SCFZ

Die Welt ist alles, was der Abfall ist. Wovon man nicht schweigen kann, darüber muss man sprechen.

https://av.tib.eu/media/12258

https://youtu.be/DXsU0rKjohc

Peace certain if no war. War certain if no peace.

Winking Buddhas, a cloned politician with a robotic voice and humans as ants represent the surreal echoes of humanity, which dissolve into an aggressively stroboscopic storm of the subconscious.

Disguised as an unfamiliar landscape, a woman strides through the centuries as an object of romantic sensuality, a decadent ornament, or a torch of the sexual revolution.

The second in a series of digital portraits that decompose plants into strips of color.

Shots of the details of trees gradually intertwine with the female silhouette in this abstract portrait of the director's wife. Carol Emshwiller was a strong voice in American science fiction literature’s new wave from the mid-1950s.

In close-ups, Jan Cornelis Mol (1891-1954) films budding flowers of various species and enhances their beauty by capturing the movements of several species of growing fungi.
https://youtu.be/LuN08inNVgE

With the help of thermographic and melancholic black-and-white shots, this contemplative film opens up philosophical-ethical questions about the possibilities of man’s intimate relationship to nature. The aesthetically diverse film contemplation calls for the awakening of empathy between human and non-human perception. “Sometimes I hear the plants whisper.” Title of the exhibition at the Botanical Museum in Berlin, 2018

Ma, the Japanese concept for time and space experienced in the Ryoan-Ji Zen Garden, points to the importance of silence and emptiness in a world filled with objects and sound.

A formal experiment sees trees as objects free from their semiotic meaning. The treetops become only a cluster of shapes, colours, and structures intended for digital editing. Instead of a romantic contemplation of nature, the film explores the possibilities of video as a tool for the aesthetic manipulation of reality.

Daphne Oram of the BBC radio laboratory; Pauline Oliveros, who coined the term "deep listening"; Laurie Spiegel, whose music flies through space and time on the Voyager Golden Record, and many others (Suzanne Ciani, Clara Rockmore, Aura Satz, Delia Derbyshire, Éliane Radigue, Bebe Barron, Maggi Payne, Maryanne Amacher, Nadia Botello, Wendy Carlos, Sarah Davachi, Holly Herndon). Laurie Anderson lends her voice to the narration and guides us through this journey of the evolution of electronic music from a female perspective.

Right from its opening line: “Not everything in this story is true”, the film can be seen as a playful application of deductive reasoning often found in crime fiction. Somewhere at a landfill site where you can allegedly get the best views of the Adriatic sea, a middle-aged man comes across a microcassette and begins to deduce who could have made such a recording and for what reason based on the cassette’s simple label description.

Based on the true story of shaman Aleksandr Gabyshev, who set out on an 8,000-kilometre journey from Yakutia to Moscow to exorcise a demon he believed existed in Vladimir Putin. Although they didn’t believe in magic, the authorities were frightened by Sasha's powers.

Dinosaur politicians, dinosaur scientists, a dinosaur activist and dinosaur friends, all responding to the climate crisis in their own way.

A parallel drawn between the construction of a sidewalk and the structure of a language. The film’s creator, having grown up in many European countries, comes to the Czech Republic and tries to master the language of her childhood. She infiltrates the world of asphalt workers but deliberately refrains from asking even once why in Czech they say: “to have a potty mouth like an asphalt worker.”

Viera Čákanyová’s video diary that she kept while staying at the Polish Antarctic station, where in 2017 she shot the film FREM (2019), whose main character was an artificial neural network. During her stay, the author chats with various artificial intelligences, leading conversations that touch on the nature of film, art, and the meaning of life while also revealing a way of thinking that’s free from humanity and from an emotionality that forces deep introspection. Footage from her routine, everyday life at the station contrasts with lyrical images of the immaculate Antarctic nature.

https://en.wikipedia.org/wiki/Kamil_Lhot%C3%A1k

Archives, History, and Innovation in Czechoslovak Army Films
Alice Lovejoy
The Moving Image: The Journal of the Association of Moving Image Archivists
Vol. 11, No. 2 (Fall 2011), pp. 1-21 (22 pages)
Published By: University of Minnesota Press
https://www.jstor.org/stable/10.5749/mo ... 0001?seq=1

The dam failure at Číčov in June 1965.

Television series The Golden Sixties examines new insights into Czech and Slovak cinema of the 1960s and the role of the Czechoslovak New Wave.

jiri kino ovalis wrote: ↑Thu Oct 29, 2020 10:40 pm PERSONAL LIFE OF A HOLE (Ondřej Vavrečka, 2020)
The most amusing film on JIDFF so far (and i anticipate altogether).

The last country to produce LSD legally (until 1975) was Czechoslovakia.

Diameter of the Earth (12.735 km) reduced by exactly 73 cm.

"I decided to become the owner of the cosmic vector."

The short reveals the artist's interest in the everyday symbolism of small artifacts that can provoke him so much that he decides to destroy them. Such a fate befell a wooden jester puppet on display in a toy shop window near Hladík's apartment at the time.

In this case, Hladík attempted to "end" the boulder that had "provoked" him since childhood.

Hladík's simple action art events are constructed from deeper considerations, which were often based on conversations he had had with friends and artists who sought to deviate from the limited, thematic repertoire of a totalitarian society.

A futile attempt to deanonymize a tree.

