Resistance: 1968-2018. Screening of Shorts
Time and place
Sunday, 16 September 2018 at 21:30
Velikan Park – Hall 3: Александровский парк, 4к3, парк Александровский, Санкт-Петербург, Россия
A film considered almost lost even by Garrel, who recently found his negatives. Shot during the events of the May 68, it was made collectively; the film is a merge of Garrel’s and his partners’ points of view, all of them students and filmmakers that participated in the revolt.
"The Words of The Chairman"
I was on a ship – this sounds like a novel: I had just embarked for Venezuela on June 2, 1967 as the Shah of Iran was arriving in West Berlin. There were protests, a student was shot, and a new form of opposition movement came into existence. The idea for this film came to me while I was still aboard the ship.
The film is structured like a commercial. The film takes a metaphor literally: words can become weapons. However, it also shows that these weapons are made of paper. The weapon spoiled everything for the Shah and his wife, they are wearing paper bags on their heads with faces drawn on them – the kind of bags worn by Iranian students during demonstrations to hide their identity from the Savak, the Iranian Secret Service.
When I showed this film to the audiences in the late 60s, it was highly praised. I think people understood then that over obviousness is also a form of irony. This capacity was lost a few years later. I think it’s coming back today. (Harun Farocki)
"The Revolution Is Only a Beginning: Let’s Continue Fighting"
Half family photo album, half ciné-tract, the film was shot in Paris during the events of May ‘68 and in Rome where the actor (Pierre Clémenti) was featuring in the film Partner by Bertolucci. Rediscovered in a basement in 1999, this silent film appears to be one of Clémenti’s most purely beautiful and concentrated works, at times recalling Brakhage and Eisenstein.
"The Sixth Side of the Pentago"
An exceptional documentary about the peace march to the Pentagon organized in October 1967 by American youth in opposition to the Vietnam war, in which several strands of American opinion were represented: pro-communist activists, apolitical but anti-war Americans, neo-Nazis, Republicans, conservatives … This march by peace activists brought 100 000 people together, and was the first direct action to follow the American students protest at army recruiters on their campuses.
The Shinjuku district was the epicentre of Tokyo’s art scene and the political fever pitch where protests took place on a regular basis during the 1960s. Jonouchi’s compilation footage of the area defies documentary imagery and transforms itself into something altogether more poetically subjective, attempting to capture the chaos of the location through his camerawork and editing. In 1974, Jonouchi projected images of the past onto himself whilst reciting Dada-influenced and virtually inaudible poetry generating a cacophony of images and sounds, drawing from and participating in the maelstrom of political and artistic expression during the era.
"Johnson & Co. and the Campaign Against Poverty"
«How to compare West Berlin and Vietnam? Do we share anything? We have to appropriate the tools of knowledge and join the exploited people. We have to pick up guns and fight. We didn’t invent violence, violence invented us.» Inspired by the imagery of the silent cinema, the godfathers were Brecht and Straub.
"June Turmoil (Lipanjska gibanja)"
The film is documenting student demonstrations in Belgrade in June 1968 It was shot for the most part in the court of Kapetan Mišino Zdanje (Faculty of Philosophy building), where students gathered up and where famous artists participated thus showing solidarity with the students.
Cinétracts project was undertaken by a number of French directors as a means of taking direct revolutionary action during and after the events of May 1968 Contributions were made by Godard, Chris Marker, Alain Resnais and others during this period. Each of the Ciné-Tracts consists of 100 feet of 16mm black and white silent film shot at 24 FPS, equalling a projection-time of 2 minutes and 50 seconds. As part of the prescription for the making of the films, the director was to self-produce, self-edit, be the cinematographer, ensuring that each film was shot in one day.