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Das Audio- und Videoarchiv lädt Sie ein, das umfangreiche Programm des ZKM zu entdecken.
Sehen oder hören Sie Interviews mit WissenschaftlerInnen und KünstlerInnen, Mitschnitte von Veranstaltungen und Ausstellungen sowie Dokumentationen von Kunstwerken.
Eine Auswahl von Videos aus der ZKM | Sammlung steht Ihnen hier in Ausschnitten zur Verfügung. Eine Übersicht weiterer Werke der Videosammlung des ZKM finden Sie unter http://zkm.de/werke.
Vom 24. bis 27. November 2016 fand das diesjährige Giga-Hertz-Preis-Festival im ZKM | Karlsruhe statt. Der vom SWR Experimentalstudio und dem ZKM getragene Preis für Elektronische Musik wird bereits seit 2007 vergeben. Für den Festakt wurden einmal mehr namhafte VertreterInnen aus der internationalen Musik- und Kunstlandschaft, sowie die KünstlerInnen und KomponistInnen erwartet, die 2016 ausgezeichnet wurden.
ZKM | Institut für Bildmedien
Die Dichter Els Moors, Maarten van der Graaff und Peter Verhelst sprechen mit Willem Bongers-Dek (deBuren) über ihre Werke und ihren Zugang zur Ausstellung »Kunst in Europa 1945-1968«. Anschließend lesen sie Gedichte vor.
ZKM | Institut für Bildmedien
Kamera: Sophia Kessel, Peter Müller
Schnitt: Sophia Kessel
"Hörspiel ist ein doppelter Imperativ: Hör und Spiel. Es ist gewissermassen eine doppelte Anleitung. Höre und Spiele. Hören Sie! Gehörspiele sind Glücksspiele. Glück für das Gehör, indem für das Gehör gespielt wird." (Peter Weibel)
|Uraufführung:||9. November 2017, anlässlich der Eröffnung der Hörspieltage 2016 im Foyer des ZKM.|
Filmgeschichte ohne Bilder: Gideon Bachmanns Gespräche mit Kinopersönlichkeiten wurden zwischen 1955 und 1964 im New York Rundfunk ausgestrahlt. In seinen Sendungen »Film Forum« und »The Film Art« stellte Bachmann Film-Leute vor, von denen viele heute weltbekannt sind, aber damals noch zu entdecken waren.
Henri Bergson (1907) utilized a metaphor borrowed from cinematograph to represent the usual way of human thought about motion and evolution in comparison with his original approach to them grounded on his concept of time as »durée« (duration). The analogy consists in restoring the motion from a series of immovable pictures (frames) only as a subjective illusion. On the contrary, »durée« is that understanding of time, in which motion and evolution are primarily given rather than secondarily and as an auxiliary or even illusion by a series of static states.
By photofilms we understand films that essentially consist of photographs. Photographs placed in a cinematic context create a filmic experience. In photofilms, the film medium is dissected into its components. Photofilm authors experiment with the relationship of text, sound and image, reflecting on the composition of the cinematographic. They let us »think« cinema.
Филозофски Филмски Фестивал / Philosophical Film Festival is a unique film festival that lives on the crossroads between philosophy and film and is held annually in the Republic of Macedonia. On one side, the festival tries to promote the idea of film as a medium which can provoke philosophical thought and illustrate philosophical ideas.
What kinds of activities should count as philosophy and what kinds of activities should we exclude? Can films actually do philosophy or do they merely screen thought experiments? Murray Smith (2006) has argued that films can only screen philosophical inquires through thought experiments. He claims that in order to count as philosophy, the work should be able to create an argument and cinematic imagery is too metaphorical, too inexact. On the other hand, Thomas Wartenberg (2006, 2007) has argued that films can indeed do philosophy. In addition, Stephen Mulhall (2002)
Although relatively unknown nowadays, Jean Epstein, a filmmaker, a poet, and a philosopher from the first half of the 20th century, offers an alternative to the many thinkers who have conceptualised the relation between philosophy and cinema. The revaluation of this relation comes from his understanding of cinema as a »dispositif«, i.e. as a cinematographic device. This fascinating and complex »dispositif« that combines both processes of recording and projecting represent for Epstein the birth of a new revolutionary philosophy: the »antiphilosophy«.
According to Stanley Cavell film entertains a specific relation to what he defined as Skepticism.
In comedies that are praised as “light” and “elegant,” Ernst Lubitsch consistently elaborated on a quite unfunny ethical choice: the alternative between being a civilized crook or a honest barbarian. The “good Europeans” in his movies are (in contrast to overly pragmatic American Businessman, humorless Bolshevik Russians, and cynically fascist Germans) in general impostors, thieves, crooks. Lubitsch thereby implies that in order to not be barbarous, one must in one way or another be disingenuous, one must favor appearance over truth.
