Saturday 23rd November, Centre of Latin American Studies, University of Cambridge (advance registration required).
http://www.latin-american.cam.ac.uk/events/chile-on-film
Includes the first screening of my new video, ‘Chile: Divided Generations’ – a study of the politics of memory in Chile, extracted from a longer film, Interrupted Memory, on memory and politics in Argentina and Chile, coming soon.
Here’s the video of the Q&A after the DocHouse screening of ‘Secret City’ at the Riverside last May
[vimeo]http://vimeo.com/68041329#[/vimeo]
For left film culture in Britain, Stanley Forman, who has died at the age of 91, was the archive man. His company, ETV, held a unique library of left-wing documentaries which amounted to the history of the twentieth century from a socialist perspective. Established in 1950 as Plato Films, the outfit was what would be called in Cold War ideology a front organisation, set up by members of the Communist Party to distribute films from behind the Iron Curtain. There was nothing nefarious about it, however. Read more
‘Secret City‘, the film I’ve made with Lee Salter about the City of London Corporation, received a preview screening at the House of Commons on Tuesday evening. This is more or less what Lee and I said to introduce it.
First, our thanks to John McDonnell, MP for Hayes and Harlington, for hosting the event.
We think this film is a model of documentary film production within the academy under the rubric of research as practice. One of the things this means is that it’s been produced on a tiny budget, less than £10,000, which represents real value for money. So we’d also like to acknowledge the support of the University of Roehampton, which provided most of this funding, which mainly covers the costs of clearing rights for archive footage.
Why a film and not a research paper? Because we wanted to reach outside the academy with a piece of work that deals with something very few people know anything about, and a documentary film is a very good way to do this because it breaks out of the limits of any particular discipline and reaches audiences in the wider community. Read more
A new online journal from Colombia, Corónica, has posted a short interview with me on video, made by Juan Soto, called ‘9 Notes on Digital Cinema’. (In Spanish and English, with subtitles.)
[vimeo 48867239]
It accompanies my film on the students protests in Chile, ‘Three Short Films about Chile’.
http://cine.revistacoronica.com/2012/09/tres-cortos-sobre-chile-por-michael.html
which Javier Toloza writes about here (in Spanish):
or ‘Me gustan los estudiantes’: Mario Handler at St Andrews
The Uruguayan documentarist Mario Handler came to St Andrews recently for a symposium revisiting New Latin American Cinema of the 60s through the Uruguayan case. The event was able organised by Beatriz Tadeo Fuica, included a prety cogent overview of Documentary and Activism by Leshu Torshin, and a Q&A with Mario Handler by Gustavo San Román. This was my own contribution. Read more
Being written for presentation at ‘Marx at the Movies’, these notes address the topic from an angle which is rarely treated in film and video scholarship, that of the peculiar labour process and mode of production involved. Read more
After my rather long silence, an uncharacteristically short post.
We gathered, on an unusually warm day for January, at the London College of Communication in Elephant & Castle for the third seminar convened by the Artists’ Moving Image Research Network, with Pratap Rughani and Catherine Elwes as our hosts, to talk about the relations and tensions between documentary, ethnographic film, and artists’ film and video. We ranged across a whole range of topics from the ethics of representation—Pratap spoke about the film-maker’s relation to the subject—to the teasing out of meanings from the archives: Catherine Russell spoke about Los Angeles Plays Itself and The Exiles, and Laura Mulvey talked about Madame Dao. Hito Steyerl showed her video In Free Fall. Rachel Moore talked about Jean Epstein’s concept and practice of photogénie. Stan Frankland provided a trenchant and funny critique of Jean Rouch and a number of other targets, and Sean Cubitt summed up beautifully. What we’ve really been talking about, he suggested, was the problem of what can’t be seen as such, like culture, and the non-identity of the image, which I take to mean the import or sense in any image of what is not directly portrayed within it. Or to put it another way, what Wittgenstein would call the aspect of the image which can shift this way or that, especially according to the way the image is combined with others—and montage, of course, is the privileged mode of the film medium. (This ought to apply to sound as well, which unfortunately on this occasion remained a neglected topic.) Read more
Three Forgotten Early Soviet Sound Films on the Electrification of the USSR
(This is a revised version of the talk I gave at the BFI Southbank on 1st June 2011 as part of the Soviet season, to introduce Macheret’s Men and Jobs and an extract from Shub’s K.Sh.E. Here I also discuss Dovzhenko’s Ivan.) Read more