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most touching
Anniversary-DVD
most
touching
25th Kassel Documentary Film and Video
Festival Anniversary-DVD
Between Media
For 25 years the team of curators of the Kassel Do-
exploration, and a precise selection. The compilation
At the beginning there was the dream of
cumentary Film and Video Festival have compiled
of the programs “Between Media”, “Between Space”,
our own personal cinema: “The shy expo-
innovative impulses and up-to-date developments
“Between Humans” follow parameters of content and
sure of our dearest. A dramatic represen-
in the realms of the moving image. The emphasis
form so that their successions always produce a new
tation of our preferences. A cinema with
lies – loyal to its name – on documentary works in
“long” film, similar to the programs in the short film
a garage and a bar. Exhibiting the medium
all their variations. More than 3,000 works were
section.
‘cinema’ to you as well as to us.” Quoted as
such from the 1st ever Filmladen-program
screened to a broad, open-minded public during the
in June 1981. For 27 years now this dream
course of the festival’s history. So, how can you pick
The synopsis of the “Anniversary-DVD” presents a
a “sensible” selection that in a way functions as a
broad spectrum of categories of documentary work,
has become reality. One of the Filmladen’s
25year memory?
such as essays, observations, animated documenta-
main events is the Kassel Documentary
ries, performance, and photo-film. Information about
Film and Video Festival. In Germany, this
While strict chronological considerations guided
the personal touching points of the festival curators
mergence of cinema and festival activi-
the selection for the 20year Anniversary-DVD (each
is shown in their statements that can be found in the
ties is universal and leads to a series of
Dokfest-year was represented by one film), new
DVD-Booklet.
positive synergies. Consequently it comes
as no surprise that the reflections on
thoughts were taken into account for the Anniversary-DVD “Most Touching”. After a restriction of length
This DVD would not exist without the generous
films, film making, media and the changing
to 15 minutes per work, the view quickly solidified
support of the featured filmmakers who made their
of production conditions always played a
that further formal restrictions would not take centre
works available to us without charge. This is why we
central role at the various editions of the
stage, but rather personal connections of the festival
wholeheartedly say: Thank you and respect!
Dokfest. The skeptical position concerning
the “New Media” that existed at first was
curators: Which films were remembered? Because
they were so outstanding, so special, because they
We also thank all persons and institutions that helped
quickly resolved and resulted in a diverse
moved us so much? Furthermore, a festival such as
us realize this DVD. Firstly to the production team
dialog about the transition from analog
the Kassel Dokfest always creates an interconnec-
Oliver Schulte, Maik Timm, Steffen Härtel-Klopprogge,
to digital media. Nevertheless do we like
tion between the film-creators and the audience,
makks moond, Michael Richmann and all people that
the return of the “good old” films as a re-
between the film and reality, between people and
helped with the research. Furthermore, for the gene-
curring “guest”.
their habitats.
rous support of the Dr. Wolfgang Zippel-Stiftung, the
The program “Between Media” starts off
Touching points thus coin the selection, which in
Hessische Filmförderung, the Hessisches Ministerium
with the burning of a video camera. This
turn divided into three thematic programs: “Between
für Wissenschaft und Kunst, Hessen-Media, the Kul-
displays the camera’s emancipatory value
Media”, “Between Space”, “Between Humans”. They
turamt der Stadt Kassel, Kulturstiftung der Kasseler
but also its function as a surveillance
deal with issues that were recurrent themes through-
Sparkasse, Landesanstalt für Privaten Rundfunk
tool. Furthermore, it illuminates on the
out the history of the festival. On the other hand they
Hessen, MEDIA and the Sparkassen-Kulturstiftung
diverse possibilities of media utilization
represent the conviction and the orientation of the
Hessen-Thüringen without whom this Anniversary-
as well as its manipulation and finally
Kassel Dokfest: Passion for the cause, appetite for
DVD could also not have been realized.
ends with an hommage to film and film making.
Between Media
Between Media
This is an emergency/Notfall Kain
shows that a video camera can have influences on
movement does not stem from her own body but from
Schüssel Anna Berger
K arawahn
social processes. Well meant as a utopia, the “right”
“the outside”; from the camera with which she was
Germany 2000 | 3:40 Min. | no dialogs
utilization of the media especially since the rise of
filmed. Through her actions and movements Franzi is
18th K assel Documentary Film and Video
6th Kassel Documentary Film Festival, 1989
YouTube has sadly not been realized (despite of the
confronted with the borders of her living space (the
Festival, 2001
millions of cameras). (GWV)
screen). The figure Franzi and her tragic-comic expe-
(…) always in the focus of events: a camera is shoo-
riences are the product of an artificial world of images;
SCHÜSSEL reveals our everyday-life. Everyone wants
ting her death (occured on February 19th, 1988)
an ironic fiction.
to watch television. Mister Stoecker makes sure that
In the Event of Amnesia the City Will
we get reception.
