Adorno's Grey and other refusals
Hito Steyerl
in conversation with Nora M. Alter
Tuesday, October 09, 2012
6:30-8:00pm
Slought Foundation
Free, reservation not required
Slought Foundation is pleased to announce a public conversation with filmmaker and writer Hito Steyerl, in dialogue with film scholar Nora Alter, on Tuesday, October 9, 2012 from 6:30-8:00pm. The conversation will be preceded by a special screening of Hito Steyerl's Adorno's Grey (approx. 14 min). The program is presented in conjunction with Temple University's Department of Film and Media Arts (FMA).
"In her works, Hito reflects upon the role of traveling images, those images, that crowd the realms of suburbs and the lowlands of the web. Images that change their meaning, outlook, framing, caption and often also their protagonists by traveling through time and space. She put some interesting questions like: Which role do digital modes of communication play in creating new political and aesthetical articulations? How do they accelerate, slow down or modify conflict, civil war and the writing of history? How are media – video or audio tapes, jpegs or posters – implicated in violence? How does the struggle over copyright and reproduction- over making things seen and heard - factor into these considerations? And is a withdrawal from representation perhaps a new form of strike or refusal?" (Rabih Mroue).
About the screening of Adorno's Grey
Legend has it that Theodor W. Adorno had the auditorium where he taught at the Goethe-Universität in Frankfurt painted grey to aid concentration. In Adorno’s Grey, a team of conservators burrows into the wall of this auditorium hoping to reveal the layer of grey paint beneath it. A voiceover recounts an incident in 1969 when, after three female students approached and bore their breasts to him during a lecture, Adorno collected his papers and ran away in a panic. This would be his last lecture.
Hito Steyerl is a filmmaker and writer based in Berlin. She teaches artistic media practice at the University of Arts Berlin. Her latest works include: The Kiss 2012, Adorno's Grey 2012, The Body of the Image 2012 (performance), Abstract 2012, Guards 2012 as well as the lectures Probable Title: Zero Probability (2012) with Rabih Mroué and I dreamed a dream (2012).
Nora M. Alter is Chair and Professor of Film and Media arts, Temple University, and the author of Chris Marker.
Showing posts with label filmmaker conversation. Show all posts
Showing posts with label filmmaker conversation. Show all posts
Tuesday, October 2, 2012
Thursday, April 5, 2012
Cathy Lee Crane on Poetic Biography
Sorry for the late notice, but I wanted to highlight a filmmaker discussion event this evening at International House.
The Films of Cathy Lee Crane: Poetic Biography: An Investigation of Words from Two Radical Polemicists
Co-presented by Temple Film Media Arts Department, School of Communication and Theater and The Bryn Mawr College Program in Film Studies.
Over the last decade, Cathy Lee Crane has committed herself to an ongoing experiment with the biographical film, cultivating a fictional form of biography that seeks to penetrate what late filmmaker Raul Ruiz described as the “subtle tissue of life”. Combining staged and archival material, Crane materially renders the spectral life of thought itself as a kind of poetry. These two films contend with the end of the lives of two radical polemicists from the 20th century whose social critiques were provoked into being by the political extremities of their times. Acknowledging that the past has an intimate relationship to the present, the films utililze the re-enactment as a function that seeks to make history a living presence. Through theatrical, or ritualized gesture, the present maintains its distance from the past while also evoking it.
Unoccupied Zone: The Impossible Life of Simone Weil
dir. Cathy Lee Crane, US, 2006, video, 45 mins, b/w
This portrait of French writer Simone Weil is not simply an account of her life, but rather the embodiment of her ideas. The “unoccupied zone” is therefore only marginally meant to refer to the southern part of France under Vichy. It is more importantly an existential labyrinth imaged by the film itself; a psychic space through which Weil passed while in exile in her own country from 1940-1941. Winner Best Narrative Film – University Film & Video Association Juried Screening (2006).
followed by
Pasolini’s Last Words
dir. Cathy Lee Crane, US, 2012, HD video, 60 mins, b/w and color
Known as one of Italy’s most important filmmakers, Pier Paolo Pasolini was first and foremost, one of its poets. This elegiac essay looks at Pasolini’s brutal murder in 1975 alongside the texts he published or left unfinished during the last year of his life.
The Films of Cathy Lee Crane: Poetic Biography: An Investigation of Words from Two Radical Polemicists
Co-presented by Temple Film Media Arts Department, School of Communication and Theater and The Bryn Mawr College Program in Film Studies.
Over the last decade, Cathy Lee Crane has committed herself to an ongoing experiment with the biographical film, cultivating a fictional form of biography that seeks to penetrate what late filmmaker Raul Ruiz described as the “subtle tissue of life”. Combining staged and archival material, Crane materially renders the spectral life of thought itself as a kind of poetry. These two films contend with the end of the lives of two radical polemicists from the 20th century whose social critiques were provoked into being by the political extremities of their times. Acknowledging that the past has an intimate relationship to the present, the films utililze the re-enactment as a function that seeks to make history a living presence. Through theatrical, or ritualized gesture, the present maintains its distance from the past while also evoking it.
