Panel 15

Wrap-up Session

Heinz Emigholz
Stefanie Schulte Strathaus
Nanna Heidenreich
Ala Younis
Ronald Balczuweit
Henriette Huldisch
Brent Klinkum

Ala Younis


Experiment is a simulation on settings

It’s a matter of perception, we cannot see/perceive mathematics

Aesthetics has a different logic than mathematics

We don’t see the film, we only see the projection

The artist has to be both a magician and a surgeon

Relation between shadow and movement
// The shadow does not move

--the past is yet to come --

Fear of cancellation

Big tension between theory and experiment

Impressions themselves, they become actors


You have to work with probabilities. Intuitive work is very important -- you have to trust your intuition

We have to decide what we want to remember

Pixelation films cannot be made anymore

Film is to moderate space over time

time + space
before > after

A Scattering Matrix

A 2nd original after several conversions

The film exists only in the viewer

Heinz is the master of the unexpected

I felt like Alice after falling down the rabbit hole

The two enemies of theater/cinema are quest of absolute authenticity, and transitions of one’s character

Gestures and facial expressions matter.
Woman in front of the camera is definitely (an) agent of the action.

Rhythm as subtext
Subtraction of the individual

Worked with playback and freed you (actor) from interpretation (or interpreting?)
The body must reject the role and not internalize it
By being present in the “movie space”, the objects deserve describe the space.
I wish I had lived there myself.
The audience is the audience, whether…

Watching her learning to do something.

Obvious difference between performing in theater and performing in cinema! (?)

The early experimentation came like this (archival) because of financial reasons.

Aesthetic narcissism.
Physically and mentally look at an image and try to make your body remake that image.
Level of Consciousness

I am a bit dissatisfied with film(making), at least the ones I made.

I don’t find a way to deal with it.

This is in the blurred area between documentary and fiction.
A matter of life or death.

Everyone is playing himself, apart from the lead actor and lead actress.
I am scared.
Now, I am more scared.

We build/lay a ground for us to walk on, and a roof to protect us.
The interest is in the process of making.

This is not my context.

Directory of filmmaking in India gave the idea for some to place the addresses on a map and analyze land use.
We had to make (manufacture) special celluloid that works in our environment.
Based in the skepticism of calling something experimental cinema!
Avant-garde does not work with/in my country or my context.
I don’t think we are here to defend the works we have seen in the past two days, they can defend (for) themselves.

Experimental film = Theory


Very rarely would a film make an argument.
Does theory have to be appropriate?
Philosophical toy.

Film picturing and deconstructing theory.

Digitizing …. film …  unique link to the …. past

Era of anticipation of digitization.

Susan Sontag wrote… after she died.

Intersection of film and identities

Baghdad Bahn Highway
Brotherhood and unity


Why we want to communicate?

Why would people want to know?

If we want a larger audience we have to go the to TV.

Television is part of the war machine!

I presume: you know what democracy is now!

We must remain disorganizedly organized.

“We look forward but not back”

Tensions: desire for autonomy & independence, sharing resources, and continuity

Ephemeral institutions

Experimental film is in itself an institution.

Screening active graffiti on the walls

I decided to disappear from the present, in order to re-appear in the future.

How to create systems that enable identities that are meant to move forward.

Heart attacks, excitement, anxiety

But I do not appear in any of the pictures.
It’s very rare to find a film in which an Arab feels represented.

Appeal to aesthetic standards X

Do not fetishize difference.

Every transgression is a re-born genre.

Surrealists would enter films at points they want and leave at points they want, thinking ( as if) they are making the film.

The only definition for art is the definition created by the people who worked in the art world.
Response: but there are many art worlds.

When speaking of the “art world”, we would be actually speaking of the high classes of the art world (successful and established artists, institutions, …) .

How to form one front.