her progressive social ideas through an elab-orate signifying network based on suggestion. Thus, it is in her most commer-cial, as well as her most avant-garde films, that we discover the beauty, com-plexity and boldness of her oeuvre, and the delights of what she termed Pure

, , , . ,, , .

different cinematic genres:her commercial, as well asher more avant-gardefilms fromimpressionism (1919-1928),to surrealism (1927) andabstraction (1929), tonewsreels and scientificdocumentaries. Dulacwrote numerous articleson both practical andtheoretical aspects offilmmaking, gaveimpassioned lectures,edited a cinema journaland co-founded theFrench Federation ofCine-Clubs.Versatile,prolific, opinionated, andpolitically engaged, Dulacwas among the mosttireless advocates offilmmaking as anindependent art form.

, - (1928), , - . , - , . , 25 , , . - ( , ) (Lightcone) . , (1919-1927)

(1929) -.

Cinema.Until recently,however,and despite hervast contributions to thecinema, our knowledgeof her oeuvre has been

limited to a few films: notably La Fte espagnole (1919), based on a libretto byLouis Dulac; La Souriante Madame Beudet (1923), adapted from a play by An-dr Obey and Denys Amiel; and La Coquille et le Clergyman (1928) based on ascript by Antonin Artaud respectively considered the first Impressionist, femi-nist and surrealist films. Furthermore, while Anglophone and German-speakingresearchers have emphasised the feminist dimension of her work, the Franco-Italian tendency has been to focus on the innovative aesthetic aspects.Over the course of the years,more than 25 of her films have been found,whichnot only modify commonly held ideas regarding this filmmakers position in thehistory of cinema and art, but which also expand our perception of this his-tory.With the restoration of most of her films by sev-eral partners, a re-evaluation of her work is now pos-sible. More than one third of these works, includingfive impressionist films (1919-1927) and four abstractfilms (1929) will be presented here in Athens for yourdiscovery.

Tami Williams

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H . . , - Il Cinema Ritrovato . - Germaine Dulac, au del des impressions, .Association Franaise de Recherche sur lHistoire duCinma & Cineteca Bologna, 2006. , -, (,, ), - (, ,, , ).

Tami M. Williams is Assistant Professor in Film Studies at the Universityof Wisconsin, Milwaukee (USA). She is currently working on a book lengthmanuscript on 1920s French avant-garde filmmaker Germaine Dulac. It ex-amines the relationship between early 20th c. feminist writing and activismand subversive narrative and aesthetic strategies in 1920s and 30s avant-garde and commercial cinema. She curated film programmes on Dulac forthe Muse dOrsay (Paris), Il Cinema Ritrovato (Bologna) and the NationalGallery (Washington DC), and recently edited the anthology GermaineDulac: Au del des impressions (AFRHC/Cineteca Bologna). Her researchand teaching interests include Silent Cinema, Global Women Filmmaking,National Cinemas (USA, Europe,Asia, Middle East), and Film and the Oth-er Arts (music, dance, theater, painting, digital media).

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LA FE^TE ESPAGNOLE / / THE SPANISH FETE1920, 35 mm, 8 / Screenplay: Louis Dulac / Cinematography: PaulParguel / Cast: Eve Francis,Gaston Modot, Jean Toulout,Anna Gray

, - -, -. - - , , , - , , - -. , , , , . o (1919), - .

The Spanish Fete was credited byhistorian Georges Sadoul as the filmthat launched Frances first cinemato-graphic avant-garde, the Impressionistmovement.This surviving collage of twoor three short extracts also employsoutdoor settings, naturalistic acting, and,as Jean Epstein noted, a reflection onmovement and rhythm, the key fea-tures of Dulacs approach to cinema.In the original film, two male protag-

onists fight to the death over attrac-tive Soledad, who, unaffected by theircombat, leaves with a third male. Sim-ilar to La Cigarette (1919), this film re-flects the post-war crisis in masculini-ty and the gap between mens andwomens experience of the war.

LA BELLE DAME SANS MERCI / / THE BEAUTIFULWOMAN WITHOUT MERCY1921, 35mm, 87 / Screenplay:Irne Hillel-Erlanger / Cinematography:Jacques Oliver / Cast:Yolande Hill,TaniaDaleyme, Jean Toulout, Denise Lorys,Jean Tarride, Pierre Mareg, Lucien Glen,Louis Monfils

19 , La BelleDame sans merci femme fatale - . , - 19 , -, -. , - .

The film takes its title from JohnKeats early 19th century poem La BelleDame sans merci, and the mystical

femme fatale archetype eternalised bythe Pre-Raphaelite painters Water-house and Dicksee. In this highly per-sonal film, Dulac revisits the stereo-types of 19th-century art in order toset up a powerful caricature of herheroine, Lola de Sandoval, which shethen proceeds to deconstruct.To thisend, she employs symbolist mise-en-scne and associative montage.

LA SOURIANTE MADAMEBEUDET / / THE SMILINGMADAME BEUDET1923, 35mm, 38 / Screenplay:Andr Obey / Cinematography:A. Merrin / Cast: Germaine Dermoz,Alexandre Arquillire, Jean dYd,Madeleine Guitty,Yvette Grisier, RaoulPaoli,Thirard

- - . - - , - , . - - , , - . , - -

/ THE SPANISH FETE

/ THE BEAUTIFUL WOMAN WITHOUT MERCY

H Tami Williams - - -, - ,21/5,12:30

Tami Williams will give a lec-ture under the title PureCinema Choreographiesof Gender in the films ofGermaine Dulac at theAthens University, centralbuilding, Drakopoulou Audi-torium, 21/5, 12:30

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/ THE SEASHELL AND THE CLERGYMAN

/ Cast:Alexander Allin, GenicaAthanasiou, Lucien Bataille / Production:Germaine Dulac

* . / With live music composedand performed by Minas I.Alexiadis

- , 9 - 1928, , , - . - , - - . - . [...] - : ., - : . , -: -. [...], , ,

-, .