Recall… Denis Beaubois
A captivating idea, consequently converted as rare-
the medium “video”. As a paradox and the new section’s
Australia 1997 | 7:22 Min. | no dialogs
ly before. It’s sheer fun to watch Franzi how she
The mass medium utilized as the entrance to the
starting period , the “death in the flames” triggers off
measures the limits of her telly. A fine image for the
world. When observing everyday life, Anna Berger
the era of the “new” medium. The result of the perfor-
Festival, 1998
addiction to formatting and standardization concer-
reveals in a beautiful way how untroubled “televi-
ning the apparatus television, which is guarded by a
sion” can very well be connected with physical effort.
decisive hierarchy. (CH)
The recipient’s daily tortures are comparable to those
In 1989 the Kassel Dokfest expanded its categories by
mance was shown on the big screen and the “burned”
object was exhibited as the Dokfest’s first installation
Twelve sites were selected around the city of Sydney
ever on the premises of the café Vis-à-Vis. (GWV)
where surveillance cameras are prominently placed.
relating to the advertising slogans of the German film
industry: “Big films are for cinemas and not for small
The locations were mapped out and the stage for
IN THE EVENT OF AMNESIA… was created. A pilgri-
Paramatrix Benjamin Seide, Henry Schmidt
Free Society Paul Garrin
mage was made to the sites daily for a period of three
Germany 1995 | 5 Min. | German
USA 1988 | 4:00 Min., Excerpt: 0:30 Min. | English
days. Upon arrival the performer attempted to engage
7th K assel Documentary Film Festival and
with the electronic eye. The performers actions were
Festival, 1995
Video program, 1990
directed to the camera which adopted the role of au-
screens.” (GWV)
Video Hacking Manuel Saiz
Great Britain 1999 | 4 Min. | English
dience. No permission was sought for the use of these
A vision: the paramatrix. A three-dimensional, virtual
A video clip on the glorification of war, militarism, po-
sites. The performer arrived unannounced and carried
and ever-growing net. A clear-cut basic form. Each
Festival, 2000
lice state and violence. An aggressive collage accom-
out his actions.
participant receives her/his individual virtual box, the
paracube: a virtual mailbox, living room, playground,
VIDEO HACKING is a fictional documentary about a vi-
working on the tape for a year when he randomly wit-
Talk to her! The way she’s staring at you! Beaubois
laboratory, studio, temple... Along with that comes a
deo art activist that manipulates tapes in video shops
nessed the riots at Tomkins Square. The police drove
has shown how it works. Back then, it convinced us
set of modelling tools, an “import bucket” and an hour
standing for chaos and against copyright. The Hitch-
away homeless people from a park because nearby-
immediately and it still does today. Against the back-
of counselling with the green guru (“Parabär”). The
cock classic “Vertigo” serves as an object of demon-
living residents had complained. Garrin offered his
ground of the daily surveillance, his poetic and politi-
new tenant can decorate his or her shack with the help
stration.
footage to two TV-channels. As a consequence, this
cal manual is more up to date than ever. (VK)
of the modelling tools. One parabyte memory capacity
panied by the music of Elliot Sharp. Garrin was already
lead to a disciplinary inquiry within the New York Police
will be at his or her disposal.
Those were the days… you hardly get any VHS-tapes
in the next-door video shop, they use the space for
Department.
Franzi Katharina Wibmer
In 1995, the paramatrix immediately captivated us.
DVDs instead. Not an easy one for potential video ha-
The leitmotifs of the early Dokfest editions as well
Maybe we didn’t know back then but only guessed:
ckers. The digital media of all (which actually makes
as the years of the political video movement were
the paramatrix is neither phantasy nor utopia. It’s no
material manipulations easier!) has lead to tougher
linked to the key word “counter public”. Numerous
Festival, 1994
less than an accurate vision of our networked media
working conditions for “cultural jammers”: those, who
reality. Only one thing stays unclear till now: who is
want to follow the footsteps of Saiz’s art activists. But
the big green “Parabär”? (VK)
the one and only question remains the same: who
media locations and video collectives utilized the
“emancipatory” media technology to give a voice to
Franzi is a film about Franzi. What differentiates
the speechless. Applied in the right way, Paul Garrin
Franzi from other people is, that the impulse for her
owns the world of images? (VK)
Between Media
Between Media
Der Kinomann Thomas Frickel
states of anxiety, hysteria, difficulties in breathing, loss
Disclaimer Michael Curran
of balance. The harms caused by a visit to the cinema
Great Britain 1993 | 5 Min. | English
must no longer be ignored. And that is why we must
Video program, 1990
“Fight the cinema!- Eliminate the cinema!”
