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In a sense, Plaat finds an equivalence in the travelogue form for the heightened artificiality of his melodramas—he has such a remarkable eye and such an extraordinary command of cinematography that he finds the expressive, sensuous, and even glamorous qualities of his more constructed films in the landscapes he travels through and documents. Wagner’s film is one of perpetual motion—the workers have to keep the glass cylinders moving continuously, revolving, swinging, or otherwise agitating them, all of it requiring a mutual coordination that makes the whole process resemble nothing so much as a dance performance. In the course of six decades, the International Short Film Festival Oberhausen has developed into one of the most highly acclaimed cultural events worldwide – a place where renowned figures like Agnès Varda, Martin Scorsese, … The Oberhausen Short Film Festival was founded by German cultural worker Hilmar Hoffmann who then served as the director of the Oberhausen Volkshochschule (an adult education center). Careful programming and a pioneering choice of subjects has helped the Festival to build up its exclusive position in an increasingly unpredictable market. He founded the International Short Film Festival Oberhausen. In terms of engaging with the festival lineup, I have to say that there was something liberating about accessing the programs online. The International Short Film Festival Oberhausen is now inviting submissions to its 65 th edition, which will take place in Oberhausen from 1 to 6 May, 2019. But that momentary glitch was addressed quickly, and apparently was triggered by much higher demand than the festival anticipated, a sign of what was reportedly an unhoped-for success on the level of viewership as well. (Apiyemiyekî?) This method contributes to a constant rhythm of viewing, closer to the regular dynamics during Film Festivals. Grand Prize of the City of Oberhausen. Visually and structurally, Dandelions is squarely within a certain tradition of impressionistic experimental cinema, its fragmentary, highly textured hand-processed imagery juxtaposed with poetic on-screen text. The festival cites the COVID-19 virus spread in Los Angeles County and southern California for moving planned outdoor film screenings online. On the other hand, that Oberhausen could go forward at all was a testament to the technological tools available in the twenty-first century, and above all to the tireless efforts and resilient adaptability of the festival’s organizers and curators. Award winners (Screening 23rd of October) Limerence (Yves Tumor) Oliver Pietsch, Germany 2018 No dialogue, 5’30’’ Hirografo( Manuscript) Their success in rising to the challenge posed by the pandemic was extraordinary. But Plaat’s taste for the flamboyant and expressive animates the travelogues as well, even if here it manifests in other ways, especially through the exaggerated, lopsided compositions. Best perhaps to begin by painting a picture of the experience: though some parts of the planned programming had to be jettisoned, the majority of the programs were able to make the move online. The somewhat contentious topic of curation was at the forefront of the 62nd edition of the Oberhausen Short Film Festival. The Internationale Kurzfilmtage Oberhausen (the Oberhausen International Short Film Festival) is one of the longest-running and most preeminent festivals devoted to the art of the short film. Taking place from May 13–18, 2020, at the height of the COVID-19 pandemic, this year’s festival was an online affair, and there’s no way to discuss the event without this radical format taking center stage. So far I’ve focused on the contemporary films in Oberhausen’s lineup. The basic structure of the festival—with its various sections including the International, German, and other Competitions, the Profiles showcasing individual artists, the Archives screenings focusing on particular institutions’ collections, the Distributor component wherein short film distributors ply their wares, and so on and so forth—remained intact. From 3 to 7 May, in conjunction with LUX (London) and the Robert Flaherty Film Seminar (New York), the Oberhausen Film Festival will hold the Oberhausen Seminar for the fifth time during the 64th festival edition. Nevertheless, perhaps the two most memorable programs emerged from the archival/historical component of the festival. A conceptually inspired work, Destruction is (apparently) set in a nondescript interior of a house or apartment. A different, less violent, but still insidious form of exclusion suffuses Dawn Wilkinson’s Dandelions (Canada, 1995), which screened as part of the Distributors program drawn from the catalogue of the Canadian Filmmakers Distribution Centre (CFMDC). And once again this (racial) exclusion is expressed largely through images of the (coded) landscape. The film premièred in 1961 at what would become the showcase for the new generation of German filmmakers, the Westdeutsche Kurzfilmtage (now known as the International … The festival his always on the lookout for new developments, whether technological or aesthetic, for new cinematographies and borderline areas of cinematic experience. In particular, like the contemporaneous work of artists such as Joan Jonas, Richard Serra, Vito Acconci, Bruce Nauman, James Nares, and numerous others, many of these video works comprise small gestures. Speaking of reconfiguring systems and identifying and combating privilege, a number of films in various sections of this year’s festival spoke precisely to these issues, perhaps none with as much wit as Thirza Cuthand’s Less Lethal Fetishes (Canada, 2019), which screened in the Distributors screening co-organized by the Canadian organization Vtape. In the age of necessary social distancing, we would like to highlight a remarkable film which fulfils the noblest vocation of art, fostering an emotional connection between people from different times and geographical locations. The always-invaluable Archives section—which showcases the collections and preservation projects of various international film archives—included an extraordinary program presented by the Polish organization, Fundacja Arton, focusing on experimental video artists in Poland in the mid-to-late 1970s. It’s an exemplary instance of the genre, not least of all because Wagner resists the temptation to reduce the men (and at this particular factory, the workers are indeed exclusively male) to anonymous components of a mechanical process and a cinematic spectacle. Cuthand deftly calls attention to the relative privilege and entitlement of those artists who could afford (financially and/or professionally) to withdraw their work. The Oberhausen International Short Film Festival was founded in 1954 and is the oldest and largest short film forum in the world. HDHB. Each program was made available for forty-eight hours—a perfect period, providing plenty of time to design one’s own schedule but short enough to give each day the flavor of a special event. Where people do appear, they are generally solitary, in shadows, or lost in thought. The online edition of the 66th International Short Film Festival Oberhausen from 13 to 18 May 2020 has proved far more successful than expected. Share on pocket. Premiered at the Oberhausen Film Festival, where it received an honorable mention. In total, Internet users in nearly 100 countries watched the festival films on the net. From today’s perspective it’s a joy to behold if only for its glimpses into the daily lives, fashions, and gestures of 1980s New Yorkers. The first thing to report, then, is that the festival was a great success from a logistical and technical standpoint, a feat of frenzied, high-pressure arrangements that must have led to many sleepless nights. Visited almost exclusively by curators, filmmakers, programmers, and other film professionals to keep up with the trends in short and experimental film, the Oberhausen International Short Film Festival is world-famous for its excellent programming but in some ways alienated from its … At first sight, the travelogues—represented here by Fragments of Decay (1983) and Spurs of Tango (1980)—seem radically distinct from the melodramatic, quasinarrative films. But in Trawick’s hands, it’s nothing if not a choreographed spectacle of elemental physical materials—a symphony of metal, fire, dust, and mud—and a duel between heavy machinery and objects of profound fragility (in this case, the flesh and blood drivers and mechanics). It’s more unmistakably a feature of Second War Hats, with its cast of cross-dressing, lavishly made-up and attired models buried up to their necks (à la Beckett) against a backdrop of burning, bombed-out buildings. Like so many events in the COVID-19 era, this year's opening ceremony morphed into an online video-conference format. And hopefully some of these reconfigurations may result in valuable and lasting changes. On the other hand, the social dimension is much more than simply a distraction, it’s a crucial part of what makes festivals important and valuable. For the past six decades, Oberhausen has been one of the premier platforms worldwide for the short form. Wagner makes room for snatches of break-time conversation between the workers, and glimpses of the objects they keep at their station—small filmic gestures that go a long way toward individualizing the workers, and preventing them from becoming mere figures in a landscape. The other revelatory program—which wasn’t officially part of the Archives section, though it did showcase new restorations produced by the