During its first public projection onFebruary 9, 1928, this film, which isbased on a script by surrealist poetAntonin Artaud, became the objectof a sharp and lively polemic that haslong been used to discredit Dulac.While the film was considered to bea betrayal of Artauds text, it can alsobe reread in the context of Dulacsconception of cinema as an essay onrhythm. Indeed, in describing the film,she writes, my entire effor t hasbeen to search for the harmonicpoints in the action of AntoninAr tauds script, and to link themthrough well-thought-out composedrhythms. [] wo sorts of rhythmexist: the rhythm of the image andthe rhythm of images. That is, a ges-ture should have a length which cor-responds to the harmonic value ofits expression and which is depend-ent on the rhythm that precedes orfollows it: rhythm in the image. Then,rhythm of images: a chord of severalharmonies. I can say that not onewas delivered by chance [] the ef-fects had less impor tance for methan the tempo, rhythm, and visualorchestration, of which they wereonly one component.

DISQUE 957 / 957 / DISC 9571929, 35mm, 6 / Screenplay: Germaine Dulac

( . 5 & 6 / based on Preludes n. 5 & 6by Frdric Chopin)

1929, 957, , - -, - - . . , - 957, - [...] . 5 6 . -, , - , - , .

Dulacs three 1929 abstract films,Disque 957, rabesques, and Themesand Variations, were the results of along period of reflection by the film-maker, who sought to create apure or integral cinema thatwould capture the essence of thenew medium and owe nothing tothe other arts. Each of these threestudies was designed to be playedsilent. The first one, Disque 957, is

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.

The Smiling Madame Beudet is con-sidered Dulacs Impressionist master-piece. Based on an avant-garde play ofthe same title by music aficionado andsports essayist Andr Obey, this filmpresents the inner life of a young mod-ern woman hoping to escape an op-pressive marriage. Her feminine pointof view and her desire to explore mod-ern life are communicated through ges-ture, movement, rhythm, and innovativetechnical effects.Dulac also employs ref-erences to Baudelaire,Debussy, and Pre-Raphaelite painting, which invite us tocompare the expressive capacity of thisnew medium to that of the other arts.

A^ ME DARTISTE / / THE SOULOF AN ARTIST1925, 35mm, 100 / Screenplay: Germaine Dulac,Alexander Volkoff / Cinematography: JulesKruger, Nicolas Toporkov / Cast: Ivan Ptrovich,Nicolas Koline, Mabel Poulton,YvetteAndryor, Henry Houry, JeanneBrangre, Flix Barr, Gina Mans,Charles Vanel, Lou Davy.

, - -; - -, -.

. -, 19 , - , - .

At the premiere of The Soul f anArtist, a text included in the programmeentitled Are you friends of the cine-ma? asked spectators to open theirspirits to a pure cinema, free from theother ar ts. In the film, Dulac fur therinterpolates the spectator in this regard.This backstage comedy, based on a late19th-century play by Danish poet Chris-tian Molbech, highlights the specificityof the cinematic medium in relation totheatre through its innovative use ofnewsreels, technical effects, and mise-en-abme.

LINVITATION AU VOYAGE / / INVITATION TO A VOYAGE1927, 35mm, 39 / Screenplay: Germaine Dulac / Cinematography:Paul Guichard, Lucien Bellavoine / Cast: Emma Gynt,Raymond Dubreuil, Robert Mirfeuil,Paul Lorbert,Tania Daleyme, DjemilAnik, Lucien Bataille

, - , , -

. , - , - - -. , - , - 957 (1929).

Dulac referred to Invitation to a Voy-age as a melody of images composedin response to cinema of the time,whichwas profoundly influenced by literatureand theatre. Named after a symbolistpoem by Baudelaire and a melody byDuparc, it is one of the best examplesof the directors cinema of suggestion,as it seeks to capture the slightest nu-ances of the evolving sentiments be-tween a young officer and a marriedwoman.The films movement, rhythm,and recurring cyclical motifs can also beseen as laying the groundwork for herpure films, such as Disque 957 (1929).

LA COQUILLE ET LECLERGYMAN / / THE SEASHELLAND THE CLERGYMAN* 1928, 35mm, 40 / Screenplay:Antonin Artaud / Cinematography:Paul Guichard

/ THE SMILING MADAME BEUDET

I / INVITATION TO A VOYAGE

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/ THEMES AND VARIATIONS

Germaine Dulacs assistant, LonDanou, recalls his conversations withthe pioneering director (1932-1939).

TUMULTE AUX URSULINES / / THEURSULINES SCANDAL / France 2007, 15 / Script:Alain Virmaux / Interview:Prosper Hillairet / Direction:Alexandre Deschamps, Nicolas Droin,Laurent Navarri

1928 - - . -, - , 9 1929, -. - -. , - - , -. O , - , - -. - ,- - 1920.

- (. Paris Exprimental). . , - - .

