Feel free to collaborate sending us information about events in your area, publications, your creations, or writing on and expanding our wiki section. 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, … There are so many things to say about the festival’s virtual manifestation. The online streaming of Oberhausen’s Film Festival is organized chronically. For Would You Like to Meet Your Neighbor? Oberhausen is the world’s oldest short film festival and in the meantime also enjoys an excellent standing in the art scene, where short films and videos play an increasingly important role today. Filmed at a small amateur demolition derby, and in particular in the pit where the battered and beaten vehicles are battered and beaten back into serviceable shape by offstage mechanics, Isn’t It a Pity may be culturally far removed from a German glass factory. A confirmation mail was sent to your mail address.. The Waimiri–Atroari had earlier been driven nearly to extinction by the Brazilian Army due to the construction of a highway through their land. 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!). 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. 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). Founded in 1954 as the Westdeutsche Kulturfilmtage – the West German Culture Film Festival – the International Short Film Festival Oberhausen recently celebrated its 60th anniversary, and continues to screen work which pushes boundaries, challenges the cinematic establishment and gives a platform to new, exciting short filmmakers from around the globe. Por Ivonne Sheen. Share on whatsapp. It also happens to include one of the most unforgettable lines of the festival: when Hammer approaches an attractive but highly guarded young woman and asks what she’s reading, she says simply, “I just got through reading an article about raccoon rabies.”. They are reminiscent of the films of Warren Sonbert, both in their structure (constructed of fragments of footage organized visually and rhythmically rather than chronologically or geographically), and in their exquisite compositional beauty and editing patterns. La transmisión en línea del Festival Internacional de Cortometrajes de Oberhausen se organiza de forma programática. In total, Internet users in nearly 100 countries watched the festival films on the net. Oberhausen Film Festival Such film festivals – those extraordinary clusters of images, transports of light, of virtual worlds scattered across a real geography – pale in scale when considered next to the project of the www. 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. 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. Nevertheless, perhaps the two most memorable programs emerged from the archival/historical component of the festival. Musing on the town’s decision to stop the practice of burning effigies of women, while allowing the fire and all the other trappings of the ritual to remain, Kirchenbauer asks, “I wonder whether violence decreases once its image is removed, or if it does its work even better, invisibly.” It’s hard to think of a question more germane to the present moment, a time of reckoning with the persistence of deeply entrenched racism and injustice during a supposedly postracial era. 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 … In case you can't find the confirmation mail, please check your spam folder. 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. Analogue film is still very much alive, despite many forecasts to the contrary. Nevertheless, the heart of the film is the spectacle of the glass blowing process. He was a member of the National Cowboy Hall of Fame. But thematically it stands apart, bearing witness with great candor and penetrating intelligence to the experience of being made to feel like an outsider in one’s own home, in one’s own landscape. A New York Subway Tape (USA, 1985), which was included as part of Electronic Arts Intermix’s Distributors screening. The online edition of the 66th International Short Film Festival Oberhausen from 13 to 18 May 2020 has proved far more successful than expected. Oberhaus Their success in rising to the challenge posed by the pandemic was extraordinary. 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. 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. A total of almost 42,000 Euros will be awarded in prize money. Jared Rapfogel is the film programmer at Anthology Film Archives in New York City. Held in Oberhausen, it is one of the major international platforms for the short form. Live Q&As took place as well, conducted via video-chat, with daily Zoom meetings offering the opportunity to meet members of the festival’s staff (the festival director, Lars Henrik Gass, members of the press office or selection committees, other curators, and so on). Holidays Medicine & … A distinct strand of Plaat's work takes the form of exquisitely composed travelogues, such as Spurs of Tango (1980). RSVP to RSVP@spektakulativ.com. 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. 