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THE WORD FOR WORLD IS FOREST Julia Hechtman, Small Miracles, USA, 2006, 5 min Neil Beloufa, Kempinski, Mali-France, 2007, 14 min Brigid McCaffrey & Ben Russell, Tj <\/strong>Tj\u00faba T\u00e9n<\/strong> (The Wet Season), USA-Suriname, 2008, 47 min Sylvia Schedelbauer, Remote Intimacy, Germany, 2008, 15 min THE WORD FOR WORLD IS FOREST SMALL MIRACLES KEMPINSKI TJ\u00daBA T\u00c9N (THE WET SEASON) REMOTE INTIMACY
\n<\/strong>Sunday 26 October 2008, at 7pm
\nLondon BFI Southbank NFT3<\/p>\n
\n<\/strong>Sci-fi hallucinations seem commonplace as Hechtman invokes mysterious natural phenomena: an extreme case of mind over matter.<\/p>\n
\n<\/strong>Speaking in the present tense, interviewees describe their idiosyncratic notions of the future. To the western viewer, the unlikely subjects, stylized settings and atmospheric lighting impart a strange disconnect between science fiction and anthropology.<\/p>\n
\n<\/strong>\u2018An experimental ethnography composed of community-generated performances, re-enactments and extemporaneous recordings, this film functions doubly as an examination of a rapidly changing material culture in the present and as a historical document for the future. Whether the record is directed towards its subjects, its temporary residents (filmmakers), or its Western viewers is a question proposed via the combination of long takes, materialist approaches, selective subtitling, and a focus on various forms of cultural labour.\u2019 (Ben Russell)<\/p>\n
\n<\/strong>Cast adrift in the collective unconscious, Remote Intimacy<\/em> constructs an allegorical collage from found footage and biographical fragments, exploring cultural dislocation using the rhetoric of dreams.<\/p>\nPROGRAMME NOTES<\/a>
\n<\/strong>Sunday 26 October 2008, at 7pm
\nLondon BFI Southbank NFT3<\/p>\n
\nJulia Hechtman, USA, 2006, video, colour, sound, 5 min
\n<\/strong>Small Miracles <\/em>is a suite of eight video animations in which the artist conjures up and controls forces of nature. Ignoring rational constructs of what is possible, Hechtman creates imaginary works to ground science fiction in the everyday experience. Coupling feminism and natural phenomena, the videos are located in the liminal space between fantasy and the everyday. (Video Data Bank)
\nwww.juliahechtman.com<\/a><\/p>\n
\nNeil Beloufa, Mali-France 2007, video, colour, sound, 14 min
\n<\/strong>Welcome to Kempinski. The people of this mystical and animist place introduce it to us. \u2018Today we have a space station. We will soon launch space ships and a few satellites that will allow us to have much more information about the other stations and other stars.\u2019 This science-fiction documentary has no script and its scenario is caused by a specific game rule. Interviewed people imagine the future and speak about it in the present tense. The attractive aspect of the video leads to exotic stereotypes and a fictitious reading of this true anticipation documentary. Kempinski is also a hotel company. The editing is melodic and hypnotic. Shot in Mopti, Mali. (Neil Beloufa)<\/p>\n
\nBrigid McCaffrey & Ben Russell, USA-Suriname, 2008, 16mm, colour, sound, 47 min
\n<\/strong>BEN: N\u00f6\u00f6 di muj\u00eb\u00eb o p\u00fau di son\u00ed<\/em>\/ Now she\u2019s going to record this. \u00c9e i k\u00eb l\u00faku h\u00ebn, i sa l\u00faku h\u00ebn <\/em>\/ If you want to look at it, you can look at it. \u00c9e j\u00e1 k\u00eb l\u00faku h\u00ebn, j\u00e1 sa l\u00faku h\u00ebn. <\/em>\/ If you don\u2019t want to look at it, you don\u2019t have to look at it.
\nSAMELIA: Wo\u00f3 l\u00faku h\u00ebn. <\/em>\/ We\u2019ll look at it.
\nMONI: Jo\u00f3 l\u00faku h\u00ebn, h\u00ebn umfa jo\u00f3 d\u00fa? <\/em>\/ You will look at it, and then what will you do? Jo\u00f3 t\u00e1 s\u00e1bi h\u00ebn? <\/em>\/ You\u2019ll understand it?
\nTj\u00faba T\u00e9n (The Wet Season) <\/em>is an experimental ethnography recorded in the jungle village of Bendekondre, Suriname at the start of 2007. Composed of community-generated performances, re-enactments and extemporaneous recordings, this film functions doubly as an examination of a rapidly changing material culture in the present and as a historical document for the future. Whether the resultant record is directed towards its subjects, its temporary residents (filmmakers), or its Western viewers is a question proposed via the combination of long takes, materialist approaches, selective subtitling, and a focus on various instances of cultural labours. (Brigid McCaffrey & Ben Russell)
\nwww.dimeshow.com<\/a><\/p>\n
\nSylvia Schedelbauer, Germany, 2008, video, colour, sound, 15 min
\n<\/strong>Remote Intimacy <\/em>is a found-footage montage which combines many types of archival documentary footage (including home movies, educational films, and newsreels), with a pseudo-personal narrative, blending various individual recollections with appropriated literary texts. Beginning with an account of a recurring dream, the film is a poetic amplification of memory, and with its associative narrative structure I hope to open up a space for reflection on issues of cultural dislocation. (Sylvia Schedelbauer)
\nwww.sylviaschedelbauer.com<\/a><\/p>\n