The Cinema Makers

Anna Schober

Description

The Cinema Makers investigates how cinema spectators in southeastern and central European cities became cinema makers through such practices as squatting in existing cinema spaces, organizing cinema "events," writing about film, and making films themselves. Drawing on a corpus of interviews with cinema activists in Germany, Austria, and the former Yugoslavia, Anna Schober compares the activities and artistic productions they staged in cities such as Vienna, Cologne, Munich, Berlin, Hamburg, Ljubljana, Belgrade, Novi Sad, Subotica, Zagreb, and Sarajevo. The resulting study illuminates the differences and similarities in the development of political culture—and cinema’s role in that development—in European countries with pluralist-democratic, one-party socialist, and post-socialist traditions.

 

Introduction

Chapter 1: In the middle of things: city, cinema and the public sphere

1.1. Cinema’s potential for creating a public sphere 

1.2. Difference and the unfamiliar 

1.3. The subject in process: rituals, revolt and storytelling 

Chapter 2: Movements and places: modern order and the cinema-squats of the 1960s

2.1. Cinema and the modern attempt to eliminate ambivalence 

2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO 

2.3. Transnationality: interaction and struggle vis-à-vis official strategies 

2.4. Difference, privatized ambivalence and the (informal) public sphere 

Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960s 

3.1. The migrant guest worker: Fassbinder’s interventions in the projection spaces of the imagination 

3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960s

Chapter 4: Follow-up initiatives 

4.1. Violence and humour: cinema activism in times of war 

4.2. Enthusiasm and critique: cinema between flash mob, new urban transition spaces and art

Sujets

• Energie & environnement
• Media
• Film
• General
• Engineering
• Psychology
• Technology
• General officer
• English as a foreign or second language
• Sciences et techniques
• POLITICAL SCIENCE
• Public Policy
• Power Resources

Informations

• Publié par: Intellect Books Ltd
• Date de parution: 19 mars 2013
• Nombre de lectures: 0
• EAN13: 9781783200696
• Langue: English