Festival, 1994
He arrives on a moped with a trailer, his tool is a mobile
Had I seen this educational film about the cinema’s
The characters and events portrayed in this videotape
35mm-cinema projector from the year 1956. Siegfried
harmful effects earlier, had I maybe had the chance to
are entirely fictional. Any resemblance to characters
Scheuerl has brought film culture to the smallest villages
avoid the worst! But it’s too late for me: I’m infected
known either living or dead is purely coincidental.
in the Thuringian region of Zeulenroda for thirty years.
with the cinema’s magic and I blame the Dokfest for
The film accompanies the “Cinema Man” on one of his
that! (CM)
last tours – an amusing, but also a little melancholy
DISCLAIMER was a shock to me at the time and actually still is. This designation labels the responsibility for
view on a form of cinema culture that could not survive
potentially violated copy- and personality rights and is
Mini Cine Tupy Sérgio Bloch
displayed in the credits of a film. In Michael Curran’s
Brasil 2002 | 10 Min. | Portuguese | English st
film, however, it is an actress (Herlinde Smet) who is
When the wall came down a bit of its cinema culture
obviously forced to state that all characters and the
– the mobile cinema – vanished, too. The “Cinema
Festival, 2003
film’s plot are fictional. It is this statement that she
under the economic conditions of a free market.
Man” simply became unnecessary and with him his
gets punished for – and then she has to repeat the
trips on the moped where he transported cardboard
José Zagati, trash gatherer in Sitio das Madres on the
sentence over and over again as if it was false or sim-
boxes full of films to villages, cinemas or schools.
outskirts of São Paulo, has set up a small movie the-
ply not well enough presented. It is also shocking to
And finally the tradition of the “Dreimillionenfilmme-
ater in the garage of his house made from materials
see with how simple means an extreme dramatization
terbewegung ” died out: this rewarded the projection-
found in the garbage, to show movies for the kids in the
of a formal marginality has taken place here. You li-
ist with a bonus for the careful handling of screening
neighborhood. The projector is unprotectedly exposed
terally become frightened of the feature film! At the
copies. (FT)
on the sidewalk to create some distance to the screen.
same time DISCLAIMER lifts exactly those theoretical
The cinema opens every Sunday and the screening
media-related thoughts that were illuminated by Uwe
starts at nightfall. Unless it rains. Tickets are free.
Hermanns and me at the vast special project of the
Kampf dem Kino Gerd Gockell, Ute Heuer
11th Documentary Film and Video Festival. (HKV)
Passion for the cinema! It connects people world-
wide. The opening film of the 20th Dokfest reveals
Festival, 2002
how films with “mind and heart” are brought to the
big screen under difficult circumstances. This expe-
KAMPF DEM KINO (“Fight the Cinema”) is an educatio-
rienced passion is mirrored in several of the cinemas
nal as well as a propaganda film about the ill effects of
in Kassel. (GWV)
the cinema. Beware! Watching those cinematographic
films can cause serious harm! It should not be allowed
to children and adolescents to watch these films! The
effects of sexually explicit films are of particular danger. They are responsible for a decline in shame and
lead to a complete confusion of moral values! Damages
caused by cinemas can occur in a variety of forms:
Between Space
Between Space
Weltgenie Alberto Signetto
press coverage. Nothing is known for certain about the
Italy, FRG 1988 | 4:30 Min. | no dialogs
further fate of the table. Rumour has it that it was di-
vided into ten separate parts and was spread out over
Video program, 1990
ten different squats.
dered itself political in orientation. Since
Shot on a breath-taking and stunning location the
“A table is a table” claimed Peter Bichsel once in
its foundation in 1981 the issues have al-
camera drifts like a maelstrom through a personal in-
his wonderful deconstruction story. And it is the sto-
tered – so have the manners of filmmaking
terpretation of Lingotto’s urban history. People appear
ry that turns the everyday appliance into a political
– and the filmmaker’s motivation for ma-
only to disappear again at the horizon of the image and
symbol. The uprising against the established system
king committed films has been modified
to make space for new sceneries. A free adaption of the
of justice was prepared strategically on the corners
likewise. The intention to illuminate on
life of Nietzsche and the writings of Gottfried Benn.
of this table, in feminist protest actions breasts were
The Kassel Dokfest has always consi-
the relations of domination and power, to
bared and – lost in thought – Elfriede Jelinek and
display the frontlines of conflicts, and
An exploration of space of a special kind from the age
Heiner Müller drew stick figures on the table. And, of
to question traditional agreements – or
of analog media: the camera measures out a seemingly
course, people ate and drank, discussed and argued,
even withdrawing them – has remained the
endless factory hall without digital gadgets and stages
cried and laughed, and put their fists down, at and on
same on both sides. Thus, the spaces cre-
pillars of “world history” in the spaces in between.
it – just as in real life! (IS)
ated in people’s heads or even in real life
While at it the film maneuvers closely on the borders to
emerging from such actions and attitudes
kitsch without ever having to make a definite decision.
ideally lead to change.
