SlottsbiografenThursday, 25 October 19:00
R*evolution is four programmes about change, necessary change. They track the wild tendencies and radical strategies associated with the movements around 1968. The evolution of the revolution is traced through the five decades leading us up to the here and now. If you look closely, they lead us even further beyond, into possible futures of the revolution. 1968 marks a turning point. A postwar generation was calling the shots.
A worldwide whirlwind of questioning the status quo followed. Second-wave feminism was on the uprise. Diverse elements of the public opposed the ruling conservative patriarchal practice, longing to have a say in shaping the world. 1968 equals lateral thinking, dissent, objection, and counter-questioning. It is common knowledge that the world has changed in 50 years, but despite this we need to discuss strategies of empowerment, battles of distribution, and the possibility of the participation of the individual. We demand taking part in the narrative, in historiography, and to thus receive recognition and visibility. R*evolution also takes a special look at Swedish filmmaker Gunvor Nelson. She’s one of the most charismatic and important filmmakers to come out of the 1960s, influencing generations of filmmakers. She interlaces the private and political gaze in her artistic practice of decoding. R*evolution offers aesthetic strategies –
inviting for a time travel in order to see today’s pop culture with a red eye. By taking a close look at the time, R*evolution presents aesthetic, political, feminist, and cinematic positions united by the belief that there is more than one truth, existing beyond the conventional, ruling narrative. Realism is magic, a deeply subjective understanding of the world is a strategy and leads to the conclusion: that film might be the far better weapon. Film is the most exciting medium of the 1960s. As evidenced by these programmes, until today it has not lost any of its explosive force. The programme Red Flags For Everyone was originated for Berlinale 2018. Maike Mia Höhne has curated Berlinale Shorts since 2007 and is a freelance writer, curator, producer, photographer
and director. From March 2019, she will be artistic director at the Hamburg International Short Film Festival.
TAP AND TOUCH CINEMA
As always, the screening takes place in the dark. Only the movie theatre has become a bit smaller. There’s only room inside for two hands. In order to see the film, meaning in this case to sense and feel it, the viewer (user) must guide his or her two hands into the movie theatre by way of the entrance. The tactile reception stands against the deception of voyeurism. For as long as the citizenry settles for the reproduced copy of sexual liberty, the state is spared the sexual revolution.
”‘Good evening, ladies and gentlemen. Before we switch over to our live broadcast from the European Figure Skating Championship in Grenoble, allow me to make several remarks regarding women’s liberation. Women’s liberation refers to the establishment of equality between men and women within society. However, this state of social equality for women is dependent on the objective conditions…“
“Antigone is a figure who taught me that there is always a moment in the life of every single individual where one has to decide completely on one’s own: this is as far as I’m willing to go, no further, and now I have to say “no”, even if it costs me my life. And with our German history of course that was always a question for me, where did this figure get the inner certainty, how did she know that, where did she get the courage, would I, Ula, have had that same courage too?”
– Director Ula Stöckl.
COLOUR TEST: THE RED FLAG
A red flag is carried through the busy streets of Berlin by a team of relay runners. The procession takes the West to its final destination in Berlin-Schöneberg. Under the astonished eyes of passersby, the final runner raises the red flag on the balcony of the city hall building, the seat of the government of West Berlin.
I LOVE THE STUDENTS
Photographic testimonials of clashes during the Chiefs of State conference at Punta del Este. Counterpoints between presidents, students and repressive policemen. This is the beginning of the cine militante in Uruguay: an urgent and highly influential film that became an instant emblem of the era, embraced by the international student movement.
THE RETURN TO WORK AT THE WONDER FACTORIES
June 10, 1968. After the end of a long strike in the Wonder factory in Saint-Ouen, a female worker is dissatisfied with the negotiated compromise and refuses to return to work in this a captivating document of political disagreement and historical reversal.
”Monangambee!” – Cry of the revolt in Angola. Spread from village to village, this cry made even the most brave men shiver. The cry translates as ‘white death’, and signified certain deportation with no return. The cry once accompanied the arrival of Portuguese slave traders and in the 1960’s it was used as an identifying sign and signal to gather for the People’s Liberation Front.
The film explores the connections between the army, science, and industry by looking at the example of Dow Chemical, which produced plastic wrap, but also napalm for the war in Vietnam. Using the diction of instructional films, Farocki explores the manufacture of weapons while asking: How easily can the structural elements of a vacuum cleaner be turned into a machine gun and vice versa?
Screened on 16 mm