Lehrende/r: Vasileios Bourikas
Veranstaltungsart: online: Vorlesung
Anzeige im Stundenplan: VL Formen Filmkultur
Semesterwochenstunden: 2
Credits: 3,0
Unterrichtssprache: Englisch
Min. | Max. Teilnehmerzahl: - | -
Inhalt: How is the history of experimental Film (or Underground Film or Avant-Garde Cinema) related to the development of film festivals? Were experimental films relying on specific and specialised events for their exhibition and distribution and is this mode still in practice? Were the major film festivals always engaged with the world of experimental cinema during its development and has this relationship changed in the 21st century? Starting from the earliest screenings in New York City galleries and major museums like New York and San Francisco's MoMAs, we will briefly look at film societies, like Amos Vogel's Cinema 16, and observantly tiptoe through the collectives, coops, studios and kino-clubs in order to examine in detail the histories of some of the earliest specialised festivals, including Experimentl in Knokke-le-Zout, the Ann Arbor Film Festival (aka the 16mm Film Festival), GEFF (Zagreb), Oberhausen, the festival d'Hyeres or Cinéma Différent (Paris). We will consider if and why there was a hiatus in the 1980s and '90s and which other festivals appeared in the meantime. Finally, we will thoroughly investigate the resurfacing of experimental film and, particularly, its relationship to film festivals in the last 20-25 years. From "Views from the Avant-Garde" (NYC) and IFF Rotterdam's experimental film sections, to the explosion of "experimental-minded" documentary festivals like FID Marseille, to a long list of both specialised festivals that emerged in this later period as well as bigger festivals which developed a steady relationship with this film form, like TIFF (Toronto), the Berlinale, Venice. While addressing mutual connections between histories of experimental film and film festivals, we will also explore specific histories and practices of film and film festival curatorship.