According to Umberto Eco the effects of art – such as
Los Angeles: The 60’s in the 90’s Ed. de la
From the masses of screened works a se-
impetuses for thought, commotions and emotions – are
Torre, Melissa Totten, Bruce Yonemoto
lection of films has been chosen which
effects kitsch can evoke likewise. In any case WELTGE-
USA 1993 | 8 Min. | English
fill the space in between in rather unusu-
NIE opens up spaces in one’s head. (GWV)
al manners and ways, i.e. by modification,
Festival, 1994
poetry of words, exact observations, or
even excess-staging.
5,5 x 1,5 Meter Barbara Kasper, Gregor
This video caught my attention for the first time as
Schuster, Lothar Schuster
part of the splendidly curated program by Kathy Rae
Huffman and Carole Ann Klonarides of the Linzer Ars
Electronica in 1994. Actually it is a fragment of a
Festival, 1998
portray of Los Angeles that draws on two important
books: Reyner Banham’s “Architecture of Four Eco-
The film tells the curious story of the most famous table
logies.” (1991) and “City of Quartz” (1990) by Mike
of the left scene in Berlin: bought by the first socialist
Davis. It is a comparison of two perspectives of the
barrister collective at a flee-market in Charlottenburg
city in the disguise of a sequence of images which
for 800 Deutsch Mark in 1969, it passed many illustre
is graphically and musically smart: Los Angeles as a
stations such as the Commune I, the Red Aid, a flat
“utopia”, a paradise of beaches and movie heroes;
share of carpenters, and so on. In 1979 it arrived right
and Los Angeles as a “dystopia”, the end of Western
on time for the foundation of the TAZ in their editorial
civilization. It is a very impressive juxtaposition and il-
offices, to then be kidnapped by autonomous squatters
lustration of two sociological studies – we simply had
as a punishment for perceived counter-revolutionary
to show this in the hated and loved Kassel. (HKV)
Between Space
Between Space
Under the Skin Game Diane Nerwen
Bush administration like no other. Pascal Lièvre takes
Detail Avi Mograbi
School trips to Bonn, the big demonstration for peace
USA 1996 | 17:30 Min. | English
Bush’s famous speech back to the American home-
Israel 2004 | 8 Min. | Arabic, Hebrew,
against the NATO-double resolution in Bonn, filming
land and creatively changes its meaning. A love song
English | English st
before and after the decision to move the federal go-
Festival, 1997
of a special kind: make love, stop war. (GWV)
21st K assel Documentary Film and Video
vernment from Bonn to Berlin, the visit of numerous
Festival, 2004
video festivals in Bonn – I connect several memories
UNDER THE SKIN GAME is an experimental documen-
with Bonn. If I were one of the others, I would say:
tary which examines “Norplant”, the contraceptive
Der Peter Schroeter und Berger
DETAIL is indeed a detail. It is a detail of my next fea-
Wolfgang Hogekamp and Sebastian Krämer are ma-
implants, and how it has been advocated as a device
Germany 2005 | 6:30 Min. | German
ture film, but more importantly, it is a detail of the rea-
king an interesting suggestion… (GWV)
for governmental reproductive and social control. This
23rd K assel Documentary Film and Video
lity of how we live in Israel and the occupied territories.
tape explores “Norplant” as a potential legislative
Festival, 2006
Yet, this detail is an obscure one, at least for us Israelis,
not that we could not see it if we wished, we prefer not
A thousand reasons why I became a socia-
been historically victimized on the basis of gender,
A German microcosm. The filmmaker observes the po-
to expose ourselves to those endless details that make
list. Part I Anne-Britt Rage
race, and class.
liceman Peter and creates an almost intangible, most
the lives of 3.5 millions Palestinians unbearable. We
Norway 2003 | 4 Min. | Norwegian | English st
uninteresting picture of an every day man in order to
tell ourselves many stories as to what reality is like but
comment on the absurdity of the surveillance itself.
the truth is that we lost the ability to look at our own
Festival, 2004
“tool” to be used against the poor, and those who have
The tape really gets to the inside. Not so much because it shows the notorious images of punctured cell
actions. (Avi Mograbi)
membrane. But because it makes the anatomy of a
I thought it a refreshing idea that a normal citizen
violent intrusion and the access to individual bodies
could keep state power under surveillance. The film-
Rarely it is the length of a film title that holds any in-
by state power physically detectable. Not a game
maker himself becomes the observing organ because
formation towards the depth of a work. I experienced
anyone would like to take part in. Neither then nor
he considered his civil liberties restricted during a
this twice. Jonas Mekas “As I Was Moving Ahead
Anne-Britt Rage compiled and commented on the
today. (VK)
demonstration. He researches in depth and discovers
Occasionally I Saw Brief Glimpses Of Beauty” is one
Super 8-material her parents filmed while on distant
details of the life of the policeman Peter. These efforts
of them, the other being Avi Mograbi‘s “How I Learned
trips with her daughter during the 1970s. It shows the
don’t bring him any further and he thus stops his ob-
To Overcome My Fear And Love Arik Sharon”. Even if
touristy view of the owners, who see exotic worlds
L’axe du mal (Axis of Evil) Pascal Lièvre
servations for they cannot always lead to the exposure
DETAIL is quite the opposite in both title- and screen-
and their inhabitants first and foremost as things that
France, Canada 2003 | 5:45 Min. | French |
of a criminal.
