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elokuva // film

ELO/KUVA – cine club

EVERY OTHER SUNDAY – ELO/KUVA cine club is Kammari’s film club where films are watched and discussed to critically understand something of our relation to the world and each other. The session conversations can be heard live in Korppiradio and also as recordings later HERE. Also a blog will be written of notes of each session HERE. Please find a detailed description of the cine-club in: this pdf.

SERIES : Technology as ideology
(March-June 2015)

SESSION 2

“Primer” by Shane Carruth
Date and Time: Sunday the 22th of March at 19:00

Introduction and discussion led by philosopher Niklas Toivakainen.

SESSION 1

“Her” by Spike Jonze
Date and Time: Sunday the 8th of March at 19:00

Introduction and discussion led by philosopher Prof. Victor J. Krebs (Pontifical Catholic University of Perú,).

On Sunday the 8th of March at 19:00 Kammari cine-club’s first series, “Technology as Ideology”, will start off. The first movie of the series will be “HER” and the session will be led by Prof. Victor Krebs. As a philosopher and psychoanalist, Victor has been using film as a way of investigating and illuminating life-sensitive questions and existential challenges. He has also organised conferences and workshops as well as written on the subject of philosophy and film.

Welcome!

 

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Old sessions:

ELO/KUVA – 11.1. 19:00

Critique of Separation, (1961)

Director: Guy Debord

+

Superman, (1978)

Director: Richard Donner

ELO/KUVA – 4.1. 19:00

My Dinner with Andre, (1981)

Director: Louis Malle

Two men discuss in a restaurant. Can happiness be waking up in the morning, finding your last nights coffee in the kitchen table, and there is no cockroach in it?

ELO/KUVA – 28.12. 19:00

No film this sunday. Instead a “Me, paskiaiset” discussion about critique to technology. Recording of the talk, can be heard here:

korppiradio.net/paskiaiset

 

ELO/KUVA – 21.12. 19:00

Ran, (1985)

Director: Akira Kurosawa

“In a mad world only the mad are sane.”

ELO/KUVA – 7.12. 19:00

Werckmeister Harmonies (Werckmeister harmóniák), (2000)

Director: Béla Tarr

The conversation after the film: a strong need for a conversation was apparent because so much in the highly complex film grows from understanding the historical and cultural background of Hungary. Interpretations were varied. The whale was seen by some, the Russian military threat, god by some, and nostalgia for dead utopia of socialism by some. The Russian Prince represented Stalin for some and the dangerous trigger of totalitarian violence in people by others. Was the film an introvert alarm of the nearness of human violence in face of fear, or political historical analysis? What did the violent attack in the hospital mean, and the striking image of the old man in the shower that stopped the violence? One conclusion was that the film was a profound, extended and honest expression of feelings towards an ex wife.

ELO/KUVA – 30.11. 19:00

The fifth seal (Az ötödik pecsét), Hungary (1976)

Director:  Zoltán Fábri

Synopsis: Given you have to choose between an ‘aggressive and un-empathetic tyrant’ and ‘suffering and agreeable slave’ as whom you resurrect – whom would you choose? Under a pretext of phasist rule, how did the commoners decide about the day to day morality or when they put under the extreme pain of toture? Is it the only way of chosing your moral path or human struggle for survival are much more complex and sensual. This movie makes us to question our moral and ethical boundaries.

ELO/KUVA – 23.11. 19:00

Jukti, Takko and Gappo or Reason, Debate and a Story (1974)

Director: Ritwik Ghatak.

Synopsis: 1970’s post-colonial Kolkata (capital of West-Bengal, the Bengali-speaking part of India) faced the crisis of millions of refugees on the awake of Independence movement across the border in Bangladesh (former East-Pakistan) and the Maoist-guerrilla (‘Naxalite’) movement fought in West-Bengal. This is a portrayal of that turbulent period of Indian history through the eye of a disillusioned ‘failed’ communist intellectual of the refugee situation, Naxal movement and the moral degradation of the society, who meets 3 ‘nest-less birds’ and goes for a journey through Bengal in search of a shelter. This is also auto-biographical and last movie made by Ritwik Ghatak, known for his unique style of story-telling and acts himself in this movie.

ELO/KUVA – 16.11. 21:00 – Bamako

Central plot in Abderrahmane Sissako’s film Bamako (2006) is enacted trial against World Bank and International Monetary Fund. It argues that two are responsible for still persisting policy of colonialism. It discusses underdevelopment through the global effect of capitalism. Set in Mali, it also shows the off screen of the theatrical enactment of trial by showing how the policies of IMF effect to ordinary peoples life. At the formal level Bamako is addressing the issue of representation by constructing it as film inside the film.

ELO/KUVA – 9.11. 21:00 – PASOLINI

Ensimmäisenä elokuvana nähdään Pasolinin Notes towards an African Orestes (Appunti per un’Orestiade Africana). Elokuva on vuodelta 1970 ja siinä Pasolini tutkii mahdollisuuksia kuvata Oresteia näytelmää. Elokuvan kolme jaksoa tutkivat kaikki siirtomaiden itsenäistymisen esittämisen vaikeutta, johon liittyvät uudenmuotoiset siirtomaavallan muodot, luokkataisteluiden suhteet, sekä taiteilijan tekotavat. Jaksoissa nähdään mm. Oresteia näytelmän tekoa Afrikassa, kyseisen materiaalin esittämistä afrikkalaisille opiskelijoille Roomassa ja Gatto Barbierin vapaan jazzin orkesterin soittoa mustien kansantaistelurunouden kanssa. Lisätiedot: kammari.org.

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Notes Toward an African Orestes (Appunti per un’Orestiade Africana) is Pier Paolo Pasolini’s film realized in 1970. This film-essay is Pasolini’s study of possibilities of shooting Aesychylus’ piece Oresteia. Constructed in three diverse settings (enactment of Aesychylus’ play in Africa, discussing film materials with African student at Rome and Gatto Barbieri’s free jazz unit playing over Black Power poetry) the film is engaging with the issues of representation of de-colonization, with contradictions of post-colonialism and relation between class struggles and artistic forms.