Extrait

First published in the UK in 2013 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2013 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright © 2013 Intellect Ltd
Cover photos: © xscreen, xscreen archive Berlin, courtesy Wilhelm Hein and © Živojin Pavlovic´, courtesy Jugoslovenska Kinoteka, Belgrade.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
The printing of this book was kindly supported by the Austrian Ministry for Science and Research and the Department 7 – Cultural Affairs of the city of Vienna.
Cover designer: Holly Rose
Production manager: Tim Mitchell
Copy-editor: MPS Technologies
Typesetting: Planman Technologies
ISBN 978-1-84150-515-2
eISBN 978-1-78320-070-2
Printed and bound by Charlesworth Press, UK
Contents
List of Illustrations
Acknowledgements
Abbreviations
Introduction
Chapter 1: In the middle of things: city, cinema and the public sphere
1.1. Cinema’s potential for creating a public sphere
1.2. Difference and the unfamiliar
1.3. The subject in process: rituals, revolt and storytelling
Chapter 2: Movements and places: modern order and the cinema-squats of the 1960s
2.1. Cinema and the modern attempt to eliminate ambivalence
2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO
2.3. Transnationality: interaction and struggle vis-à-vis official strategies
2.4. Difference, privatized ambivalence and the (informal) public sphere
Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960s
3.1. The migrant guest worker: Fassbinder’s interventions in the projection spaces of the imagination
3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960s
Chapter 4: Follow-up initiatives
4.1. Violence and humour: cinema activism in times of war
4.2. Enthusiasm and critique: cinema between flash mob, new urban transition spaces and art
Interviews Cited
References
List of Illustrations Figure 1: Le Reflet from the series Périphérique , Mohamed Bourouissa, 2007–2008 © Mohamed Bourouissa, courtesy the artist and Kamel Mennour, Paris. Figure 2a–b: Community cinema for a quiet intersection (against Oldenburg) , Rirkrit Tiravanija, installation at the City of Architecture Festival in Glasgow, Scotland, September 1999 © Rirkrit Tiravanija, courtesy The Modern Institute, Glasgow. Figure 3: Proposed monument for the intersection of Canal Street and Broadway, N. Y. C. – block of concrete with the names of war heroes, Claes Oldenburg, 1965 © Claes Oldenburg, 1965, courtesy digital image: New York, The Museum of Modern Art (MoMA)/Scala Florence. Figure 4: Murder , Raša Todosijević, 1997 © Raša Todosijević. Figure 5: Cinema nomads , Volxkino, open-air cinema, Vienna, 1996 © St. Balbach Art Production. Figure 6: Löwen Cinema, Vienna 1947 © Votava Vienna. Figure 7: xscreen, Cologne, 1968 © xscreen archive berlin, courtesy Wilhelm Hein. Figure 8: Political cinema, Kino im Kopf Nuernberg © Prinzler and Seidler, Kinobuch, 1975. Figure 9: Kinoclub Beograd, 1960s © Jugoslovenska Kinoteka, Belgrade. Figure 10: Logo Freies Kino (Free Cinema), Vienna, early 1970s © Austrian National Library. Figure 11: Locating oneself in the city, Logo Kommunales Kino (Communal Cinema), Frankfurt/Main © Prinzler and Seidler, Kinobuch, 1975. Figure 12: Poster of Kinoclub Beograd, with logo of the Kino Savez (cinema association of Yugoslavia), 1960 © Jugoslovenska Kinoteka, Belgrade. Figure 13: Zurigo, Naško Križnar, 1966 © Naško Križnar. Figure 14: Parada/Parade , Dušan Makavejev, 1962 © Dušan Makavejev, courtesy Jugoslovenska Kinoteka, Belgrade. Figure 15: Kinomobil, Nuremberg © Prinzler and Seidler, Kinobuch, 1975. Figure 16: Poster Intercat ’69 (no dogs allowed) , New York 1969 © Anthology Film Archives, from the collection of the Austrian Film Museum. Figure 17: A convicted film, Grad/The City , Živojin Pavlović, Marko Babac, Kokan Rakonjac, 1963 © Courtesy Jugoslovenska Kinoteka, Belgrade. Figure 18: Cinema initiative Bochum © Prinzler and Seidler, Kinobuch, 1975. Figure 19: Tomislav Gotovac, Pokazivanje časopisa Elle/Showing Elle , 1962 © Tomislav Gotovac, courtesy The Art Collection of Erste Group. Figure 20: Mlad i zdrav kao ruža/Young and Healthy as a Rose , Jovan Jovanović, 1971 © Jovan Jovanović. Figure 21: Male Nude Film , xscreen poster, Cologne 1969 © xscreen archive berlin, courtesy Wilhelm Hein. Figure 22: Nivea , Expanded Cinema Performance, Peter Weibel, 1967 © Peter Weibel. Figure 23: Revolutionary Latin American Film, Cover Magazine Kritischer Film (Critical Film), 1972 © Austrian National Library. Figure 24: Mud, Rani radovi / Early Works , Želimir Žilnik, 1969 © Želimir Žilnik. Figure 25: Village Habits, Filmska Kultura , 1970 © Filmska Kultura and Želimir Žilnik, courtesy Slovenksa Kinoteka, Ljubljana. Figure 26: Eve of Destruction , Naško Križnar, 