ing-length: Mograbi is a master of observation and
can be bought. Many years later the film material
English st
The filmmakers take up the issue unpretentiously with
precise densification. (WH)
gives good reasons for the daughter why to distance
pictures (of evidence) and static camera perspectives
Festival, 2004
just as an observation looks like. It was at that point
First part of an investigation why people choose to be
on the left side of politics.
herself from her parents’ perspective and become
a socialist. For me this video is most capturing be-
that I managed to smile about the depressing issue of
Bonn Wolfgang Hogekamp, Sebastian
cause the sober, anywhere-anyplace holiday images
state surveillance for once. (KD)
Krämer
become a warning sign through the autobiographical
menacer la paix du monde” (Armed and Threatening
Germany 2002 | 4:30 Min. | German
commentary. On top of that it is interesting to see how
World Peace) from the January 31st, 2002 issue of “Le
the video visually describes a central turning point in
Monde”, the lyrics of L’AXE DU MAL are sung to the me-
Festival, 2003
the life of a person. It remains an exceptional image
Citing an article on George W. Bush “Armé pour
lody of the original Jermaine Jackson and Pia Zadora
song “And When the Rain Begins to Fall”.
as well how Anne-Britt Rage escaped my attempt of
The Video stems from a series of so called “poetry
presenting a panel discussion about her film by sim-
clips” in which poets and slamers perform their texts in
ply hiding behind me. (HKV)
If George Bush actually coined the phrase “Axis of
selected surroundings. BONN is an observation regar-
Evil”, cannot be ascertained beyond doubt. But the
ding 9/11. The poet Sebastian Krämer reaches a sur-
term has become a symbol of the ignorance of the
prising realization when the city of Bonn is concerned.
Between Space
Between Humans
Revolutionary Song Istvan Kantor
Canada 2005 | 9:30 Min | English
Festival, 2007
Social relations, sympathies, feelings,
The film about the cinematic mayhem of video clips is
love or in a nutshell: what people con-
about the 16-year-old Istvan Kantor’s trip to Paris in
nects or divides has always been present
1966. He remembers a haircut and a struggle with his
in the festival program und constantly in
father.
the curators’ focus. And this is not only
The video works by Istvan Kantor have accompanied
perience but because it is exciting to see
me for many years. Often distressing, however always
how connections are being made, emotions
fascinating too. They left traces in my mind because
are being expressed and dramas are being
of their radicality. He and his work polarize – and that
solved.
because it affects one’s own world of ex-
is why he had his Dokfest-premier only in 2007. This
time the committee members agree because his video
Among numerous portraits in the long
comprises everything regarding the relations of pow-
film sector, creative program titles were
er: the video revolution, the individual, and the real re-
found for the short film sector in order
volution come together precisely. And as it is for me: I
to form a suitable frame for “relation-
don’t like to go to the hairdressers either.. (GWV)
ship works” such as “In the circle of loved
ones”, “Between us”, “Relating to relations”, “bizarre liaison” or “To live love”.
In a synopsis including 12 short films, the
program “Between Humans” reflects on
the entire (emotional) life between people:
the longing, the search for partners, the
superficiality in the moment of encounter,
fulfilled love, seperation and pain, happiness and passion in one’s prime age.
Between Humans
Between Humans
Je changerais d‘avis Benny Nemerofsky
A woman sets out to photograph moments of intima-
Polyamory or rather multiple love relationships extend
THE SWEATLODGE originally shot on Super 8, is an
Ramsay
cy. On an Internet dating site she writes: “I‘m looking
the imagination of the romantic couple relationship by
expressive account of male behaviour dramatically
Canada 2000 | 4:30 Min. | French | English,
for people who would like to be photographed in pu-
at least one more person. Without doubt they require
choreographed in swirling, fluid camerawork. The
German, French st
blic, revealing something of themselves...”
more energy and communication. But whether or not
cast, all men, all dressed in suits, move in a formalized,
WHAT I‘M LOOKING FOR, a 15-minute high definition
the “big” bliss can be attained by thorough planning
ritualized way, sombre, impassive, linked yet separate,
Festival, 2001
video, documents this adventure; the connections
and elaborate logistics, in the end sensitivities such
seemingly no more aware of each other than they are
formed at this intersection between virtual and actual
as by loyalty and respect decide, but also by violations
of themselves.
How do you say “I love you” in the information age?
public space. The video is a rumination on the nature
of feelings by the others. (GWV)
Modelling itself after hyper-information channels, JE
of photography and the persistence of vision.
