Visible Evidence 2021
Screening

Screening Series: Collaborations Across Cinematic Objects

Philip Scheffner
Diana Allan
Merle Kröger
Marion Biet
Theodor Frisorger
Anna Polze
Julia Schade
Fri, Dec 17
10:30
90 Min
DFF
Back to Program
Archive
Ecologies
The Nonhuman

Selections from pong film and sensory ethnography lab

This screening series is linked to the keynote event “Documentary Practices as Collaborative Work”. With introductions by members of the research training group „Documentary Practices. Excess and Privation“

 

The Halfmoon Files

Dir. Philip Scheffner / 2007 / 86 minutes

The Halfmoon Files is an audio-visual research project on the entanglements of politics, colonialism, science and media technology. It investigates an elusive archive of audio and film recordings documenting Indian and North African prisoners who were interned in the Halbmondlager (or “Halfmoon camp”) near Berlin during World War I. It is a film about gaps, omissions and the construction of history. A film whose protagonists are not visible – but whose presence can be sensed. In short: a ghost story.

Philip Scheffner

Philip Scheffner has been working as a visual artist since 1985. His feature length documentaries like The Halfmoon Files, Day of the Sparrow, Revision and Havarie won numerous awards and were positively perceived and acknowledged by international critics. He co-founded pong film with Merle Kröger in 2001. Since October 2021 he is Professor for Documentary Practice at the Academy of Media Arts (KHM), Cologne.

Terrace of the Sea

Dir. Diana Allan / 2009 / 52 minutes

Filmed in an unofficial Palestinian Bedouin camp established in 1948 on a stretch of beach north of Tyre, in South Lebanon, Terrace of the Sea uses a collection of family photographs taken over three generations as a prism through which to reflect on memory, loss and history.

Diana Allan

Diana Allan is an Associate Professor of Anthropology at McGill University and a Canada Research Chair in ethnographic archives. She received her training in filmmaking in the Sensory Ethnography Lab and was a Harvard Film Study Center Fellow. Her films include Shatila, Beirut, Terrace of the Sea, Still Life and So Dear, So Lovely. Diana is also the co-founder and co-director of the Nakba Archive, a testimonial project that has recorded interviews on film with first generation Palestinian refugees living in Lebanon. During the 2006 Lebanon/Israel war she established ‘Lens on Lebanon’, a participatory film and photographic initiative funded by the Soros Foundation, Oxfam and the Prince Claus Fund.

So Dear, So Lovely

Dir. Diana Allan / 2019 / 23 minutes

Service taxi driver Abu Hosam, a Palestinian with a varied past, a doubtful future and a majestic present, drives the streets of Beirut and the map of memory, speaking his mind with wild energy and wit. So Dear, So Lovely is a song of grief and exuberance.

Purple Sea

Dir. Amel Alzakout and Khaled Abdulwahed / 2020 / 67 Minutes

“I lie on my back, under the surface of the water. The sea is purple. I feel the warmth with every pore of my body. I’m not afraid anymore.”

Amel Alzakout

Amel Alzakout, born 1988 in Syria, is an artist, puppet maker and filmmaker based in Leipzig. Between 2010 and 2013 she studied Journalism at Cairo University (Egypt). Between 2017 and 2018 she studied art at Weißensee Art Academy in Berlin. Since 2019 she studies media art at the Academy of visual art (HGB) in Leipzig. In 2013, she started creating a series of puppet-characters for her future experimental video projects and writing about them. In 2017 she participated with other artists in the video installation TRUST US in the 3rd Herbstsalon at the Maxim Gorki Theater in Berlin.

Khaled Abdulwahed

Khaled Abdulwahed, born 1975 in Syria, is an artist, photographer and filmmaker based in Leipzig. Between 1996 and 2000 he studied Fine Arts and Graphic Design at Adham Ismail art school in Damascus / Syria, and at Frederick University in Nicosia / Cyprus. Between 2002 and 2008 he exhibited his artworks in art spaces and galleries in the Middle East and Europe. Between 2011 and 2015 Khaled Abdulwahed directed and produced the three video artworks Bullet (2011), Tuj (2012) and Slot In Memory (2013) which were amongst others screened at Berlin Art Biennale, Centre Georges Pompidou, Impakt Festival in Utrecht and by ARTE. In 2015 Khaled was invited to Berlinale Talents / DOC Station for his first feature length experimental documentary Jellyfish. The film was selected for Berlinale Forum, 2016. In 2017 he participated with other artists and filmmakers in the SPOTS campaign for the “Tribunal Unraveling the NSU complex”.

© Image: pong film GmbH