In 1928, Germaine Dulac shot thefilm The Seashell and the Clergymanwhich was based on the script of thesurrealist poet Antonin Artaud. How-ever, their co-operation ended in dis-pute which in fact culminated duringthe premiere of the film on February9, 1929 in Ursulines Studio.That night,as well as the scandal it caused, wasindelibly printed on film history. Shotin the same cinema as that of the pre-miere, this documentary gives an ac-count of the attack and booing againstDulac, primarily provoked by AntoninArtaud,Andr Breton and Louis Aragon.Alain Virmaux, a connoisseur in sur-realism and particularly Artauds, re-counts the period prior to the pre-miere and expounds the dif ferentversions of that night.Also, the docu-mentary pays tribute to the UrsulinesStudio, a landmark cinema of 1920savant-garde film.Alain Virmaux has published (ed. ParisExprimental) a book on the film TheSeashell and the Clergyman and the re-lationship between Artaud and Dulac.Prosper Hillairet is a professor and his-torian.Alexandre Deschamps, LaurentNavarri and Nicolas Droin are film-makers.

32

conceived of as a visual impression[] in listening to Frdric ChopinsPreludes n. 5 and 6. Its title and itsopening shot of lightplay on a spin-ning record not only announce thefilms dominant cyclical motif, butalso evoke one of the filmmakersmajor sources of inspiration in LoieFullers serpentine dances.

TUDE CINEGRAPHIQUE SURUNE ARABESQUE / /ARABESQUES1929, 35mm, 9 / Screenplay: Germaine Dulac( / based on twoarabesques by Claude Debussy)

( -, ), - , - . 957, - : , , , , , - , -, . - (, -, ) - ( ), - - .

In Arabesques, which Dulac con-ceived of as a cinegraphic ballet, it isthe form of the arabesque (found inmusic, decor, and choreography) thatdominates.While the motifs of wa-ter and light recall Disque 957, the filmsvisual structure is principally composedof variations on the arabesque: arcs oflight, water spouts, spider webs, bur-geoning trees, flowers and foliage, awomans smile, arms stretching, an armgiving rhythm to a rocking chair. It us-es natural elements (light, mirrors, wa-ter, and wind) and photographic tech-niques (multiple exposures and lenses)to distor t the various elements, orto intensify their design.

THE`MES ET VARIATIONS / /THEMES AND VARIATIONS1929, 35mm, 12 / Screenplay: Germaine Dulac

, - . - , , . - - , , ( ), . , -

( - ), - .

In Themes and Variations, thearabesque reappears via the theme ofthe dancer. Dulacs notes reveal thatshe organised the film based on theclassical musical structure of verse andrefrain, or as she states theme vari-ations reprise of a theme. Dulactakes dance as her central theme, andeffectuates a series of comparisons andcontrasts, or variations, between thedancer (as line and form), nature, andthe machine.The dancer, who com-bines movement and rhythm in a re-al-life form (unlike the painterly filmsof Viking Eggeling and Hans Richter),epitomises Dulacs conception of purecinema.

LA FEMME DE LAUTRE C^ T DELA CAMRA: LON DANOU,SOUVENIRS DUN TMOIN / : / THE WOMANON THE OTHER SIDE OF THECAMERA : GERMAINE DULAC,REMEMBERED BY LON DANOU / France 2005, eta, 10 / Direction:Tami Williams

, , (1932-1939).

/ ARABESQUES

,

HELKE SANDERFeet on the Earth, Head in the Clouds

Born in 1937 in BerlinHelke Sander, pioneer and protagonist of thefeminist movement, lefther mark on her era aswell as on cinema withher work. Her prize-winning oeuvre focuseson the contradictionsbetween politicalconscience and personalaction.She studied at theIda Ehre School ofDramatic Arts inHamburg (1957-1958). In1959 she married theFinnish writer MarkkuLahtela and had a son,Silvo. In Finland sheworked both as a theatreand television director.From 1966 to 1969 shestudied at the GermanAcademy of Film &Television in Berlin.In 1968she and a group of otherwomen founded theAction Committee on theLiberation of Women. Shefought for the abolition ofparagraph 218 (prohibitingabortion). In fact, she wasarrested for filming aprotest rally in favour ofthe abolition of thisparagraph and had hermaterial confiscated.Acting in her defencewere Otto Schilly andAlexander Kluge, and hercase reached as far asGerman parliament.In1973 Sander and her

1937 , , . . (1957-1958). 1959 . . 1966 1969 . 1968 . 218 ( ). .

Redupers : , . , -, . . , . . - , . - . 1965 , , - , . . , - . , . , Redupers . - , voiceover .

In the final scene of the film The All-Around Reduced Personality Redupers,Helke Sander herself summarises:How many things we fail to perceive al-though we are witness to our own times.Things do advance in this way, lit-tle by little, in doses.With feet on the earth and head in the clouds.The filmis not autobiographical, but it is authentic. It shows us three days in the lifeof a photographer who raises her child on her own. A life fragmented be-tween responsibilities, both personal and professional. Helke Sander wasall too familiar with the situation she describes. In 1965, when her marriageto Finn writer Markku Lahtela came to an end, she abandoned Finland, whereshe was theatre and television director, and returned with her six-year-oldson, Silvo, to Germany, where she tried to make a fresh start.This, her firstlong feature film, includes all the elements that later came to define her work:Daily routine and political discourse, a reality described to precision and theutopia of non-alienated work.Although her viewpoint is overtly feminist,Helke Sanders work cannot be facilely placed in the category of femalefilm.The peaceful scenes, the long exploratory journeys in Redupers revealher melancholic poetry as well as the signs of the times.And although this