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. The festival his always on the lookout for new developments, whether technological or aesthetic, for new cinematographies and borderline areas of cinematic experience. Oberhausen (/ ˈ oʊ b ər h aʊ z ən /, German: [ˈoːbɐhaʊzn̩] ) is a city on the river Emscher in the Ruhr Area, Germany, located between Duisburg and Essen (c. 13 km or 8.1 mi). At one point, Wilkinson observes, “I’m Canadian…It’s popular enough to sell beer, but no one can define what it means. Share on linkedin. It also evokes the phenomenon of repressed memories, or even the legacy of childhood itself, a period of life that generates psychological and emotional structures and ramifications that continue to exert an invisible influence on all of us. Oberhausen serves as an occasion to share ideas and to meet filmmakers and colleagues. Like so many events in the COVID-19 era, this year's opening ceremony morphed into an online video-conference format. 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. Jenny Brady's Receiver is a structurally ambitious film about communication and miscommunication. OBERHAUSEN FILM FESTIVAL 2020: PROGRAMA 2 DE LA COMPETENCIA INTERNACIONAL. His 10 western films received a special Western Heritage Award in 1974. 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. Once the camera has zoomed in so far that the photo fills the frame, the “image” begins to burn, and it becomes clear that there has been an invisible cut: the photo that is burning is not mounted on the wall but rather suspended in the middle of the room, so that as it burns the “real” room is gradually revealed. 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 … 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. 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? This method contributes to a constant rhythm of viewing, closer to the regular dynamics during Film Festivals. One facet of Dandelions is Wilkinson’s frustration with the limits of communication, with the difficulty of truly conveying her own experience in the world and in Canadian society. This program brings together some of the most interesting works from the 2019 International Competition of the Oberhausen Film Festival. 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). 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. 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. It goes without saying that the sixty-sixth edition of the International Short Film Festival Oberhausen was anything but business as usual. Vika Kirchenbauer’s Untitled Sequence of Gaps (Germany, 2020), part of the Distributors program curated by Arsenal in Berlin, addresses questions of invisibility—of realms of experience and identity that the dominant culture often literally fails to perceive or recognize—in a more poetic, symbolic register. 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. Location Echo Park Film Center 1200 N. Alvarado Street Loas Angeles, CA 90026 United States + Google Map The image of a woman blowing a kiss repeats ad infinitum in Jolanta Marcolla’s Kiss (1975). 66th International Short Film Festival Oberhausen, 13–18 May 2020. Share on facebook. In 2013, the organisers of the festival launched a special Archive section to bring some attention to an often neglected subject: archiving and restoring experimental films. The International Short Film Festival Oberhausen is now inviting submissions to its 64th edition, which will take place in Oberhausen from 3 to 8 May, 2018. The mail was sent from the following address: noreply@filmchief.com From the evidence of the seven films presented at Oberhausen, Plaat’s films fall into two broad categories: highly stylized, gleefully campy, and extravagantly performative works, and travelogues constructed from footage gathered during his journeys in far-flung regions of the globe. A conceptually inspired work, Destruction is (apparently) set in a nondescript interior of a house or apartment. Originally named the 1st West German Educational Film Festival, the inaugural event was organized in association with the Oberhausen Cinema Club (Filmclub Oberhausen). Destruction is an ingenious, witty, and brain-tickling meditation on the instability of the image and the deceptive nature of filmic space. And unfamiliar as the films are on these shores, they are very much in dialogue with trends, ideas, and strategies that were prevalent in early video art in North America, Western Europe, Asia, and elsewhere at the time. In Ewa Partum’s TV Drawings (Rysunki telewizyjne, 1976), for instance, Partum uses a marker to draw directly on a TV screen, thereby transforming the psychologically and politically passive act of watching a television newscast into a matter of active engagement. It was a simpler time, at least for me.”). 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. Share on pocket. The virtual closing ceremony of the 2020 International Short Film Festival 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. Henri Plaat's Second War Hats (1986) presents a bizarre fashion show against a war-torn landscape. 