1966 © Naško Križnar. Figure 27: Silver City , Wim Wenders, 1969 © Wim Wenders, courtesy German Filminstitut, Frankfurt. Figure 28: Lice / The Face , Ivan Martinac, 1962 © Ivan Martinac, courtesy Jugoslovenska Kinoteka, Belgrade. Figure 29: Buđenje pacova / The Rats Woke Up , Živojin Pavlović, 1967 © Courtesy Jugoslovenska Kinoteka, Belgrade. Figure 30: Commenting glances, Angst Essen Seele Auf / Ali: Fear Eats the Soul , Rainer Werner Fassbinder, 1973–1974 © Peter Gauhe, courtesy German Filminstitut, Frankfurt. Figure 31: Sensualities of surfaces, Angst Essen Seele Auf/Ali: Fear Eats the Soul , Rainer Werner Fassbinder, 1973–1974 © Peter Gauhe, courtesy German Filminstitut, Frankfurt. Figure 32: Lovers, Die Ehe Der Marie Braun/The Marriage of Maria Braun , Rainer Werner Fassbinder, 1978–1979 © German Filminstitut, Frankfurt. Figure 33: Dreaming of becoming someone else, Katzelmacher, Rainer Werner Fassbinder, 1969 © Fassbinder Foundation, courtesy German Filminstitut, Frankfurt. Figure 34: Self-Transformation, In einem Jahr mit 13 Monden/In a Year of 13 Moons , Rainer Werner Fassbinder, 1978, produced for the WDR, Westdeutscher Rundfunk © WDR. Westdeutscher Rundfunk. Figure 35: Selbstportrait als Frau/Self-Portrait as a Woman , Peter Weibel, 1967 © Peter Weibel. Figure 36: Moments, Ljubavni slučaj ili tragedija službenice P.T.T./Love Affair, or the Tragedy of the Switchboard Operator , Dušan Makavejev, 1967 © Dušan Makavejev, courtesy Jugoslovenska Kinoteka, Belgrade. Figure 37: Fur and skin, Ljubavni slučaj ili tragedija službenice P.T.T./Love Affair, or the Tragedy of the Switchboard Operator , Dušan Makavejev, 1967 © Dušan Makavejev, courtesy Jugoslovenska Kinoteka, Belgrade. Figure 38: Raika, Čovek nije tica. Ljubavni film/Man is not a Bird. A Film Romance , Dušan Makavejev, 1965 © Dušan Makavejev, courtesy Jugoslovenska Kinoteka, Belgrade. Figure 39: Ironic representation, WR: Misterije organizma/WR: Mysteries of the Organism , Dušan Makavejev, 1971 © Dušan Makavejev, courtesy Jugoslovenska Kinoteka, Belgrade. Figure 40: ‘Stevan’, Virdžina/Virgina , Srđan Karanović, 1991–1992 © Srđan Karanović, courtesy Jugoslovenska Kinoteka, Belgrade. Figure 41: Hypersexual public appearance, Saturday night outfit, Dragan Petrović, 1990s © Dragan Petrović. Figure 42: Mikrokino, Low-Fi Video, Fest 2002 in Belgrade © Low-Fi Video. Figure 43: Nineteen ili kineske baterije/Nineteen … or Chinese Batteries , Aleksandar Vasiljević, 2001 © Aleksandar Vasiljević. Figure 44: Tito po drugi put među Srbima/Tito’s second time among the Serbs , Želimir Žilnik, 1993 © Želimir Žilnik. Figure 45: A Wall Is A Screen, International Short Film Festival, Hamburg, 2005 © Schweizer, courtesy A Wall Is A Screen . Figure 46: First Turkish Women’s Film Festival in the Topkino in Vienna, April 2007 © Anna Schober. Figure 47: Identities Queer Film Festival , 2011 © DV8-FILM, identities 2011. Figure 48: Kurdish Film Festival in Vienna, 1999 © 3007 agentur, photo: Mehmet Emir, courtesy filmcoop WUK. Figure 49: The Looking-Glass Photos , Helga Härenstam, 2009 © Helga Härenstam.
Acknowledgements
The research upon which this book is based was funded in large part by the FWF Austrian Science Fund (ref. P18774-G08). Many thanks to them for their support. Smaller and, to some extent, preparatory research projects were funded by the Austrian Ministry of Science, Cultural Studies Fund and the City of Vienna Science Group (MA 7 Wissenschafts- und Forschungsförderung). The final chapters were written during a research project at Verona University that was funded by the European Union, Seventh Framework Programme, Marie Curie Actions, Grant Agreement No. PIEF-GA-2009-234990. Again, thanks to all of them.
While researching and writing this book, I taught at various universities in Austria, Italy and Germany and held several courses on this as well as related topics. I would like to thank my students for the sometimes challenging, often inspiring discussions. I also presented theses and individual chapters from this book at a range of conferences, workshops and lecture series, sometimes held at the institutions where I was working, other times abroad. I would like to thank all the people who contributed through remarks, debate or by questioning some of my theses and who in this way helped me develop my arguments and ideas further.
I would like to thank Tim Mitchell from Intellect Books for his patience and assistance and Kimi Lum and David Westacott for their aid with the English manuscript. Special thanks go to Willem A. de Graaf who was a first reader of most of the chapters and with whom I shared many of the films in this book.
Finally, thanks to all the activists, fans, cinema-makers, film-makers and artists