{"id":81741,"date":"2019-01-31T16:30:40","date_gmt":"2019-01-31T15:30:40","guid":{"rendered":"https:\/\/www.diagonale.at\/ueber-bilder-projizierte-weiblichkeiten\/"},"modified":"2022-10-18T13:10:55","modified_gmt":"2022-10-18T11:10:55","slug":"ueber-bilder-projizierte-weiblichkeiten","status":"publish","type":"page","link":"https:\/\/www.diagonale.at\/en\/ueber-bilder-projizierte-weiblichkeiten\/","title":{"rendered":"\u00dcber-Bilder: Projected Feminity(ies)"},"content":{"rendered":"
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Models \u00a9 MR-Film<\/p><\/div>\n
A joint special by the Diagonale, Filmarchiv\u00a0Austria, the Austrian Film Museum, and the ORF Archive.<\/strong><\/p>\n
The Diagonale\u2019s historical special, which will focus on projections of feminity(ies) in 2019, is breaking new ground as the first \u201cprogram of many.\u201d It would be hard to find another theme that the film branch has given more attention to in recent years than that of the relationship of the sexes, in general, and the question of the role of women, in particular.\u00a0 Currently, the debate about women in film revolves largely around the issue of whether and how women make pictures, in both a cultural and film-political sense \u2013 that is, quotas, concrete role assignments, and pay. At the same time, women are also simultaneously making pictures \u2013 even when films are made by men: pictures of women. Or: notions of femininity and femininities.<\/p>\n
Starting from an essay in which author Michelle Koch and film journalist Alexandra Zawia sketch out their thoughts on the status quo of the debates, the Diagonale has invited \u2013 along with the authors and the partner archives \u2013 more than ten personalities familiar with Austrian film, to react to the essay, each in a separate program slot: Whether they agree, reject, comment on, or supplement the essay is left up to those invited. With the cooperation of Austria\u2019s central archives for motion picture \u2013 Filmarchiv Austria, Austrian Film Museum, and the ORF Archive \u2013 selected films from all genres, lengths, and historical epochs will be screened.<\/p>\n
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Das Schreiben und das Schweigen<\/em> \u00a9 Carmen Tartarotti<\/p><\/div>\n
Film program: \u00dcber-Bilder: Projected Feminity(ies)<\/u>
\nSelected by Michelle Koch<\/strong> (author)
\n\u2014\u00a0Models<\/em> (D: Ulrich Seidl, AT 1998)
\n\u2014\u00a0Supporting film: sexy<\/em> (D: Kurdwin Ayub, AT 2013)<\/p>\n
Selected by Amina Handke <\/strong>(artist) and Asl\u0131 K\u0131\u015flal <\/strong>(actress and stage director)
\n\u2014 Die<\/em> Ahnfrau<\/em> (D: Louise Kolm-Fleck, AT 1919)
\nLive commentary by Amina Handke and Asl\u0131 K\u0131\u015flal
\n\u2014\u00a0Before the screening: book presentation of \u201c<\/a>Louise, Licht und Schatten. Die Filmpionierin Louise Kolm-Fleck<\/a>\u201d<\/a> by Uli J\u00fcrgens (Mandelbaum Verlag, Vienna 2019)<\/p>\n
Selected by Karola Gramann<\/strong> (film curator, lecturer at the Goethe University Frankfurt and also artistic director of the Kinothek Asta Nielsen) and Heide Schl\u00fcpmann<\/strong> (philosopher and film scholar)
\n\u2014 Short film program \u201cEs hat mich sehr gefreut\u201d
\n\u2014\u2014\u2014\u00a0Anna<\/em> (D: Linda Christanell, AT 1980\/81)
\n\u2014\u2014\u2014\u00a0Die Geburt der Venus<\/em> (D: Moucle Blackout, AT 1970-72)
\n\u2014\u2014\u2014\u00a0The Four Corners of the World<\/em> (D: Lisl Ponger, AT 1981)
\n\u2014\u2014\u2014 Selfportrait<\/em> (D: Maria Lassnig, AT 1972)
\n\u2014\u2014\u2014\u00a0Kugelkopf<\/em> (D: Mara Mattuschka, AT 1985)
\n\u2014\u2014\u2014\u00a0Super-8-Girl Games<\/em> (D: Angela Hans Scheirl, Ursula P\u00fcrrer, AT 1985)
\n\u2014\u2014\u2014\u00a0Gezacktes Rinnsal schleicht sich schamlos schenkeln\u00e4ssend an<\/em> (D: Angela Hans Scheirl, Ursula P\u00fcrrer, AT 1985)
\n\u2014\u2014\u2014\u00a0Es hat mich sehr gefreut<\/em> (D: Mara Mattuschka, AT 1987)<\/p>\n
Selected by Diskollektiv<\/strong>: Andrey Arnold <\/strong>(film journalist for, among others, Die Presse, jugendohnefilm.com, perlentaucher.de), Valerie Dirk<\/strong> (film scholar), Iris Fraueneder<\/strong> (film scholar), Martin Thomson<\/strong> (film scholar and critic, previously for Schnitt and Falter, among others, now for Die Presse), Ulrike Wirth<\/strong> (film scholar)