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. The somewhat contentious topic of curation was at the forefront of the 62nd edition of the Oberhausen Short Film Festival. In terms of engaging with the festival lineup, I have to say that there was something liberating about accessing the programs online. So far I’ve focused on the contemporary films in Oberhausen’s lineup. It is used as an artistic medium in countless forms across the world, not only at festivals and in the cinemas. (Apiyemiyekî?) Oberhausen has managed to instigate various political and … 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. Oberhausen has managed to instigate various political and aesthetical developments, for instance through the Oberhausen Manifesto, perhaps the most important group document in the history of German film. 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. In this way, the audiences are more able to catch most of the Film Festival along its duration. A movement emerged encouraging Biennial artists to withdraw from the exhibition in order to force the removal of Kanders. It goes without saying that the sixty-sixth edition of the International Short Film Festival Oberhausen was anything but business as usual. Here the landscapes are those of Ontario, where Wilkinson—a black Canadian woman—grew up. Though not the very first film festival in the Coronavirus era to shift into the virtual realm (earlier instances included CPH:DOX and the Ann Arbor Film Festival), Oberhausen was certainly in the first wave, which is to say that planning for the festival was far advanced when disaster struck. (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. For the past six decades, Oberhausen has been one of the premier platforms worldwide for the short form. Share on pinterest. Thirza Cuthand’s Less Lethal Fetishes is a wry but pointed take on the protests that erupted at last year's Whitney Biennial. In Vika Kirchenbauer’s Untitled Sequence of Gaps, the spectrum of light becomes a metaphor for the spectrum of sexuality and gender. Films like The Strange but Unknown Star (1969), Second War Hats (1986), and Laughter in the Rosary! The International Short Film Festival Oberhausen, founded in 1954, is one of the oldest short film festivals in the world. 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. 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. He founded the International Short Film Festival Oberhausen. The challenge of communication is at the very heart of Barbara Hammer’s classic video work, Would You Like to Meet Your Neighbor? 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. Two other standout films at the festival represented masterful portraits of place. It seemed that everywhere you looked in Oberhausen 2020’s lineup you found films that spoke to (forcibly) vanished peoples and histories, and in many of these instances this phenomenon was seen through the lens of landscapes. In particular, the movement to oust Kanders put already disempowered and marginalized artists like Cuthand in the untenable position of feeling obligated to support the protest by potentially sacrificing the biggest break they had ever achieved in the art world. 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. And for those familiar with the foundational works of American avant-garde cinema, it’s a fascinating Eastern European counterpart to the work of Hollis Frampton and Michael Snow—in fact, it’s almost like the Polish love-child of Frampton’s Hapax Legomena I: (nostalgia) (1971) and Snow’s Wavelength (1967). This act places TV Drawings in the tradition of works that directly manipulate or otherwise call attention to the video monitor (by Lynda Benglis, Joan Jonas, Dan Graham, Takahiko Iimura, and a host of others), as well as those films and videos that have aimed to deconstruct or interrogate television newscasts and programming (Richard Serra & Carlotta Fay Schoolman’s Television Delivers People [1973], Anthony Ramos’s About Media [1977], numerous works by Martha Rosler, and so on). Structured in five parts, Receiver is a collage film bringing together disparate materials: audio of an AT&T customer call during which a crossed connection escalates into verbal abuse; a debate about the leadership of a university for the deaf; a legally deaf video artist describing her experience of hearing her own and others’ voices; footage of a Q&A following a screening of Orson Welles’s The Trial, which is plagued by recording snafus and miscommunications; and finally Brady’s own footage of a BBC Radiophonic Workshop for deaf children. One of the most thought-provoking and enigmatic films in the International Competition, Jenny Brady’s Receiver (Ireland, 2019) is a meditation on this very subject, on communication and miscommunication, through the prism not of race but of deafness. The competition provides a good overview of "serious", avant-garde short film productions (Hamburg, on the other hand, offers the more entertaining films). Seem from a certain perspective, Heather Trawick’s Isn’t It a Pity (USA, 2019), screened in the International Competition, is a perfect companion piece to keep shiftin’. 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. At one of the Podium sessions, art historian Hans Ulrich Gumbrecht gruffly declared that he found the practice “annoying” … The camera slowly zooms in on a wall of the room, on which is mounted a photo of the room itself. IMDb, the world's most popular and authoritative source for movie, TV and celebrity content. Combining footage of interviews with Schwade and other archival materials with her own footage of the Waimiri–Atroari’s land today, Vaz superimposes the drawings over this present-day landscape photography, a powerful filmic gesture that, in a sense, inserts them back into their land, cinematically reversing the process by which Brazil tried to erase them from the landscape (a gesture that is enormously moving but of course also profoundly poignant in its ultimate futility). Fingerprint Dive into the research topics of 'Creature Companion (Film): Screening, Oberhausen Film Festival, Germany, May 2018.'