At the end of the 1920s, a short while after different worker's movements in Weimar Germany had begun to produce their own films, there was a short-lived but noticeable trend towards deploying film as social critique, an effort spearheaded by production companies such as the Weltfilm or the Prometheus.
Mit den sogenannten Ökohäusern kombinierte Frei Otto das öffentliche Grün mit dem privaten Raum. Damit entwickelte er die Kombination aus urbaner Dichte und ökologischem Freiraum neu.
Frei Otto (1925-2015) zählt zu den international renommiertesten und innovativsten deutschen Architekten des 20. Jahrhunderts und ist eine zentrale Figur für die Baukultur des Landes Baden-Württemberg. Im März letzten Jahres bekam er für sein Werk den Nobelpreis der Architektur, den sogenannten Prizker-Preis verliehen – die weltweit höchste Auszeichnung für Architektur.
This paper discusses an overview of the memory of Latin American documentary film focusing on Patricio Guzman, from a philosophical analysis about his film work, especially his trilogy »The Battle of Chile« depicting the Rise and fall of Salvador Allende with the coup led by Augusto Pinochet. Guzman is considered one of the most important filmmakers who emerged in the context of film movements that had a strong influence by the leftist thought in Latin America during the 60's and 70's.
Film's ability to retranscribe the real by offering a new image of it is perhaps the most immanent characteristic of the medium, affirming its unique potential in reproduction of the real and reality. However, what does actually mean, when we speak about retranscription of the real and reality in reference to representation and politics?
Where should one begin, if one’s ambition is to point to a certain cinematographic event? How to go about discussing specific cases, where the potential power of cinema to cut through reality, constructed in terms of representation, resorting to the surplus of representation it produces by itself, comes to the fore?
In order to distinguish various film-worlds among themselves and from our intersubjective, shared reality I propose to introduce two parameters: warpedness and enfoldednes. The various ratios between these two parameters serve to create what I call »the film-world map«. The time-imageʼs embeddedness within the temporal dimension is what I mean by strong enfoldedness. A world that is enfolded is a layer hidden within the intersubjective world and has to do with the manifestation of the virtual aspects of the corresponding reality, its intensity.
If there is a question of reality in cinema, it must be articulated as a question of reality of reality itself. In other words, it is a question of »Bühnentauglichkeit« of reality. Is the idea of reality even applicable to the film medium? Is a cinematic event meant to fabricate a pure instance of reality in a suite without stitches, as Bazin used to say, or is there something else we have to take into consideration when talking about the film medium.
The alternation between dream and awake states creates a contemplative fictional life as an intermediate position. Dreams are subjective and volatile worlds of thought, which can be experienced as non-intersubjective and immersive. There are many analogies between non-mimetic forms of artistic expression and dreams. And indeed there are artistic possibilities of depictions of dream experience (Kreuzer 2014). Van de Castle pointed on the similarity between the dreams and films as follows.
Gilles Deleuze claimed that modern thought is “born of the failure of representation”. This failure, however, is not the failure of the act of representation, unable to produce the image of reality. It is reality itself that is constructed according to the principles of representation. The task of a modern philosopher is therefore to trace the events in which the forces at work beneath the representational construction of reality come to the fore. In cinema, this reveals “a world of universal variation, of universal undulation, universal rippling”.
The establishment of a relation between the phenomenology of Edmund Husserl and cinema may seem strange at first, since the German philosopher himself has never explicitly wrote about the subject. And yet, as we would like to show, his philosophy provides us an original approach.
Ordinarily, movement in the film image is relative movement, i.e. it is the result of distinct objects changing their position. On the other hand, film images may as well be limited to vague areas in a constant process of blurry transformation without any clear-cut moving objects discernible. What manifests itself in these instances can be described as absolute movement. It is directors such as Germaine Dulac, Dziga Vertov or Willy Zielke that first use documentary sequences to depict absolute movement during the 1920s and 30s.
In this presentation, I want to further my general interest in the capacity of films to engage reflectively with issues of interest to philosophers in ways analogous to those employed by philosophers. My particular focus on this occasion will be the director Brad Bird, and more specifically three of his films: the Incredibles (2004), Mission: Impossible - Ghost Protocol (2011), and Tomorrowland: A World Beyond (2015).
The main subject of our inquiry are alternative notions of queer temporality that we try to connect to feminist cinematography and New Queer Cinema (NQC) in two ways. The first involves temporal ruptures or temporal shifts in specific films; ruptures that can be described as queer and open up potentials for alternative queer temporalities which in turn offer paths for a dynamic relationality, alternative (queer) transmissions and affective cinema. The second way offers a wider perspective: how queer temporality connects with the emergence of NQC.