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1966 - (DFFB). 850 - 32 . . : , . , - - . DFFB 68. , -. , Subjectitude, , RAF 1974 . - , -, - , : : , . - . , -

particular characteristic may remind us of Wim Wenders early film, the mon-tage of Sanders film and the voice-over commentary relates to AlexanderKluges aesthetics.The German Academy of Cinema and Television ofBerlin (DFFB) was founded in the autumn of 1966.Thirty-two men and three

women were selected from850 applicants. Helke Sanderwas one of the three women.The co-ordinator, Erwin Leiser,had his doubts: he asked her ifshe could handle the workload,being a single mother It wascertainly exhausting, Sanderremembers.To work I wastranslating into Finnish tostudy and to raise a child.Youhad to organise your time ef-ficiently.The DFFB was a for tress forthe 1968 students movement.Students perceived cinema asa means of enlightenment, asa means of awakening politi-cal awareness. In her first work,a short entitled Subjectitude,

, . 1973 1974 Frauen und Film, 1982. 1985 , 1989. , 1993. , . , , ., , (), . .B. ( , ).

colleague, director Claudiavon Alemann, founded the1st International Festivalfor Womens Films inBerlin, and the journalfrauen und film (Womenand Cinema) in 1974; sheserved as editor-in-chiefand writer until 1982.In1985 she was elected amember of the Academyof Arts in Berlin, a postshe later left in 1989. Sheco-founded the Instituteof Cinema and Televisionof Bremen that same yearand served as its co-director until 1993.Sandertaught at the HamburgSchool of Fine Arts, whilealso developing her skillsas a writer. Her work asan author includes TheThree Women K., h Lucy(short story) andLiberators Take Liberties.War. Rapes. Children(the book which servedas the basis of the film of the same title, whichshe co-authored withhistorian Barbara Johr).

, : -. . , . , - , - . , , . DieGeschichten der drei Damen K. ( .). Die Zeit - 1987. , -, . , : ., , . !.

Holger Meins, the first member of RAF to die in 1974 of hunger strike dur-ing his imprisonment, was in charge of the sound. Helke Sander was nev-er carried away by the revolutionary romanticism of the extra-parliamen-tary opposition movement that was flourishing at the time. She maintaineda distance from the practices of the socialist students union, though shedid agree with many of their positions: They put pressure on you: If youare not with us, then you are against us.And this was something I knewonly too well and didnt want any more of. In her second feature film, TheSubjective Factor, the main point she makes is: There are many things inTruth which are not truth.This, however, never prevented Helke Sanderfrom playing an active role.

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, . - , . . . - .

, , - , , , , - ext und ritik.

Within the general atmosphere of a new beginning for society, she becameone of the founders of the womens movement in Germany and alwaysconsidered filmmaking as a political art.However impressive her filmography may be, there are many projects thatnever left the drawing-board either due to the objections she encounteredor for lack of financial support.In the world of letters you dont have to ne-gotiate with banks, go begging to TV stations or fill in applications forsubsidies.As a writer, Helke Sanders success came with her very first book,Die Geschichten der drei Damen K. (The Three Women K.).The newspaperDie Zeit described it as the best literary dbut of the year 1987. Criticspraised it and the public devoured it, while it was also translated into manydifferent languages. On its English publication, Fay Weldon wrote: Aston-ishing book. Dynamic,An easy read, timely.A stimulating shot on new fem-inism more please! Yes, more please, even though the achievement ofevery goal demands a struggle from the very onset. Every one of HelkeSanders films was completed in spite of harsh conditions, and they con-stitute an integral part of German cinema indeed, her oeuvre has passedinto the annals of German history.Yet, she never compromised. She isnot disappointed or bitter. She continues to stand, with her feet on theearth and her head in the clouds.

Michael Tteberg

Extracts from the article of the same title of Michael Tteberg, German writer, film crit-ic, editor, among others, of Fassbinders works, co-editor of the literary journal ext undritik.

SUBJECTITUDE / SUBJECTITUDE1966, 4 19 / Screenplay: Helke Sander / Cinematography: GerdConradt / Cast: BarbaraLamers, Rdige Minow,Wolfgang Sippel / Production: DFFB ( , )

. -. .

Helke Sanders first film.Three ac-tors sit at a bus stop.The film is shotfrom the respective viewpoints of thedifferent characters.

O / SILVO1967, 11 / Screenplay: Helke Sander / Cinematography: GerdConradt / Cast: SilvoLahtela, Hartmut Sander, / friends of Sanders son / Production: DFFB

.

The daily routine of Sanders seven-year-old son.

BRECHT DIE MACHT DERMANIPULATEURE / / BREAK THEPOWER OF THE MANIPULATORS / Documentary 1967/8,48 / Screenplay Production: Helke Sander

/ Cinematography:Skip Norman

, - , - - 1968. Springer - Springer - -. - - Springer: Welt Bild. APO( ) , - -.

The realisation that what is publishedin newspapers is not simply objective in-formation, but serves various interestsand may be used to manipulate peoplewas one of the most important issuesthat the student movement of 68 wasinterested in.The principal aim of theSpringer Campaign was to prove thatthe extensive Springer Press networkwas representing the official U.S. versionof the Vietnam War and propagating thisnotion in its publications without givingcolumn space to any other viewpoint.Allthe extracts used in the feature film

are original quotations from Springer pa-pers:Die Welt, and Bild.The scenes relat-ing to the non-parliamentary oppositionare based on archival material,while thescenes with representatives of the busi-ness world are manufactured.

EINE PRMIE FR IRENE / / A BONUS FOR IRENE / Documentary 1971, 50 / Screenplay: Helke Sander / Cinematography:Christoph Roth / Cast: Gundula Schroeder,Sarah Schumann, Helga Foster, ../et al. / Production: F. Kramer,H. Sander

, . -, - , . , , , - - - .

The film portrays the domestic andworking life of Irene, a single mother oftwo.The surveillance camera the womendestroy at the end did not actually existin those days.The film was also conceivedas a sort of criticism of the Berlin work-ers film, which primarily followed con-flicts in the workplace, and was above allconcerned with the male worker.

