The concept of “ciné-geographies” – which Ros Gray and Kodwo Eshun advanced for actualising a discourse about “the militant image” (Third Text Vol. 25, Issue 1, 2011) – is a useful departure point for looking at the collection of footage and sound stored at INCA (National Institute for Cinema and Audiovisual, Guinea-Bissau). Our contribution will revisit the imaginaries of solidarity between the Soviet Union and the African Liberation Movements from the ‘60s and ‘70s, which are embedded in various propaganda films from the USSR. Through a particular mise-en-scène these films render the concept of the Socialist International, thus announcing an iconography for the later project of Globalisation.
Filipa César, born 1975 in Porto, lives in Berlin, regularly shows her works at individual and group exhibitions as well as at various biennials and film festivals. She has recently been developing several works and presentation forms under the title of Luta ca caba inda that explore the pool of film material from the 1970s rediscovered at the INCA in Bissau. Her film Spell Reel has its world premiere in this year’s Forum program.
Sana Na N’Hada, born 1950, is one of the pioneers of Guinean cinema, whose history began during the 11-year war of independence against the Portuguese colonial regime. He was one of four Guineans to be sent to the Cuban Film Institute ICAIC by Amílcar Cabral in 1967 to learn filmmaking and subsequently document the struggle for independence. He has directed a number of films, and also worked with various other directors, including Chris Marker, Sarah Maldoror, Joop van Wijk, Leyla Assaf-Tengroth, and his Guinean colleague Flora Gomes. In 2012 and 2013, Sana na NʼHada developed a series of public screenings of the digitized film archive from Guinea-Bissau in Berlin, Paris, London, Lisbon, and Bissau together with Tobias Hering and Filipa César.
All panels, talks, and presentations in English language.
