LIVE SOUND//SILENT FILM -The Ådventures of Prince Åchmed with live score conducted by Scott Kerr

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The oldest surviving animated feature film and based upon based on the ancient stories “The Arabian Nights.” The Ådventures of Prince Åchmed is a 1926 German animated fairytale feature film by Lotte Reiniger. A handsome prince with a flying horse befriends a witch, meets Aladdin, and battles demons to win a princess. The film features a silhouette animation technique Reiniger had invented; the technique she used for the camera is similar to Wayang shadow puppets, though hers were animated frame by frame, not manipulated in live action. Micheal Henderson, Margaret McClelland, Stefanos Kokranis, Jillian LaCrux, and Kyle Bert join Scott Kerr in accompanying this marvelous film!

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Werner Herzog’s Nosferatu the Vampyre

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We at EV know that Herzog’s masterful vampire tale starring Klaus Kinski as the emulsion-faced undead parasite is the best vampire film ever! This homage to FW Murnau’s 1922 film is conceived and executed with passionate connoisseurship; Herzog keeps some original locations and images, and approximates the operatic visual language of Murnau with a new kind of primitivism: strange tableaux, eerie wordless scenes, and juxtaposed, grainy images of bats that directly reference silent moviemaking. Kinski carries it all off with glassy-eyed fervor and fathomless agony, as his Count prepares to carry his anti-enlightenment into the heart of 19th-century Germany. Kinski really is scary!

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WED Oct 28 @ 7:30
Werner Herzog’s Nosferatu the Vampyre

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We at EV know that Herzog’s masterful vampire tale starring Klaus Kinski as the emulsion-faced undead parasite is the best vampire film ever! This homage to FW Murnau’s 1922 film is conceived and executed with passionate connoisseurship; Herzog keeps some original locations and images, and approximates the operatic visual language of Murnau with a new kind of primitivism: strange tableaux, eerie wordless scenes, and juxtaposed, grainy images of bats that directly reference silent moviemaking. Kinski carries it all off with glassy-eyed fervor and fathomless agony, as his Count prepares to carry his anti-enlightenment into the heart of 19th-century Germany. Kinski really is scary!

RADICAL GERMAN CINEMA PT. 2: Helma Sanders-Brahms

Introduced by U of A Visiting Film Professor Annette Brauerhoch

In both her fiction and documentary films Helma Sanders-Brahms

(1940-2014) consistently explored political and social issues from a

female and feminist point of view. Characteristic for her works is how

she artistically approached topics like the student protest of the late

1960s, feminism, women’s lib, immigrant workers and the legacy of

Germany’s Nazi history. Tonight we screen her first feature film

Under the Pavement Lies the Strand (1975), a film dealing with legal

reforms like the abortion bill and the atmosphere and aftermath

of the student movement in West-Germany.

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Wed 3/11
RADICAL GERMAN CINEMA PT. 2: Helma Sanders-Brahms

Unfortunately U of A Visiting Film Professor Annette Brauerhoch will NOT be introducing the show tonight as planned. We wish her a speedy recovery!

In both her fiction and documentary films Helma Sanders-Brahms

(1940-2014) consistently explored political and social issues from a

female and feminist point of view. Characteristic for her works is how

she artistically approached topics like the student protest of the late

1960s, feminism, women’s lib, immigrant workers and the legacy of

Germany’s Nazi history. Tonight we screen her first feature film

Under the Pavement Lies the Strand (1975), a film dealing with legal

reforms like the abortion bill and the atmosphere and aftermath

of the student movement in West-Germany.

 

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RADICAL GERMAN CINEMA PT. 1: Harun Farocki

Introduced by German Film Scholar Annette Brauerhoch

Harun Farocki (1944-2014). Mr. Farocki made more than 100 films, many of them short experimental documentaries that explored contemporary life, and what he saw as its myriad depredations — war, imprisonment, surveillance, capitalism — through the visual stimuli that attend them. Ruminative, but with an undercurrent of urgency born of his longstanding social engagement, Mr. Farocki’s films sought to illuminate the ways that the technology of image-making is used to shape public ideology. Tonight we screen two of Farocki’s masterful late essay works: War at a Distance (2003) and Workers Leaving the Factory (1995).

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Sun 3/8
RADICAL GERMAN CINEMA PT. 1: Harun Farocki

Introduced by U of A Visiting Film Professor Annette Brauerhoch

Harun Farocki (1944-2014). Mr. Farocki made more than 100 films, many of them short experimental documentaries that explored contemporary life, and what he saw as its devastations — war, imprisonment, surveillance, capitalism — through the visual stimuli that attend them. Ruminative, but with an undercurrent of urgency born of his longstanding social engagement, Mr. Farocki’s films sought to illuminate the ways that the technology of image-making is used to shape public ideology. Tonight we screen two of Farocki’s masterful late essay works: War at a Distance (2003) and Workers Leaving the Factory (1995).

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[SPACE OF SURVEILLANCE] Michael Klier’s The Giant (Der Riese)

co-sponsored by U of A German Studies

Comprised entirely of material generated by surveillance cameras, Der Riese is a rhapsodic but ominous work depicting the world with a cold mechanical spirit. That nothing can escape the chill stare of surveillance is only the starting point of Klier’s tape. People come and go in public places-parks, department stores, banks, airports- like lifeless ciphers, unaware of the authoritarian stare of the camera. The flattened field of vision, black-and-white imagery, and sterile quality of the technology make the inhabitants of Der Riese emptied shadows. Lyrically constructed sequences unfold to the strains of Mahler and Wagner, adding an almost heroic mood to this dark work.

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Sat 4/12
Michael Klier’s The Giant (Der Riese)

<SPACE OF SURVEILLANCE>

SAT. 4/12@ 7:30

Co-sponsored by U of A German Studies

Comprised entirely of material generated by surveillance cameras, Der Riese is a rhapsodic but ominous work depicting the world with a cold mechanical spirit. That nothing can escape the chill stare of surveillance is only the starting point of Klier’s tape. People come and go in public places-parks, department stores, banks, airports- like lifeless ciphers, unaware of the authoritarian stare of the camera. The flattened field of vision, black-and-white imagery, and sterile quality of the technology make the inhabitants of Der Riese emptied shadows. Lyrically constructed sequences unfold to the strains of Mahler and Wagner, adding an almost heroic mood to this dark work.

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EXPERIMENTAL FILM FROM BERLIN

Filmmakers in person!

Anja Dornieden & Juan David González David González Monroy are experimental filmmakers living and working in Berlin. Since 2010 they have been working together under the moniker OJOBOCA. In their work they are practitioners of Horrorism, a simulated method for inner and outer transformation. Tonight, their program, titled Now I Want to Laugh will present a thought provoking selection of their recent 16mm films and performances.

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