Time and Production - Film program
SLOW < strategies of slowness
Is there any way of escaping from Time gone mad, is SLOW just that moment, can it be that easy to simply do everything more slowly and suddenly, motivated by love, to become aware of the imperceptible transition of night into dawn or into love? Moments to which, for example, the work of Chantal Akerman exhaustively refers. And is it not a secret luxury to allow yourself enough time, isnt this the flip side of the constantly more impenetrable economic control of time, of all pervasive, inescapably accelerating utilization logistics? And the slowness with which consumers are supposed to move apathetically through the Shopping Mall is a calculated effect, completely subordinate to consuming. At the same time, the person with too much free time is branded as an outsider.
Is the basic tenet of filming "the intention of achieving a maximum of congruence between life and the desired film, between time and an excerpt of time?"
The film and video program consists of two parts and moves around the possible insight that slowness is not necessarily expressed by long duration pictures. The first part shows work that is, the time that is subject to the greatest economic control. The second part of the program sketches distraction, slowness, duration, and opulence.
Film program: Madeleine Bernstorff
LA REPRISE DU TRAVAIL AUX USINES WONDER États généraux du cinéma F 1968 10 16mm
EIN FILM ÜBER DEN ARBEITER Stefan Hayn D 1998 18 16mm
HEY PRODUKTION Judith Hopf D 2001 DV 6
POR PRIMERA VEZ Octavio Cortázar Cuba 1967 10 16mm
TEMPI PASSATI Boris Schafgans D 1994 6 S8
PAM KUSO KAR Jean Rouch France 1974 10 16mm
MORNING BECOMES ECLECTIC Gina Kim Korea 2000 13 DV
WALKING MIRROR Goddy Leye (Netherlands 2001) 130 DV