The film program accompanying Madeleine Bernstorff and Stefanie Gaus'UDK course opens, explicitly or implicitly, the modes of action of documentary representation to debate, as well as the intention and intervention of filmmakers. Želimir Žilnik's CRNI FILM (1971) begins as a social documentary but then the director earmarks his own position of class and invites the homeless protagonists to his home. PERFECT FILM (1986) is composed of found footage and outtakes from the day of Malcolm X's assassination. Joyce Wieland's HANDTINTING (1967) turns a refused commercial film into the oppressive and radiant depiction of a training center. ES SPRICHT: RUTH SCHMIDT (1968) by Adolf Winkelmann enables Ruth Schmidt to make an ambivalent judgment –with cutaways to those doing the filming. And Cristina Perincioli organizes and stages a strike for gender pay equity in FÜR FRAUEN –1. KAPITEL (1971), with the participants engaging themselves cheerfully. (mb) (21.6.)