CHANGERAIS D‘AVIS seeks to express pain, loss and
It is a short tale of desire and control. (arsenal expe-
regret in a sea of simultaneous translations into Eng-
rimental)
lish, French, German, American Sign Language and
Men! A herd in suits dancing their rituals mysteriously. They are looking for contact wildly and sometimes
Akt Inge - Für Franz Hartmut Jahn
tenderly. Or is it distance they are really looking for?
The images of the film are touching and stay in one’s
weather reports. As new technology allows easier and
A seemingly endless sequence of photographs leads
memory profoundly. The music is still reverberating.
faster communication, what gets lost?
to meetings with “The Others”- literally through the
Festival, 1994
(GWV)
images on show, but furthermore by the inner enliEven in the information age nothing has changed in
venment and the translation of what can be seen. The
Portray of a 74-year-old act model. A video docu-
regard to dear love being the inspiration and impulse
re-montage of movements with portays and details of
mentary about joy, age and the form of the living
Du hast kein Herz (You Have No Heart)
for artists. If one wants to and is able to express one’s
skin, hair, eye-lashes, facial expressions, all in the
body that accompanies our life and fulfils it. Inge is
RASKIN (Rotraut Pape, Andreas Coerper)
feelings in various ways, simultaneous projection offers
sharpness of HD, creates a hyper-real perception of
not young anymore and nor is she particularly thin.
Germany 1991 | 16 Min. | German | English st
many possibilities. Benny managed this in a moving vi-
reality, within which the intimacy of extreme close-
She works as an act model – there certainly exists
deo that makes one listen, makes one smile, and trans-
ness almost seems to mesmerize. To be left behind
a connection to her own sexuality. A subtle mini-
Festival, 1991
ports in a sentimental, desperate and painful manner a
after 15 minutes with the feeling of having seen a
portray.
hint of kitsch. Curious and a little bit in love with Benny,
whole film without being able to retell it in scenes.
we were all glad about his shy request to cover transport
Searching without finding, a poetic truth – it is this
In composing the video program we were always on
ting; the theme of their relationship is seen in frag-
costs from Berlin to Kassel so he would be able to visit the
what I am looking for. (JS)
the look-out for works that use new creative means
ments. Reflections of language and speech are one
festival. Although we had all succumbed to the charm of
to transport documentary content. Hartmut Jahn en-
focus of this work: the mimicry, the breaks, the spaces
JE CHANGERAIS D’AVIS already, Benny managed to be-
thused us because he furthermore had the courage
between the sentences competing with the sentences
Two heads, a woman’s and a man’s, are communica-
witch us by his appearance for a second time. The work
Miss Popularity Wayne Yung
to break with a taboo: sexuality in old age. It took
and the fragments of sentences. There is normal
and the artist truly were one and authentic. For Benny an
Germany 2006 | 6:20 Min. | English, German |
15 years for the first cinematic film to tackle this is-
dialog. Question and answer. Commentary and contra-
important part of his artistic creation in Germany started
English ST
sue: Andreas Dresens “Wolke 9”. And by the way: The
diction. There are also internal dialogs accompanied
with the Dokfest. Personally I am very happy that we were
protagonist‘s name is Inge. (CH)
by the own bad conscience. Now and then, the pro-
allowed to be part of his first steps and for me it is: Je ne
Festival, 2006
tagonists get caught up in arguments that culminate in
changerais pas d’avis. Good Luck Benny! (SD)
speechlessness or they are drawn into a whirlpool of
Is it possible to have two boyfriends at the same time?
The Sweatlodge Mike Stubbs
Certainly, with a bit of organization! A gay man uses
Great Britain 1991 | 7 Min. | no dialogs
repetitions like a choir.
What I‘m Looking For Shelly Silver
found footage to describe how he juggles the demands
It was just yesterday that I was standing in the shop,
USA 2004 | 15 Min. | English
of multiple relationships.
Festival, 1992
looked at the salesperson and thought “You have no
22nd K assel Documentary Film and Video
heart!”. Just say it! If in doubt it is a strike. The collage
Festival, 2005
of the detached sentences in combination with the
Between Humans
Between Humans
images is at the same time meaningful and meaning-
Very delightedly I watched this kitchen battle fought
Calling 911 Jan de Bruin
For every couple movement, be it physical or during
less. A provocation only reverberating like a multifunctio-
with holy seriousness. I relished the unsentimen-
The Netherlands 2004 | 6:21 Min. | no
conversation, is to be ranked positively. Marianne
nal speech-bubble, a mantra outside its context. (AV)
tal view into a very old relationship story. Touching
dialogs
Theunissen and Chris Baaten are tied together – may
how the old man licks out the inside of the bowl with
be located in the prison that calls itself relationship
childish joy, after his wife had shooed him somewhat
Festival, 2005
– and they have to arrange themselves in order to
Tolya Rodeon Brodsky
ungraciously but also apprehensively through the kit-
Israel 2006 | 9 Min. | Russian | English st
chen. Are these the happy old ones Ernst Bloch talks
Observing a dramatic break-up encounter between a
eyes THE AGONY OF A TABLE AND TWO PEOPLE is a
about? Who after having learned to live with each
man and a woman in the streets of LA, this work sets
successful visualization of a conversation that has the
Festival, 2007
other through decades can by now only survive to-
the personal drama into our overly organized city with
potential to save a relationship. (GWV)
gether? In any case they baked a topnotch cake and
its rescue-networks on standby. Recorded in Los An-
On International Women’s Day, when all his fellow alien
they danced a Vienna Waltz elegantly. I envy them for
geles, CALLING 911 also tells about the idea that reality
workers call their distant wives to greet them, Tolya
that! (IS)
in America is non-existent but rather a constant conti-
Canada 2004 | 3:11 Min. | English | English ST
nuation of narratives.