Eye Filmmuseum in Amsterdam—was devoted to the work of Dutch experimental filmmaker Henri Plaat. The 65th International Short Film Festival Oberhausen will open on 1 May 2019 at 7.30 p.m. in the Lichtburg Filmpalast in Oberhausen with around 400 international guests from politics, culture and film. Gathering together ten short video works, the program was illuminating on multiple levels. There are so many things to say about the festival’s virtual manifestation. Well over 2,500 festival passes were sold in around 60 countries, over 1,000 trade visitors from almost 70 countries attended the online festival. What emerges is both a profoundly intriguing investigation into the role of sound in communication and an exploration of the nature of communication itself—the many different forms it can take, the ways certain forms can come to dominate and be perceived as “normal,” and, above all, the ways communication can break down. In case you can't find the confirmation mail, please check your spam folder. The online streaming of Oberhausen’s Film Festival is organized chronically. Even more striking were the associations called to mind by Jadwiga Singer’s Destruction (Destrukcja, 1978). The Oberhausen International Short Film Festival is dedicating this year’s Theme programme to “Solidarity as Disruption”: an investigation into how solidarity, a concept that has come into focus with the recent migrations, can be re/defined as a political project and how its methods can be re/activated through the cinema. Tonally, Fragments of Decay draws out Plaat’s darker side—it’s a profoundly disturbing, downbeat work, relatively depopulated, with the charismatic actors of the other films replaced by decrepit or crumbling buildings and empty, trash-strewn spaces. Cuthand’s film revolves around the scandal that erupted during the 2019 Whitney Biennial concerning Warren B. Kanders, a co-chair of the Whitney Museum’s board whose company Safariland manufactures tear gas grenades. is an independent website dedicated to provide information and promote experimental & avant-garde film. Composed of a combination of home movie footage, visually striking infrared/ultraviolet photography, pure color panels, and an enigmatic, seemingly fragmentary narration, the film uses the phenomena of unseen forces—namely infrared and ultraviolet light and microwave radiation—as a rich and flexible metaphor. But experience with the material and its projection practice is gradually getting lost in the digitized world of cinema. But not far below the surface is a fascinating exploration of shared urban space, and of the invisible but complicated dynamics of personal and social interaction within these spaces. Jadwiga Singer’s Destruction (1978) is an ingenious meditation on the deceptive nature of filmic space. Henri Plaat's Second War Hats (1986) presents a bizarre fashion show against a war-torn landscape. (Brazil, 2019)—also part of the Arsenal program—is the work of Brazilian teacher and indigenous rights activist Egydio Schwade, who in the 1980s collaborated closely with the Waimiri–Atroari people of the Brazilian Amazon. The film ends with a section about the only recently banished ritual in Kirchenbauer’s home town of throwing a straw witch on a bonfire to mark the summer solstice. Heather Trawick’s Isn’t It a Pity documents an amateur demolition derby. But they do connect to the other films in certain ways. The International Short Film Festival Oberhausen is now calling for entries to its 64th edition, which will take place from 3 to 8 May 2018. Jenny Brady's Receiver is a structurally ambitious film about communication and miscommunication. But as the film comes to an end, smoke begins to rise from below again, suggesting a continuous cycle and begging the question (to be left unanswered) of whether the image we see is in fact another photograph (or if the room itself is on fire!). Of course the transition to a radical new way of organizing and presenting a film festival begs the question, what was lost and what was gained? Together they form a unique fingerprint. La transmisión en línea del Festival Internacional de Cortometrajes de Oberhausen se organiza de forma programática. It’s a highly personal testament, but at the very end Wilkinson elegantly widens the frame by turning the camera on a mirror, effectively drawing the viewer into the film, and prodding us to consider our own identities, perceptions, and judgments. The camera slowly zooms in on a wall of the room, on which is mounted a photo of the room itself. More than films are shared at a festival, especially one like Oberhausen that draws a particular international community of devotees of short and experimental cinema. The festival holds an International Competition, German Competition, and International Children's and Youth Film