Film program Life, Once More

Filmprogram in the hands of Sven Lütticken, guest curator of Life, Once More.
Screenings start at 3 p.m., admission is free.

Sunday, February 13
Jeremy Deller, The Battle of Orgreave, 2001 (60 min.)
In 1984 the National Union of Mineworkers went on strike in Yorkshire, a bitter and long dispute that culminated in a violent confrontation at the Orgreave coking plant. Deller orchestrated a re-enactment of this historic confrontation, with the miners and police who had actually been involved in 1984 as actors. Deller interpolated film footage of the 2001 re-enactment with photographic stills of the actual 1984 confrontation, including television footage of then prime minister Margaret Thatcher, who talks about the ?enemy within? and the ?attack on democracy.?

Peter Watkins, Culloden, 1964 (70 min.)
A film about the Battle of Culloden which took place on April 16, 1746. What initially seems to be a historical documentary turns out to be a critique of imperialism. This is all set in a narrative structure that is far from usual: a television reporter is projected into the 18th century and interviews the participants in the battle.

Sunday, February 27
Ant Farm, Eternal Frame, 1976 (24 min.)
Eternal Frame is a study of the role played by the media in the creation of (post-) modern historical myths. The murder of president Kennedy in 1963 is central. Using the Super-8 film shot by onlooker Abraham Zapruder as a basis, a film is constructed that combines live performance, re-enactment of the murder, and ?fake? documentary.

Daniel Reeves with Jon L. Hilton, Smothering Dreams, 1981 (22.05 min.)
Smothering Dreams is a film about Reeves’ experiences as a marine in the Vietnam War and about his youth. With hindsight, the youngster?s war games and violent fantasies were the prelude to his participation in this war.

Sunday, March 13
Harun Farocki & Andrei Ujica, Videogramme einer Revolution, 1992 (120 min.)
A reconstruction of the turbulent Romanian ?television revolution? of 1989. This ?media reality? is subjected to visual analysis without the interpolation of new material. Farocki and Ujica strictly maintain the chronological sequence of existing audiovisual footage of the events. The sequence of live broadcasts and amateur video tapes reveals ? almost spontaneously ? the relationship between the camera and story in this “fictional” version of a revolution. Media theory fades into the background.

Saturday, March 26
Mike Kelley & Paul McCarthy, Fresh Acconci, 1997 (45 min.)
Modern re-stagings of videos by Vito Acconci. The enclosure of a luxurious villa substitutes the framed intimacy of the monitor in Acconci’s work. The images are painstakingly composed and the actors look impeccable, but they are still just as isolated as Acconci and his partners.

Marina Abramovic, The Biography Remix, 2004 (8.19 min.)
In The Biography Remix, Marina Abramovic stages her past as theatre. Her legendary performances from the 1970s are transformed into short scenes in the story about Abramovic?s public life. The artist repeatedly appears as herself in The Biography Remix, but the historic performances by Abramovic and Ulay are acted by a younger woman and man (the latter is Ulay's son).




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