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FAQ: Auditorium ProgramsMarch 4
"Photofilms" are moving pictures composed of still photographs. PhotoFilm! broadly explores the uses of still photography within the cinematic context, attempting to expand a dialogue between the two art forms that has existed since the beginnings of the motion picture. The works run the gamut from classics such as Chris Marker's La Jetée to new experimental films such as Shelly Silver's What I'm Looking For. The series is presented jointly with the Goethe-Institut Washington (several additional programs take place there), supported by German Films, Ag Kurzfilm, Swedish Filminstitut, and organized by the Concrete Narrative Society E.V. Berlin. Curators Gusztáv Hámos, Katja Pratschke, and Thomas Tode are present for discussion.
Gusztáv Hámos, Katja Pratschke, Thomas Tode in person
The appearance of a still photograph in a cinematographic context often arouses an element of surprise for the viewer. This program presents films that question the nature of the image as well as its relationship to other forms with works by Chris Marker (La Jetée, 1962), Sergei Eisenstein (Beshin Meadow, 1935 / 1967), Leonore Mau and Hubert Fichte (The Fishmarket and the Fish, 1968), and Katja Pratschke and Gusztáv Hámos (Transposed Bodies, 2002). (95 minutes)
Gusztáv Hámos, Katja Pratschke, Thomas Tode in person
"That-has-been," wrote Roland Barthes; photography stands for something that has happened. Film, in contrast, always unfolds in the here and now and can be seen as a container for memory. Featuring films by Thierry Knauff (Le Sphinx, 1985), Agnès Varda (Ulysse, 1982), Jerzy Ziarnik (Gestapoman Schmidt, 1964), Franz Winzentsen (The Fitting 1938, 1985), Helke Misselwitz (Pictures from a Family Album, 1985), and Janet Riedel, Katja Pratschke, and Gusztáv Hámos (Fiasko, 2010), this program investigates these functions in the context of personal and historical memory. (93 minutes)
This program focuses on the image, the process of finding and conceiving it, the act of shooting, and then describing it. Film requires the linear sequencing of photographs, which these filmmakers use to develop an analytical discourse. Including films by Hollis Frampton ([nostalgia], 1971), Silke Grossmann (The Feelings of the Eyes, 1987), Shelly Silver (What I'm Looking For, 2004), Esaias Baitel (The Zone, 2003) and Sean Snyder (Casio, Seiko . . . , 2005). (90 minutes)