. The festival cites the COVID-19 virus spread in Los Angeles County and southern California for moving planned outdoor film screenings online. Welcome ! 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. 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. The International Short Film Festival Oberhausen, founded in 1954, is one of the oldest short film festivals in the world. 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. Film series In February 1962, at the eighth annual Oberhausen Short Film Festival, a brief but impassioned manifesto was signed by 26 filmmakers and film professionals roundly criticizing conventional contemporary German cinema and calling for the creation of a new type of feature film based on new freedoms and a new type of film language. On the other hand, travelling around the world to attend film festivals is a luxury that’s open only to a highly fortunate few. 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. It can certainly be argued that, weighed in the balance, the increased ability for viewers across the world to engage with the festival and its films is more important than the opportunity for a much smaller, more privileged collection of people to gather in person. With 59 entries the International… Jadwiga Singer’s Destruction (1978) is an ingenious meditation on the deceptive nature of filmic space. 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. (1973) are masterpieces of the form—shot in almost miraculously vibrant and luminous Kodachrome, they are joyful in their inventiveness and visual beauty, but with an undertone of disturbing mystery. 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. In Dandelions, Black Canadian filmmaker Dawn Wilkinson reflects on the experience of feeling socially excluded in one's own country. What started out as a simple one-minute video assignment for FIU’s Art + Art History students enrolled in Introduction to Experimental Video Art quickly led to the chance for two students to have their work premiere at the 66th 2020 International Short Film Festival Oberhausen.. Last semester, Department of Art + Art History professor Jonathan Perez asked students to submit a video … 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. 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. The city hosts the International Short Film Festival Oberhausen and its Gasometer Oberhausen is an anchor point of the European Route of Industrial Heritage. Award winners of the 66th International Short Film Festival Oberhausen, 66th Oberhausen Festival: Solidarity as Disruption, Working with analogue film: three workshops for projectionists, filmmakers and children, Award winners of the 65th International Short Film Festival Oberhausen, 65th International Short Film Festival Oberhausen, 64th Short Film Festival Oberhausen Call for entries, 64th International Short Film Festival Oberhausen Call for Entries. 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. 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. 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). 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. 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). Award winners (Screening 23rd of October) Limerence (Yves Tumor) Oliver Pietsch, Germany 2018 No dialogue, 5’30’’ Hirografo( Manuscript) The 2021 Sundance Film Festival … Share on twitter. 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. Grand Prize of the City of Oberhausen. Cuthand deftly calls attention to the relative privilege and entitlement of those artists who could afford (financially and/or professionally) to withdraw their work. Directly addressing the viewer, Cuthand explores the ramifications of this well-meaning (and ultimately successful) initiative from the perspective of a queer artist of partly indigenous (Plains Cree) descent, and more specifically through the lens of her strangely rich history of interaction with gas masks (she’s used them in her work in the past, and hilariously teases out her heretofore unexamined relationship to them as fetish objects). 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. A New York Subway Tape, Barbara Hammer interviewed subway riders. 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. Share on email. In a larger sense, part of what makes this period so extraordinary, and potentially so transformative, is the ways in which it’s forcing institutions and systems to reconfigure themselves (or, considering the protests and actions calling for racial justice—actions that may not have been so widespread, energetic, and effective without the unique climate and context of the global pandemic—to rethink some of the most ingrained ways our societies function, or fail to function). 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