remains speechless as he calls Natasha, his wife. His
be able to reach a “better” relationship level. In my
The goodbyeCOUPLE Michael Toke
toothless mouth can’t pronounce anything but a whist-
The Paper Wall Sheila Pye, Nicholas Pye
ling mumble. Tolya is ready to give up on words, but not
Canada 2004 | 11 Min. | no dialogs
Being at the right place at the right time and doing
everything the right way, too. These parameters rarely
A couple sits on a couch in a foyer at the end of a party.
Festival, 2005
combine and create a small documentary master-
The man tries to communicate without the use of his
piece. An everyday observation that stands out and
mouth or his face. The woman listens and interprets
on his romantic message.
In a long-distance relationship, talking on the phone
Festival, 2005
can be difficult. In an attempt at creating closeness,
Boxed into twin rooms yet separated by a thin wall, a
shows that salvation from a love drama is but merely
with boozed, shiny eyes. The words fall silently and
you sometimes only manage set phrases that make
brother and sister communicate their desires. Stun-
possible. (GWV)
slowly while the subtitles talk of love and beauty to the
you feel even more distant. And then, mutual laughter
ning, provocative and perplexing, the pair is irresistible
can get you connected instantly. That happens in this
to watch as they become increasingly dependent on
wonderful film about the creativity of love, which is
one another.
audience.
The Agony of a Table and two People
Visiting other festivals invites the spectator to under-
Marianne Theunissen, Chris Baaten
stand and to get acquainted with the customs and
A work, in which intimate physical presence on the
The Netherlands 2005 | 4:30 Min. | no
traditions of other nations. I encountered this beau-
screen touches the inner self, and does not let go. The
dialogs
tiful work by Michael Toke as a member of the jury at
Zusammengebacken (Baked Together)
connection between the dark-haird woman and the
the Images festival in Canada. The work helped me
Susanne Schulz
fair-haired man (siblings? a married couple? lovers?)
Festival, 2006
to understand the language better because the cus-
Germany 2003 | 10:20 Min. | German |
is intensive in a way that makes pictures inescapable
English st
that would normaly make one look away. The physical
The interior of an apartment as a structure in which
of superficiality but they also serve as a flywheel of
inspections show an undividable connection between
the human body functions as a mobile ornament. This
communication between people. (GWV)
Festival, 2004
two human beings, in the course of which the impos-
ornament consists of a man and a woman linked in
one of my favourites from Dokfest 2007. (CE)
tomary every-day phrases are not just an expression
sibility of breaking free is cruel and aspirable at the
constant motion, a human sculpture whose flowing
BAKED TOGETHER is a snapshot of the 61-year marri-
same time. Is there any room left for the I? Is there an
silhouette adapts to and enhances the surroundings
age of Elly and Kurt Barthel – my grandparents. They
I without the Other? (JS)
they move through and in. The man and woman are
are baking a cake together. The “battle” in the kitchen
actually engaged in a constant struggle, wrestling
is followed by celebration. A film for everyone who can
to maintain their balance and sustain their progress
stand each other for so long and those who have wisely
through the interior.
decided to separate. (Susanne Schulz)
25 years
The Kassel Documentary Film and Video
Festival
imprint & Credits
Early on in its history the Kassel Documentary Film
As the Kassel Documentary Film and Video Festival not
Idea and concept: Gerhard Wissner Ventura (GWV)
and Video Festival expanded from a pure film festival
only engages intensively with “new” media but further-
to a media festival. This was to pay tribute to the
more with changing processes of reception, it was only
wholeheartedly involved: Kristina Danzer (KD),
The Sam Spiegel Film & TV School, Jerusalem |
changing conditions of production and to extend the
logical to introduce the presentation of audio-visual
Sylvia Drabits (SD), Carolin Ernst (CE), Wieland Höhne
Universität Kassel - Zentraler Medienbereich | Video
concept of “the documentary” and its presentation.
performance art in form of the DokfestLounge as the
(WH), Christian Hoffmann (CH), Holger Kube Ventura
Data Bank, Chicago | V tape, Toronto
The “new” media at the time – video – was already
youngest and fourth section of the festival in 2003.