/BREAK THE POWER OF THE MANIPULATORS

H , - -, 19/5, 12:30.

Helke Sander will give a lec-ture at the Athens University,central building,DrakopoulouAuditorium,19/5,12:30.

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/ THE TROUBLE WITH LOVE

, 1 / REPORTS OF SECURITYGUARDS AND PATROL SERVICES, 1

; - ;- .

How can a woman love a man with-out denying herself? Can two womenlove the same man without tearing eachother apart? Can a man love two womenwithout lying? What are the dilemmasof the families and friends of the par-ties involved? To this day these are re-curring and often painful questions.

AUS BERICHTEN DER WACH-UND PATROUILLENDIENSTE, 1 / , 1 / FROM THEREPORTS OF SECURITY GUARDSAND PATROL SERVICES, 11984, 11 / Screenplay: Helke Sander / Cinematography:Martin Gressmann Silvia Klaas / Performed bySilvia Klaas / Production:Helke Sander Filmproduktion

- - - . .

A mother with her two small childrenclimbs onto the arm of a constructioncrane and threatens to jump off if no af-fordable accommodation is made avail-able to her before nightfall.The film isbased on true events.

AUS BERICHTEN DER WACH-UND PATROUILLENDIENSTE, 5 / , 5 / FROM THEREPORTS OF SECURITY GUARDSAND PATROL SERVICES, 51986, 10 / Screenplay: Helke Sander / Cinematography:Eberhard Geick / Cast: Nina Franoszek,Jochen Baumert, Dominique Horwitz / Production: Helke SanderFilmproduktion

, . . - . -. - .

A man saves a woman from a rapistin a tunnel.He then rapes her himself.Apasser-by comes to the aid of the woman.The police arrest the wrong man.Thefilm is shot in one take and is based ona true story.

AUS BERICHTEN DER WACH-UND PATROUILLENDIENSTE, 8 / , 8 / FROM THEREPORTS OF SECURITY GUARDSAND PATROL SERVICES, 81986, 5 56 / Screenplay: Helke Sander / Cinematography:Martin Gressmann

/ Cast: Dinko Bogdanic,Burghart Klauner / Production: Helke SanderFilmproduktion

- . - .

A customer in a china shop repeatedlydemands a simple piece of information.The film is based on a true story.

VLLEREI? FTTERN! TEIL DESEPISODENFILMS SIEBENFRAUEN SIEBEN SNDEN / ; ! T /GLUTTONY? FEEDING! ONEEPISODE FROM THE FILMSEVEN WOMEN SEVEN SINS1986, 13 / Screenplay: Helke Sander,Drte Haak / Cinematography: NurithAviv / Cast: Gabriela Herz,Michael Dick / Production:Helke Sander Filmproduktion

. - . , - ...

A new take on original sin. Indeed,Eva did commit a sin.Her curiosity makesher human, but her generous gesture

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DIE ALLSEITIG REDUZIERTEPERSNLICHKEIT REDUPERS / REDUPERS /THE ALL-AROUND REDUCEDPERSONALITY REDUPERS1977, 95 / Screenplay: Helke Sander / Cinematography: KatiaForbert, Hille Sagel / Cast:Helke Sander, Joachim Baumann, FrankBurckner ../et al. / Production: Basis-Film-Verleih erlin, ZDF

, - 1960 70, - - . - - . - . , - . 16 . - .

Lenin,so avidly discussed by the WestGerman Left in the 60s and 70s,wrotethat under the Communist regime everyhousewife must learn to conduct stateaffairs.This film asks when exactly sheshould do so, considering the burden ofher daily tasks.The main character is not

a housewife, but a freelance photogra-pher living in West Berlin instead. Shehas a child, a boyfriend and artistic am-bitions, which means that she works a16-hour day.The film satirises the social-ist ideal of the all-round developed per-sonality and composes a sardonic com-mentary on why women rarely succeedin distinguishing themselves.

DER SUBJEKTIVE FAKTOR / /THE SUBJECTIVE FACTOR1980/81, 138 / Screenplay: Helke Sander / Cinematography:Martin Schfer / Music:Heiner Goebbels / Cast:Angelika Rommel, Nikolaus Dutsch,Dominik Bender .. / et al.: H. Sander ZDF

- ; ; -; -, - 1980 1967-1970. - - - ; , , , ; 1980 -. - , ,

.

Where does the womens movementoriginate? What was life like in a com-mune? How were discussions carriedout? Beginning with these questions, thefilm reconstructs through the 1980 per-spective the events that took placebetween 1967 and 1970.What wouldhave happened if certain people had act-ed differently, or not at all, at given pointsin time? What influence do individuals,the subjective factor, actually have onthe masses and on historical events? In1980 this was a very unpopular ques-tion. Using the example of the protag-onist,Anni, who lives with her child ina commune, the film implies that a move-ment promising a new beginning couldfall into the trap of dogmatism.

DER BEGINN ALLER SCHRECKENIST LIEBE / / THETROUBLE WITH LOVE1983, 112 / Screenplay: Helke Sander,Drte Haak / Cinematography:Martin Schfer / Music: Heiner Goebbels / Cast: Helke Sander, LouCastel, Rebecca Pauly .. / et al. / Production: Provobis, HelkeSander Filmproduktion, ZDF

; ; -

REDUPERS / REDUPERS , 8 / REPORTS OF SECURITYGUARDS AND PATROL SERVICES, 8

; ! /GLUTTONY? FEEDING!

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/ VILLAGE

13. ; ; - , , . -, - . , , - , .