“One day, I came to the realization that it had been two years since I had last seen the sea. The sea has always been a symbol of freedom. I decided that two years was long enough (from an emotional point of view), and so I went back to the sea, but this time with the intention of not actually ‘seeing’ it. I asked my friends to take me blindfolded to the shores of the Baltic Sea in East Germany along with a large mirror.”

On this day, the Mayor of Prague Karel Baxa, his wife Amelia Jurković, Emanuel Čenkov (writer, member of the Prague delegation), Mrs. Slaminkowa and others visited Albert Kahn's gardens.

The film begins with a parade of Sokols joined by groups of Moldovan women in national costumes. Spectators are flooding the stands and President Masaryk is present, too. 12,000 falcons enter the stadium, performing gymnastics and building human pyramids. A group of Moldovan peasants shows traditional dances. (Praga caput regni = mostly/completely the same footage reordered)

What’s it like to live with vision loss? This film is a survey of the lives of people living with visual impairments who have either already gone completely blind or are slowly losing sight of the world around them.

https://www.ji-hlava.com/early-bird

EARLY BIRD accreditations are available until June 30, 2021.

The minimum price of EARLY BIRD accreditation is CZK 400. CZK 50 from this amount goes to support the Živá krajina association. If you decide to pay more for your pass we will contribute this extra amount to the CZK 50 donated to their collection.

EARLY BIRD accreditation serves as a full-fledged ticket to the live part of the festival (film screenings, discussions and lectures, offscreen program).

EARLY BIRD accreditation also provides 14-day access to the festival's online video library (available only for registered users on the territory of the Czech Republic).

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25th JI.HLAVA IDFF
October 26–31, 2021

ickykino tweeovalis wrote: ↑Sat Jun 05, 2021 9:21 am

(available only for registered users on the territory of the Czech Republic).

The official spot of the 25th Ji.hlava IDFF (26–31 October 2021)
has been designed by the poet and filmmaker Khavn, who thanks to his desire to trespass the borders of film expression, belongs among the most prominent personalities of Philippine cinema. His work was presented in the section Translucent Being at Ji.hlava 2006.

RAIN OF STONES
it’s raining stones
you won’t notice at first
not small grains of beautiful blinding sand
rocks the size of fists that break skulls
the young have been left by the old
take care of your own life
and let it be brief
kingdoms of dust marked by dog piss
thou shalt not cross or you die
stones don’t know the names of saints
the hardest head is the hardest hit
shards from bottles of sweet beer
difficult to run with just one foot
rusty blades sharpened to fit your hungry guts
isn’t it ironic the stranger who helped you earlier
just killed your friend

https://youtu.be/1ju84-X7NJ4

meet the creeper wrote: ↑Thu Oct 21, 2021 9:52 pm looking forward to...
Conference Fascinations: Romania → https://www.ji-hlava.com/programove-sek ... e-rumunsko
Translucent Being: Karol Plicka → https://www.ji-hlava.com/programove-sek ... rol-plicka
Fascinations: Exprmntl.cz → https://www.ji-hlava.com/programove-sek ... xprmntl-cz
Fascinations: Roots → https://www.ji-hlava.com/programove-sek ... ace-koreny

The black and white film oscillates between intimate portraits of seemingly random protagonists and a socially critical account of the impact of urban transformation on both personal and community life. The almost neo-realistically stylized footage shows the everyday hustle and bustle of contemporary Bratislava whose inhabitants, in addition to their own woes, have to cope with the constant grind of urban construction, collapsing traffic and rising housing prices. The peculiar visual compositions and neurotic orchestral music create an audiovisual poem about the reality of modern urban life, in which even painting lines on the road can be seen as a philosophical reflection.

Some works need a significant time distance to be watched, understood and accepted in a proper way. How are we able to watch Radek Pilař’s experimental, abstract, and collage films from the late 1960s today? And what about his subsequent video art works that have undergone a wave of popularity, forgetting, rejection and rediscovery? This retrospective selection of Pilař’s works from the 1960s to the 1990s is based on a critical look at his complete archive of 374 videotapes in various formats. It documents the ongoing efforts to remediate his own work under the influence of new technologies, as well as the ways in which the artist dealt with the changes in the cultural environment of the 1980s.

https://www.ji-hlava.com/filmy/flare-up

A follow-up video to Pilař’s programme works of destructive animation which started in the 1960s. In Flare Up, plastic cones and toys are subject to destruction, but it is again a revision of his previous work with a new video technology. Pilař electronically embedded his original film There is a Doll Living in the Apple Tree (1984) into his assemblages and supplemented it with computer animation by Martin Hřebačka.

https://youtu.be/gPrG5aJQOEU

neon noirickykino wrote: ↑Sun Oct 31, 2021 10:08 pm i thought i will watch a melodrama, eat chocolate and forget about all my hardships.
but MY PSYCHEDELIC LOVE STORY, despite being part of the online program, is not available yet.
utter frustration!

https://www.ji-hlava.com/filmy/moje-psy ... ka-romance

When Joanna Harcourt-Smith met Timothy Leary in 1972, he was hiding from the law. The former faculty member at Harvard was set to serve ten years in prison for committing drug offenses when Joanna, a woman half his age, became his mistress and accomplice. After living several months on the run, the man credited to popularizing psychedelics was finally caught and detained at an airport in Afghanistan. Joanna campaigned for three and a half years to free Timothy. Errol Morris relies on her narration for this colourful reconstruction of a very surreal story. Over time, however, it's uncertain whether she was a character in a romance novel or a conspiracy thriller, and whether her actions were influenced only by LSD or also by the CIA.