09.09.2024 | KINOTHEK ASTA NIELSEN
Carte Blanche | KINOTHEK ASTA NIELSEN
SHORT FILM REEL & CONVERSATION
Named after the Danish actress and probably the first global silent film icon Asta Nielsen (1881–1972), Kinothek Asta Nielsen was founded as a feminist film initiative in Frankfurt am Main in 1999. As an association of film lovers, the Kinothek has since been dedicated to rediscovering, archiving and presenting the film work of women and LGBTQI people. The endeavour to make these and their works visible again through numerous film series, individual events and publications is not based on a nostalgic impulse, but is rather linked to the aim of describing the connections and causes that have led to the their suppression or interrupted history of reception. The film festival Remake. Frankfurter Frauen Film Tage, which has been organised annually since 2018, is one of the Kinothek’s more recent activities and represents an important contribution to the development of modern models for cinema and archive work as well as the contemporary imparting of film history.
As part of a collaboration, we have invited the operators to put together a short film reel with works from their archive to get into conversation about them. In addition to the films themselves, topics will be the work of opening up cinema spaces plus discovering and publicising forgotten works.
The analogue selection includes, for example, Ula Stöckl’s debut film ANTIGONE (1964), in which she reduces the central conflicts of the tragedy material to pure plot moments, as well as Matthias Müller’s found footage film HOME STORIES (1990), a collage of US melodramas and crime films from the 1950s and 1960s. Narrative routines and recurring clichés allow Müller to seamlessly merge scenes from various films with different protagonists: stars such as Tippi Hedren, Kim Nowak and Grace Kelly talk on the phone, sleep restlessly, listen at the door, are horrified. In the montage, their movements and gestures seem almost choreographed. At the same time, Müller’s editing shows how women become the voyeuristic victims of a cinematic (= male) gaze. In Cathy Joritz’s two-minute, humorous revenge fantasy from 1985, Joritz tackles the titular “Negative Man” via the diversions of the actual film stock: The director has scratched her visual commentary directly into the layer of the material.
HOME STORIES
DE 1990, D: Matthias Müller, no dialogue, 6‘, 16mm
TAKE COURAGE
DE 1987, D: Maija Lene Rettig, no dialogue, 9’, 16mm
MAMMA HERMMERS GEHT MIT IHREM PASTOR ZUM LETZTEN MAL ÜBER’N HEINRICHPLATZ: KREUZBERG ADIÖ
DE 1981, D: S.M. Rosi, German OV, 9’, 16mm
FAMILIENGRUFT – EIN LIEBESGEDICHT AN MEINE MUTTER
DE 1981, D: Maria Lang, German OV, 10’, 16mm
ANTIGONE
DE 1964, D: Ula Stöckl, German OV, 9’, 16mm
KUGELKOPF
AT 1985, D: Mara Mattuschka, no dialogue, 6’, 16mm
ES HAT MICH SEHR GEFREUT
AT 1987, D: Mara Mattuschka, German OV, 2’, 16mm
JOHNNY ODER DAS ROHE FLEISCH
DE 1984, D: Eva Heldman, German OV, 4’, 16mm
KOOL KILLER
DE 1981, D: Pola Reuth, no dialogue, 5’, 16mm
NEGATIVE MAN
DE 1985, D: Cathy Joritz, English OV, 2’, 16mm
| Mon 9. Sept | Schaubühne Lindenfels |
| 9 pm | In the presence of Lou Deinhart (Kinothek Asta Nielsen) € 7 (6 reduced) |