A woman from the city moves to a vil-lage that has been inhabited since theStone Age, and is first mentioned in awritten source from the 13th century.What is she looking for? What does shefind? That history survives in objects, sto-ries, traditions.Today television dictatesnew rhythms and the excess of food insupermarkets creates new eating habits.The village may,perhaps,continue to func-tion as an exchange of experiences andthe yields of the earth,but its older func-tions are dying out.

MITTEN IM MALESTREAM.RICHTUNGSSTREITS IN DERNEUEN FRAUENBEWEGUNG / MALESTREAM. / IN THE MIDST OFTHE MALESTREAM. DISPUTESON STRATEGY IN THE NEWWOMENS MOVEMENT / Film essay2005, 92 / Screenplay Research

Production: Helke Sander / Cinematography: NurithAviv, Eberhard Geick /Cast: Halina Bendkowski, Gisela Erler,Peggi Liebisch, Johanna Mierendorff./et al.

- . . -. 40 . - . - : . - 40 - , .

Many women would like to have chil-dren.What they dont want is to be pun-ished by society because they do. Nordo they wish to raise children in an in-creasingly aggressive world.This problempreoccupied the womens movement inGermany some 40 years ago.Today thisdiscourse has almost been forgotten.Thedebate deals only with its consequences women on birth strike while oftenignoring those it concerns most:womenthemselves.The film uses documentarymaterial concerning the women move-ment 40 years ago, as well as extractsfrom a two-day discussion with eight

women which focused on the early daysof the new feminist movement.

HANNELORE MABRY EIN PORTT / HANNELOREMABRY A PORTRAIT2005, 32 /Screenplay Research Production: H.Sander / Cinematography:Alfred Tichawsky / Cast:Hannelore (Lorley) Mabry, MonikaBrandmair, Solveig Senft

: - (. 1930) - , -,, . - -, -. , - , .

Now almost forgotten: HanneloreMabry (born in 1930) was a womensrights activist, sociologist, actress and vo-cal critic of the Church. She workedwith the Frauenforum (Womens Fo-rum) toward establishing a feminist par-ty in which children would be centralto all political considerations.The womensmovement, which comprised youngerand younger members, embraced thistheoretical approach with decreasingfervour.

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of offering turns into a compulsion tofeed others.

BEFREIER UND BEFREITE, 1-2 / &, 1-2 /LIBERATORS TAKE LIBERTIES, 1-2 / Documentary 1991/92,1: 90, 2: 102 / Screenplay: Helke Sander / Cinematography:Hille Sagel / Music:WolfgangHamm / Production: BremerInstitut Film-Fernsehen, Helke SanderFilmproduktion,WDR

- 1945 - . , - -, , - . , - , - . -, , , , . . , - . , - Kunstmann

Verlag, 2005 Fischer TB.

The film is the result of many years ofscientific research into rape in Berlin andseveral other places in Germany in 1945.Accompanied by historian Barbara Johr,Helke Sander spent years going throughnational and international archives, therecords of hospitals,municipal district of-fices,various medical institutions,and phar-maceutical factories,as well as interviewingindividuals. In the first part of the film thewomen often for the first time in theirlives talk about their experience of rapeand the reaction of their families. FormerRed Army soldiers, male and female, re-late what they know about these events,or what they think or have heard aboutthem.The second part focuses on theconsequences.The children born of theseevents are given voice,while the film ex-amines the way the institutions dealt withthis phenomenon.The book, which wasfirst published under the same title byKunstmann Verlag publications, was re-released in 2005 by Fischer TB.

MUTTERTIER MUTTERMENSCH / / MOTHER BEAST MOTHER HUMAN / TV essay 1998, 63 / Screenplay Production:H. Sander /Cinematography: Philipp Pfeiffer, PatrickOrth / Cast:Claudia Richarz,Elisabeth Badinter,Marie Marcks, ../etal., / as Lucy H. Sander

, , - ,

: - - . . . -. : , , - . - , . - , - : ;

Lucy, an ape-like creature, our Africanancestor, claims that the first human be-ings were mothers: It was a mother thatbuilt a nest to protect her young.Thusshe invented the house. Her voice re-sounded through the dense vegetationto keep contact with her child.Thus sheinvented language.Women with similarproblems helped each other in givingbirth, in breast-feeding, in watching thechildren.Thus they invented the first di-vision of labour, setting the fundamentsof humanity.Today Lucy asks mothers,shaking her head:What on earth haveyou achieved since?

DORF / / VILLAGE / Documentary 2001, 90 / Screenplay: Helke Sander / Cinematography:Roswitha Ziegler / Music:Barbara Milde / Cast: KVillagers of Kortenbeck /Production: Helke Sander, mdr, NDR

, 1-2 / LIBERATORS TAKE LIBERTIES, 1-2

MALESTREAM / IN THE MIDST OF THE MALESTREAM

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LAURA MALVEYPolitical-aesthetic Innovation

Laura Mulvey was born inOxford n August, 1941.After studying history atOxford University, shebecame a film critic. In1975, her essay VisualPleasure and NarrativeCinema, helped establishfeminist film theory as alegitimate field of study.With her ex-husband, alsoa prominent critic andexperimental filmmaker,Peter Wollen, she made sixfilms, Riddles of the Sphinxbeing the most influential.She is currently working asa professor of film andmedia studies at Birbeck,Univesity of London.Mulveys most recentbook is entitled Death 24xa Second: Stillness and theMoving Image (2006).

M, , - , . , - - - . - . M . . - - . - , , - - . o M, -, .

