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The Turbulent Screen

Histories of cinema. Collection 3 (1962-1982)

April 23 and 26, May 3, 7, 10, 17, 21, 24, 28, 31 and June 4, 2012 /
Sabatini Building, Auditorium

The presence of film in the successive re-readings of Museo Reina Sofía Collection alludes to the crisis in the distinction between hierarchies and artistic narrations, but it also points to the idea that a collection involves a network of stories, memories and times that are inseparable from film practice.

Cinema, far from being a mere testimony to the 1960s and 70s, has become a focal point of the debates that question the remnants of and responses to colonial hegemony, giving rise to an alternative geopolitical aesthetic in the cinemas of the south, as described by Fredric Jameson, or contesting a new cognitive power regime as opposed to the old institutions of the State. In this regard, film is both document and monument, memory and action of a certain time, to once again use the distinction proposed by Hannah Arendt at the beginning of the 1960s.

The Turbulent Screenplaces cinematographic practice in this terrain somewhere between narrating and the telling of tales, between writing and orality, between history and story, while covering an unstable period that destabilizes the enunciating subject and the usual presentation formats. In this way, genres that are traditionally separate from one another, such as essay films, documentaries, exhibition films, coincide in intentions and expectations: David Lamelas shares with Frederick Wiseman the critique of institutions through the clinical anti-psychiatry movement, just as Costa-Gavras and Jorge Semprún take part, along with Jonas and Adolfas Mekas, in the scepticism and anti-system militancy that led to the events of May 1968. The Turbulent Screen also seeks to present cinema as the medium from which to take another look at the art of the 1960s, making the echoes of the exposition space be heard in the screening room. The religious atavism and anti-modern primitivism of Pasolini in La Ricotta (1963), for example, are also found in the Trumpets of Judgement (1968) by Pistoletto, just as Gerhard Richter's painting of frozen history shows itself in the collective film Germany in Autumn(1978), a manifesto of the subjective withdrawal occurring in response to the trauma of a history that eludes the capacity of action of artists and filmmakers, the idea with which the series concludes.

Program

  • Yann Le Masson. J’hai huit ans, 1961
    April 23, 2012 - 7:00 p.m.
    Cinema and video Film series

    Yann Le Masson and Olga Poliakoff. J’ai huit ans (I am eight years old). France, 1961.


    Gillo Pontecorvo. The Battle of Algiers (La battaglia di Algeri). Italy / Algeria, 1965.

  • Orlando Jiménez Leal and Sabá Cabrera Infante. PM, 1961
    April 26, 2012 - 7:00 p.m.
    Cinema and video Film series

    Orlando Jiménez Leal y Sabá Cabrera Infante . PM (PPost Meridian) . Cuba, 1961.

    Santiago Álvarez . L.B.J. Cuba, 1966.

    Sara Gómez . De cierta manera (One way or another). Cuba, 1974.

  • Jean-Luc Godard. Two or three things I know about her, 1967
    May 3, 2012 - 7 p.m.
    Cinema and video Film series

    Jean-Luc Godard. Two or three things I know about her (2 ou 3 choses que je sais d'elle). France, 1967.

    Johan van der Keuken. The reading lesson (Het Leesplankje). Holanda, 1973.

  • Costa-Gavras. The Confession, 1970
    May 7 and 10, 2012 - 7 p.m.
    Cinema and video Film series

    Costa-Gavras. Z. Francia / Argelia, 1969.

    Costa-Gavras. The Confession (L’aveu). France / Italy, 1970.

  • William S. Burroughs and Antony Balch. The Cut-Ups, 1967 Courtesy of British Film Institute. Copyright (c) the William S. Burroughs S. Trust
    May 17, 2012 - 7 p.m.
    Cinema and video Film series

    William S. Burroughs y Antony Balch. The Cut-Ups. United Kingdom, 1967.

    Samuel Beckett. Not I.

    George Brecht. Entrance to Exit. United States, 1965.

    Robert Filliou. And So on, End So Soon: Done 3 times. Canada, 1977.

  • Pier Paolo Pasolini. La Ricotta, 1963
    May 21, 2012 - 7:00 p.m.
    Cinema and video Film series

    Pier Paolo Pasolini. La Ricotta. Italy / France, 1963.

    Ettore Scola. Trevico-Torino: Viaggio nel Fiat-Nam (Trevico-Torino: A Voyage into Fiat-Nam). Italy, 1972.

  • Jonas Mekas. The Brig, 1964
    May 24, 2012 - 7:00 p.m.
    Cinema and video Film series

    Peter Gessner. Time of the Locust. United States, 1966.

    Jonas y Adolfas Mekas. The Brig. United States, 1964.

  • Peter Robinson and RicPeter Robinson. Asylum © 1972, renewed 2000 Surveillance Films, Inc. All Rights Reserved.
    May 28, 2012 - 5:00 p.m. and 7:30 p.m.
    Cinema and video Film series

    Frederick Wiseman. Titicut Follies. United States, 1967.

    David Lamelas. Reading film from Knots by R.D. Laing. United Kingdom, 1970.

    Peter Robinson. Asylum. United States, 1972.

  • Gérard Courant. Ocaña, der Engel der in der Qual singt, 1979
    May 31, 2012 - 5:00 p.m. and 7:30 p.m.
    Cinema and video Film series

    Fernando Ruiz Vergara. Rocío. Spain, 1980.

    Gérard Courant. Ocaña, der Engel der in der Qual singt (Ocaña, the angel who sings in the ordeal). France, 1979.

    Adolpho Arrietta. Tam-tam, 1976.

  • Jean-Marie Straub and Danièle Huillet. Every revolution is a throw of the dice, 1977. BELVA GmbH
    June 4, 2012 - 7:00 p.m.
    Cinema and video Film series

    Jean-Marie Straub y Danièle Huillet. Every revolution is a throw of the dice (Toute révolution est un coup de dés). France, 1977.

    Various Authors. Germany in Autumn (Deutschland im Herbst). Germany, 1978.

Activity´s details

Curatorship: 
Cristina Cámara, Chema González and Lola Hinojosa
Entry: 
Free of charge, but seating is limited
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