\n\u2014\u00a0Trouble Feature:
\nDie Praxis der Liebe<\/em> (D: Valie Export, AT 1984\/85) and international surprise film
\nAn experimental double event, followed by a discussion<\/p>\n
Selected by Alexandra Seibel <\/strong>(film journalist and author)
\n\u2014\u00a0Vorstadtvariet\u00e9 \u2013 Die Amsel von Lichtental<\/em> (D: Werner Hochbaum, AT 1935)
\n\u2014\u00a0Maskerade<\/em> (D: Willi Forst, AT 1934)<\/p>\n
Selected by Alexandra Zawia<\/strong> (film journalist) and Camillo Foramitti<\/strong> (curator, director of the ORF Archive editorial staff\/multimedia archive)
\n\u2014\u00a0Ein ganz normaler Tag<\/em> from the ORF series \u201cGeschichten aus \u00d6sterreich\u201d (D: Heide Pils, AT 1977)
\n\u2014\u00a0Supporting film 1: Edited clips from the ORF show Club 2<\/em>: \u201cFrauenbilder, Bilderfrauen \u2013 Das Bild der Frau in den Medien\u201d (AT 1981)
\n\u2014\u00a0Supporting film 2: Clips from the ORF women\u2019s show Prisma<\/em> (AT 1981)
\nIn conclusion: Diagonale im Dialog with Heide Pils, Trautl Brandstaller, and Waltraud Langer<\/p>\n
Selected by Stefan Ruzowitzky<\/strong> (filmmaker)
\n\u2014\u00a0In 3 Tagen bist du tot<\/em> (D: Andreas Prochaska, AT 2006)<\/p>\n
Selected by Birgit Kohler <\/strong>(co-director of Arsenal \u2013 Institute for Film and Video Art in Berlin and currently interim head of the Berlinale Forum section)
\n\u2014 Kurz davor ist es passiert<\/em> (D: Anja Salomonowitz, AT 2006)<\/p>\n
Selected by Felicitas Thun-Hohenstein<\/strong> (curator of the Austrian pavilion at the Venice Biennale 2019, author and professor at the Academy of Fine Arts Vienna) and Renate Bertlmann<\/strong> (artist, design of the Austrian pavilion at the Venice Biennale 2019)
\n\u2014 Short film program \u201cFEMALE CODES\u201d
\n\u2014\u2014\u2014\u00a0Parole Rosette<\/em> (D: Katrina Daschner, AT 2012)
\n\u2014\u2014\u2014\u00a0\u2026 an exile \u2026<\/em> (D: Carola Dertnig, AT 2013)
\n\u2014\u2014\u2014\u00a0Strangers<\/em> (D: Carola Dertnig, AT 2013)
\n\u2014\u2014\u2014\u00a0HORSE\u2019S GLORY<\/em> (D: Elisabeth von Samsonow, AT 2015)
\n\u2014\u2014\u2014\u00a0AN OBJECT WITH A SHARP BEGINNING<\/em> (D: Fanni Futterknecht, AT 2014)<\/p>\n
Selected by Anja Plaschg<\/strong> (musician, Soap&Skin)
\n\u2014 Das Schreiben und das Schweigen<\/em> (D: Carmen Tartarotti, AT\/IT\/DE 2009)<\/p>\n
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In 3 Tagen bist du tot \u00a9 Filmladen Filmverleih<\/p><\/div>\n
In addition, several films in the In Reference<\/u> series are closely associated with the historical special: Otto Preminger\u2019s Bonjour Tristesse<\/em>, G\u00fcnter Peter Straschek\u2019s Hurra f\u00fcr Frau E.<\/em>, Hans-J\u00fcrgen Syberberg\u2019s Romy \u2013 Portrait eines Gesichts<\/em>, Emily Atef\u2019s 3 Tage in Quiberon<\/em>, Paul Poet\u2019s My Talk with Florence <\/em>(film concert with Alec Empire and DVD media book presentation), and a mutual short film program by the Medienwerkstatt Wien and the Golden Pixel Cooperative also link up thematically with the historical special.<\/p>\n
Further reading on the historical special can also be found in the Diagonale\u201919 catalogue, published by Czernin Verlag<\/a>. The catalogue contains an essay by Michelle Koch and Alexandra Zawia as well as texts by the program organizers on the selected films.<\/p>\n
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 A joint special by the Diagonale, Filmarchiv\u00a0Austria, the Austrian Film Museum, and the ORF Archive. The Diagonale\u2019s historical special, which will focus on projections of feminity(ies) in 2019, is breaking new ground as the first \u201cprogram of many.\u201d It would be hard to find another theme that the film branch has given more attention […]<\/p>\n","protected":false},"author":39,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-81741","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/pages\/81741","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/users\/39"}],"replies":[{"embeddable":true,"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/comments?post=81741"}],"version-history":[{"count":0,"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/pages\/81741\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/media?parent=81741"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}