Laura Mulveys writing, both in her theoretical and her cinema work, iscoloured first by hope and later by disappointment for the fate of the femi-nist movement and this renders her work both fascinating and thought pro-voking. She was the first to elaborate a feminist critique of the structuralismof Metz and Lacan and to contest their phalologocentism by proposing an avant-guard feminist film making practice.Her feminist manifesto aimed at giving ex-pression to the demands of a radicalized feminist movement. Her voyagesand her itinerary as a modern flaneur constitute the most fascinating aspectsof her oeuvre. She is both attracted and repulsed by the images of women inthe world. She contrasts the extreme degradation of the feminine form as de-picted by Allan Jones to the sublime expression of the poor Mexican motherin the photographs of Tina Modotti and the portrayal of the black suffering Vir-gin in the paintings of Frida Kahlo.Her work in films prepares the ground for a project which in her own words aimsat "political and aesthetic innovation in cinema not merely as juxtaposition.Thiswas expressed in her films many of which were co-directed with Peter Wollen.In her recent work she has collaborated with visual artist Emma Heditch.

Maria Komninos

1941. .To 1975, . , , . . . 24 (2006).

- , 16/5, 12:30.

Laura Mulvey will give a le-cture at the University ofAthens,Kostis Palamas build-ing, 16/5, 12:30.

/ CRYSTAL GAZING1982, 92 / Screenplay: Laura Mulvey, PeterWollen / Cinematography:Diane Tammes / Editing:Larry Sider / Music: Lora Logic,Mike Altman / Cast: GavinRichards, Lora Logic, Mary Maddox

- . - o . - . - , . , . - , - .

L.Mulveys and P. Wollens glances meeton the tableau of the Thatcher recession.Thefilm describes the social impact of the Iron

Lady policies.The artists-critics draw theirinspiration from Godard. Still images andtheir revolving and crystalline approach makefor a sense of detachment.The film may beslightly unpalatable for scholars of semiotics,psychoanalysis and critique in general, as thedeath grip tightens and leaves a televisedmessage in trust.The film was criticised fornot having enough of a feminist foothold, yetLora Logic and Mary Maddox play positivecharacters with female virtues.

/VISUAL AND OTHER PLEASURES2007, 20 / Screenplay Editing: Laura Mulvey, Emma Hedditch

- - - . - - . - , - , - 2007. - , .

In this video Laura Mulvey re-reads herseminal critique on the manner in which thefemale image was treated in relation tosex and carnal pleasure by Hollywood.A re-turn to these trends through visualisationadds another point in the body of critiqueinspired by Mulvey. In collaboration with vi-sual artist Emma Hedditch, they organisedthe event in the Whitechapel gallery in Lon-don in June 2007.We have the honour topresent Laura Mulvey as guest of our festi-val. She has re-worked her material and pres-ents it to us in person.

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UDI ALONIThe Truth Is an Effect of Art

Born in Tel Aviv in 1959,Udi Aloni studied art inIsrael and Dusseldorf. ehas lived and worked asan artist in New Yorksince 1995, where he hasalso enjoyed a successfulcareer in advertising.Aloniregards his films as acontinuation of his workas a artist, which includeshis project The Book ofSham (1995) and theinteractive exhibition Re-U-Man (MetropolitanMuseum, New York, 1996).

, , -, , - -. , , , , - . - , , - , - . - . , GilgulMechilot, , - , , - , . , The Dimensions of Art, : : - , ,

The idiom of Israeli director, Udi Aloni, be it in print, cinema or the visualarts, is constantly in search of common ground,of an exciting platform of dis-course and dialogue between theology and politics. In every one of his activi-ties, from university lectures to conferences and demonstrations,Aloni repre-sents a strong voice in the service of justice, peace, solidarity and love betweenIsrael and Palestine.Both his films and his visual art projects have been displayedat some of the worlds top museums, galleries, and film festivals, such as theMetropolitan Museum in New York, the Israel Museum in Jerusalem, and the in-ternational film festivals of Berlin,Toronto, and Buenos Aires. Over the pastfive years,Aloni has concentrated on making films and writing. His book GilgulMechilot, as well as in his feature film, Local Angel, include extracts from his cor-respondence with some of the most pre-eminent philosophers of our times,including Slavoj Zizek,Alain Badiou,Avital Ronell, and Judith Butler, who see inhim a unique and revolutionary intellectual.In his article The Dimensions of Art Alain Badiou says of Alonis film Forgive-ness:I want to insist on the following point: what this film tells us, its Idea, is inno way a political thesis in the current sense of the term.The truth is inscribed,

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1959, . 1995, . , Book of Sham (1995) Re-U-Man (, , 1996).

49

. - . . , . : , . - : - , - ( ). : -, : . - , . . , - , .

here, in art.The truth is an effect of art.The film shows in the same shot whatis, what might have been, and what should be.What is: separation, war and vi-olence.What might have been: shared love of place as a powerful universal val-ue, combining heterogeneous elements in an unprecedented melody (musicand dance, in Udi Alonis film, speak from the interior of what is to attest forwhat might have been). And finally what should be: a new declaration thatwould allow to start again, and which the title of the film, Forgiveness, recapit-ulates. Once spoken within the movement of what exists, the original sin losesits historical power. There is no longer a need to repeat the separation cre-ated by lies. In combining their action on an undivided territory the Jewish andthe Arab universality would have a pacifying and creative effect on the world what Mao called a spiritual atomic bomb.

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/ LOCAL ANGEL / After Walter Benjamin &Gershom Shalom / Documentary / USA / Israel, 2002,Digital Beta, 70 / Cinematography:Amnon Zalait / Music:Tamir Muskat / Producers: Shimon Azulay,Udi Aloni / Co-Production: NogaCommunications Channel 8, Israel

- - , , . -, - - . - 11 , , , , - -,

- . - - , , - . - , - , , - - .

