Film on celluloid is one of several options. The possibility to select a film medium hones the gaze for the container, for what holds the images. The analogue film materiality makes an indelible impression in the consciousness, becoming a copy in the process. This program accompanies a practical seminar at the UdK on the materiality and corporeality of analogue filmmaking and film viewing. The selection of film taps into the idea of the corporeality of the film material, of the visual motif, of cinematography, of watching. STADT IN FLAMMEN (1984) by Jürgen Reble thus depicts the fermentation of the emulsion itself, while Cathy Joritz undermines the power of the image of NEGATIVE MAN (1985) by scratching the carrier layer. Man Ray’s LE RETOUR À LA RAISON (1923) celebrates the promise of a new medium and Carolee Schneemann re-appropriates the authority over body images in FUSES (1965–68). Finally, WEISSFILM (1977) by Birgit und Wilhelm Hein celebrates the erotic of film as film. (bs) (25.4.)