Competition, as well as the MuVi Award for best German music video and, since 2009, the NRW Competition for productions from the German state of North Rhine-Westphalia. Launched in 1995, relentlessly connecting films to festivals, reporting and promoting festivals worldwide.. A brand new website will soon be available. This discordant note is subtly present in The Strange but Unknown Star, with its underage protagonist in her Hollywood diva rubber mask and its fetish for submerging stills of Dietrich and Garbo under a dizzying variety of materials: black lace and water, but escalating to raisins, flour, and raw eggs. And like Wagner, Trawick refuses to allow the human figures to be subsumed entirely into the spectacle, devoting parts of the non-sync soundtrack to the conversations and banter between the men and women of the derby (surprisingly, the demolition derby is not the all-male domain that the glass factory is—in fact, Trawick was initially drawn to film the scene thanks to the proliferation of female mechanics). In any case, it seems clear that some of the lessons learned during the online, pandemic edition of Oberhausen, and some of the new systems that made it possible for the festival to go forward and reach much broader audiences, may well be important tools for expanding the festival, even once the in-person event returns. America's leading magazine on the art and politics of the cinema. Furthermore, experiencing the festival in the absence of jet lag—a factor that can make it very difficult to stay alert (or even entirely conscious) while running the gauntlet of nonstop moviegoing—was something new under the sun. keep shiftin’ is also animated by the palpable contrast between the strenuous activity and heavy machinery involved in the process and the extreme fragility of the final products, a paradox that gives the film a uniquely poetic quality. Daves and his films were honored at the Oberhausen Film Festival in Germany in 1972. Originally named the 1st West German Educational Film Festival, the inaugural event was organized in association with the Oberhausen Cinema Club (Filmclub Oberhausen). This program brings together some of the most interesting works from the 2019 International Competition of the Oberhausen Film Festival. The mail was sent from the following address: noreply@filmchief.com Chronicling the daily activities in a glass factory on the German/Czech border, Verena Wagner’s keep shiftin’ (schichteln, Germany, 2019), part of the German Competition, takes its place in the rich tradition of films about work. The 61st Oberhausen International Short Film Festival running April 30 — May 5, has selected 132 films from 41 countries for its five competitive programs. The full spectrum of light and radiation stands in for the full spectrum of gender or sexuality, parts of which are almost literally imperceptible or inconceivable to many. And yet they do, they define it every time they ask me where I’m from.” Dandelions is a beautiful and eloquent film that deploys the techniques of a lyrical, interiorized cinema to lay bare the ways in which Western societies foster an (internalized, unexamined) idea of normalcy—of whiteness as “neutral” and everything else as “other”—and to illustrate the psychic toll on those who exist outside this construct. As part of his project, Schwade encouraged them to create drawings of their lives, their environment and culture, and the history of their conflicts with the Brazilian government. In the course of more than five decades, the International Short Film Festival Oberhausen has become one of the world's most respected film events - a place where filmmakers and artists ranging from Roman Polanski to Cate Shortland, from George Lucas to Pipilotti Rist have presented their first films. The result is enormously entertaining, as men, women, and children speak to each other across normally invisible but rarely broached divides of race, culture, and class (with varying degrees of comfort). Members of the International Jury:Clarissa Chikiamco (Singapore), Javier H. Estrada (Spain), Jörg Heiser (Germany), Adina Pintilie (Romania), Salla Tykkä (Finland), Grand Prize of the City of Oberhausen8,000 Euros. Watching travelogues—and more generally speaking, seeing work from and about so many different countries and regions—during a festival rendered “virtual” by a global pandemic was a bittersweet experience. The whole video operates on the knife’s edge of joy and excruciating awkwardness. He was a member of the National Cowboy Hall of Fame. Oberhausen is not only the oldest short film festival in the world, it is also one of the most important, alongside Tampere and Clermont-Ferrand. , at least for me. ” ) n't find the confirmation mail, please check your folder! 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