Local Angel is a documentary aboutthe root causes and present contra-dictions of the Palestinian-Israeli con-flict, a deeply personal odyssey of dis-cover y, and a surreal work of ar tcombining poetry, music and imagesboth beautiful and horrific.While itssubtitle is Theological Political Frag-ments, the film ends by tying its manyelements together in unexpected ways.Moved by the Sept. 11 bombing of theWorld Trade Center, a temple of cap-italism,Aloni returned to Israel to grap-ple with the concepts of sacrifice andsacrosanct as they are delivered throughthe history of a much more ancient ed-ifice the Temple Mount, a Jewish touch-stone on which now sits the MuslimDome of the Rock.

A central theme in the film is Alonisown effor t to understand the theo-logical and political background he in-herited from his mother, Shulamit Aloni,founder of the Israeli Civil Rights Move-ment and a leading peace activist.Thefilm also shows wide-ranging discus-sions with Hanan Ashrawi in manyways a Palestinian sister of ShulamitAloni and PLO Chairman Yasser Arafat,whose views are analysed and furtherexamined by some of the most pre-eminent progressive Israeli and Pales-tinian scholars.

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/ A FILMABOUT KASHMIR

/ A FILM ABOUT KASHMIR / Documentary, 2007,Digital Beta, 75 / Story: Udi Aloni / Cinematography:Menachem Philip,A., Idan Or, MaxStahl, Irfan Manzoor / Producers: R. Cohen,TheCatalyst Project Japan, Udi Aloni,AltafKhan

/ Production:ArikBernstein (Alma Films), Sarah Kamens(Dig the Movie LLC)

- .

A presentation and focus group dis-cussion on Udi Alonis latest film, a doc-umentary about Kashmir.

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/ FORGIVENESS / Fiction Film / USA / Israel, 2006,35mm, 96 / Screenplay: Udi Aloni,Paul Hond / Cinematography:Amnon Zalait / Music:Tamir Muskat / Cast: Itay Tiran,Clara Khoury, Moni Moshonov,Makram Khoury,Tamara Mansour,Michael Sarne, Ruba Blal, Idit Teperson,Omer BarneaDAM Rappers:Tamer Nafar,Suhell Nafar, Mahmud Jreri / Producers: David Silber,Lemore Syvan, Udi Aloni / Production: MetroCommunications and ElevationFilmworks

, - . , - Local Angel, GilgulMechilot, The Book of Sham, InnocentCriminals, Re-U-Man Left. - , -,

, , - - . - - - . Muselmann, - -, , . ; -, ; , , ;

Alonis first fiction film, this is a hy-brid of his profound theoretical thoughtand his ar tistic creativity on all mat-ters concerning is audiovisual and artis-tic aesthetic. It is an evolutionary stepin all of Alonis work to date, which in-cludes the ar t projects Local Angel,Gilgul Mechilot, The Book of Sham andInnocent Criminals, the Re-U-Man in-teractive project, and the documen-tary film Left.Forgiveness is a psychological political

thriller about David, a young AmericanJew who finds himself caught betweenthree fathers, two nations, two allur-ing women and a mysterious ghost. Heenlists in the Israeli army and endsup committed to a mental institutionbuilt on the ruins of a Palestinian vil-lage. Muselmann, a Holocaust survivorand a fellow-patient, tries to save Davidfrom a terrible fate by communicatingwith the ghosts of the murdered Pales-tinian villagers.Are the voices real? CanDavid escape the cycle of the past re-turning and repeating itself by con-trolling his own destiny? Or will he findthat, whatever he does, his fate has al-ready been written in the past?

/ FORGIVENESS

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MASTERS OF DUTCH EXPERIMENTAL CINEMA

1960 - . 70 , , - . (. 1927) . , 1968. O (1970) (1971) , - . 1971, - . - (. 1943), (1972) (. 1953). , - , , - . (1989) - . - . 5 (1986) 6 , The Great Magician (2005), 83 . (. 1939) -, -, , , . Electric Cinema

Many young Dutch artists from different disciplines were actively experimenting with film from the ear-ly 1960s and continue to do so today.There was a real boom in the 70s, when some of the filmmakers thatare now considered masters of Dutch experimental cinema created some of their first works. FransZwartjes (born 1927) is probably the most famous and influential of them. Educated as a musician and apainter, Zwartjes made his first films in 1968. Spectator (1970) and Living (1971) are among his most seminalworks, characterised by his fascination for the female subject, and virtuoso camera work and editing. Zwart-jes began teaching film-making in 1971 and educated an entire school of experimental filmmakers.Amongthe best-known are Paul de Nooijer (1943), who made his debut film Moving Stills (1972) together withZwartjes, and Ruud Monster (1953). Paul de Nooijer, who later worked with his son Menno de Nooijer(1967), has earned widespread acclaim as a photographer and his films often challenge the borders be-tween photography, animation, film and visual art. In At One View (1989) Paul and Menno de Nooijer reflecton their relationship to cinema and to photography. Ruud Monster has created an extensive series of shortfilms that focus on landscapes and society, developing a new perception of the Dutch landscape. Alongthe Road 5 (1986) is only six minutes long, like most of his films, with the exception of The Great Magician(2005), an 83-minute documentary on Frans Zwartjes, where he depicts Zwartjes as a driven, stubbornartist who comments on the world around him and on the art of film making with a great sense of hu-mour. Barbara Meter (1939) studied at the Amsterdam Film Academy and although she had a rather tra-

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. 70 Electric Cinema