Unoccupied Zone: The Impossible Life of Simone Weil
dir. Cathy Lee Crane, US, 2006, video, 45 mins, b/w
This portrait of French writer Simone Weil is not simply an account of her life, but rather the embodiment of her ideas. The “unoccupied zone” is therefore only marginally meant to refer to the southern part of France under Vichy. It is more importantly an existential labyrinth imaged by the film itself; a psychic space through which Weil passed while in exile in her own country from 1940-1941. Winner Best Narrative Film – University Film & Video Association Juried Screening (2006).
followed by
Pasolini’s Last Words
dir. Cathy Lee Crane, US, 2012, HD video, 60 mins, b/w and color
Known as one of Italy’s most important filmmakers, Pier Paolo Pasolini was first and foremost, one of its poets. This elegiac essay looks at Pasolini’s brutal murder in 1975 alongside the texts he published or left unfinished during the last year of his life.
Sunday, April 10, 2011
Javed Akhtar: "Bollywood and the Global India"
The New India Forum of the Center for Humanities at Temple is hosting two events this week:
"Bollywood and the Global India"
Javed Akhtar in conversation with Priya Joshi
"Bollywood and the Global India"
Javed Akhtar in conversation with Priya Joshi
Thursday, April 14, 2011
5-7pm
5-7pm
Alter Hall Auditorium, A31
Temple University
Temple University
1801 Liacouras Walk
Philadelphia, PA 19122
Javed Akhtar has been a defining voice in Bollywood cinema and its global diffusion for decades. Screenwriter, poet, and Member of Parliament, Akhtar co-wrote the screenplays for Bollywood's biggest blockbusters in the 1970s, including Sholay, Deewar, and Trishul. His lyrics articulate responsibility and conscience, politics and grief, and capture the zeitgeist of India in transition. A staunch believer in secular ideals, Akhtar has been an outspoken voice in the streets and in Parliament on matters of social justice and religious harmony. He has been honored by every major film award in India numerous times (including 14 Filmfare awards) and both the Padma Shri and Padma Bhushan, given for exemplary citizenship by the Government of India.
Philadelphia, PA 19122
Javed Akhtar has been a defining voice in Bollywood cinema and its global diffusion for decades. Screenwriter, poet, and Member of Parliament, Akhtar co-wrote the screenplays for Bollywood's biggest blockbusters in the 1970s, including Sholay, Deewar, and Trishul. His lyrics articulate responsibility and conscience, politics and grief, and capture the zeitgeist of India in transition. A staunch believer in secular ideals, Akhtar has been an outspoken voice in the streets and in Parliament on matters of social justice and religious harmony. He has been honored by every major film award in India numerous times (including 14 Filmfare awards) and both the Padma Shri and Padma Bhushan, given for exemplary citizenship by the Government of India.
The 1970s and its Legacies:
A Workshop on India's Cinemas
A Workshop on India's Cinemas
Friday, April 15, 2011
Weigley Room, 914 Gladfelter Hall
Temple University
Weigley Room, 914 Gladfelter Hall
Temple University
1115 Polett Walk, Philadelphia, PA 19122
Organized by
Priya Joshi, Temple University
Rajinder Dudrah, University of Manchester
Organized by
Priya Joshi, Temple University
Rajinder Dudrah, University of Manchester
PROGRAM
Keynote: Javed Akhtar
9:00: Breakfast
9:30: Introduction and Opening Remarks
10.00: The Family
Ulka Anjaria, Brandeis University
Structures of Fictive Kinship in 1970s Hindi Cinema
Priya Joshi, Temple University
Cinema as Public Fantasy
Discussant: Suvir Kaul, University of Pennsylvania
11:00: The Figures
Ajay Gehlawat, Sonona State
The Construction of 1970s Femininity
Satish Poduval, The EFL University, Hyderabad
Gender, Conjugality and the Remaking of Class in 1970s Hindi Cinema
Discussant: Kavita Daiya, George Washington University
12:00: Lunch
1:30: The Industry
Corey Creekmur, University of Iowa
Popular Hindi Cinema, Periodization, and Manoj Kumar
2:00: The South
S.E. Pillai, Michigan State University
1970s Tamil Cinema and the Post-classical Turn
Ratheesh Radhakrishnan, Rice University
A Retake on Malayalam Cinema of the 1970s
Discussant: Amanda Weidman, Bryn Mawr College
3:00: Tea
3:30: Closing Remarks
Sudipta Kaviraj, Columbia University
The 1970s in Perspective
4:00: Concluding Roundtable
Moderator: Rajinder Dudrah, University of Manchester
Because seating is limited, RSVPs are recommended.
Keynote: Javed Akhtar
9:00: Breakfast
9:30: Introduction and Opening Remarks
10.00: The Family
Ulka Anjaria, Brandeis University
Structures of Fictive Kinship in 1970s Hindi Cinema
Priya Joshi, Temple University
Cinema as Public Fantasy
Discussant: Suvir Kaul, University of Pennsylvania
11:00: The Figures
Ajay Gehlawat, Sonona State
The Construction of 1970s Femininity
Satish Poduval, The EFL University, Hyderabad
Gender, Conjugality and the Remaking of Class in 1970s Hindi Cinema
Discussant: Kavita Daiya, George Washington University
12:00: Lunch
1:30: The Industry
Corey Creekmur, University of Iowa
Popular Hindi Cinema, Periodization, and Manoj Kumar
2:00: The South
S.E. Pillai, Michigan State University
1970s Tamil Cinema and the Post-classical Turn
Ratheesh Radhakrishnan, Rice University
A Retake on Malayalam Cinema of the 1970s
Discussant: Amanda Weidman, Bryn Mawr College
3:00: Tea
3:30: Closing Remarks
Sudipta Kaviraj, Columbia University
The 1970s in Perspective
4:00: Concluding Roundtable
Moderator: Rajinder Dudrah, University of Manchester
Because seating is limited, RSVPs are recommended.
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