(HKV), Verena Kuni (VK), Christine Messerschmidt
Kindly supported by:
arsenal experimental, Berlin | LUX, London |
(CM), Irmhild Scheuer (IS), Jan Schuijren (JS), Frank
The Anniversary-DVD was funded and
ries, experimental and artistic works have been
Supplementing the different sections, extra pro-
Thöner (FT), Alexandra Ventura (AV) Organization
supported by: Dr. Wolfgang Zippel-Stiftung |
interwoven in the festival program since then. The
grams are presented regularly. Events and series are
and realization: Kati Michalk, Hannah Möller
Hessische Filmförderung | Hessisches Ministerium für
most important pillars of the festival are the German
integrated according to the conceptual orientation of
Translations: Sandra Mijatovic, Henrike Rodegro
Wissenschaft und Kunst | Hessen-Media | Kulturamt
long documentaries and the international short film
the festival on up-to-date issues. Accordingly, the
DVD Authoring, Encoding: Oliver Schulte, Maik
der Stadt Kassel | Kulturstiftung der Kasseler Spar-
compilations. Thus every year more than 200 films
2001-program “documenta and film” took a closer
Timm (Expanded Cinema) Key Visual: Steffen
kasse | Landesanstalt für Privaten Rundfunk Hessen |
are screened in three festival cinemas.
look at the forthcoming documenta-curators and
Härtel-Klopprogge (atelier capra) DVD Menu Design:
MEDIA | Sparkassen-Kulturstiftung Hessen-Thüringen
their individual positions In 2005 “International Vi-
makks moond (livinroom.berlin) Booklet: Michael
added to the program in 1989. Next to documenta-
A further important development took place in 1995:
deo Reporting” questioned the historic roots of this
Richmann (op45) DVD Production: Volker Bebensee
Publisher:
the conference interfiction was integrated in the
journalistic fashion-trend, and drew attention to its
(ROMplett CD & Grafik e. K.)
Kasseler Dokumentarfilm- und Videofest
festival as a platform for theoretical discussion on
limits as well as its possibilities. As a festival within
changing issues. In the form of a workshop-seminar
the festival the project “SPLICE IN” (2007) presented
Thanks to all filmmakers and artists who made
Goethestr. 31, 34119 Kassel
with lectures the integration of media through the
historic and contemporary documentary and fiction
their work available to us: Chris Baaten | Denis Beau-
0049-561-7076421
universal-machine computer was debated. The first
films, featured round tables and panel discussions
bois | Anna Berger | Sérgio Bloch | Rodeon Brodsky |
dokfest@filmladen.de
interfiction event with the title “Perspectives and
exploring “Gender and Politics in Afghanistan, its
Michael Curran | Jan de Bruin | Ed. de la Torre |
www.filmladen.de/dokfest
Myths of the Counter-Public in Data Networks” set a
Neighbours and Europe”.
Thomas Frickel | Paul Garrin | Gerd Gockell | Ute Heuer
Filmladen Kassel e.V.
| Wolfgang Hogekamp | Hartmut Jahn | Istvan Kantor |
new course in the media landscape.
ISBN-Nr.: 978-3-9812605-1-9
Parallel to the film program, space-related works
It is this unique mixture of diverse cinematographic
Kain Karawahn | Barbara Kasper | Sebastian Krämer |
came into focus since the enhancement of the video
and artistic sections which makes the Kassel Dokfest
Pascal Lièvre | Avi Mograbi | Benny Nemerofsky
All films on this DVD are protected by copyright. All
section. In 1995 the label monitoring established
so innovative and enthuses not only a regional au-
Ramsay | Diane Nerwen | Nicholas Pye | Sheila Pye
non-private usage such as public screening or copy-
itself for the exhibition of media-installations and
dience but also cinema-lovers, filmmakers, artists,
| Anne-Britt Rage | RASKIN (Rotraut Pape, Andreas
ing is prohibited. For public screenings the program on
sculptures in order to extend the cinematographic
journalists and representatives of film- and media
Coerper) | Manuel Saiz | Henry Schmidt | Schroeter
this DVD can be requested via the publisher. Screening
framework of the festival further.
institutions from all over the world.
und Berger | Susanne Schulz | Gregor Schuster |
DVDs with a higher image quality can be acquired after
Lothar Schuster | Benjamin Seide | Alberto Signetto
clarification of the rights with the respective filmma-
| Shelly Silver | Mike Stubbs | Marianne Theunissen
kers and artists.
| Michael Toke | Melissa Totten | Katharina Wibmer |
www.filmladen.de/dokfest
Bruce Yonemoto | Wayne Yung
3 Program compilations
with 33 selected short films
between Media
between space
between humans
most touching
Anniversary-DVD
www.filmladen.de/dokfest | dokfest@filmladen.de
Running time 244 minutes | DVD9 | PAL | Region free | ISBN-Nr.: 978-3-9812605-1-9

here

Transcription

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