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<\/a>download pdf in german>><\/a><\/span><\/p>\ndwnload pdf in english>><\/span><\/p>\n PROGRAM<\/strong><\/span><\/p>\n Thur, 16.03.2017, Aula 4.00 p.m.<\/span> 5.00 p.m. Ayhan \u00c7ark\u0131n was a police officer active in the Kurdish region in Turkey during the 1990s. He was involved in underground groups formed by police officers who were killing Kurdish people with the order of the State. He had a bad conscious and started to confess. In its early stage the original concept for the video was censored in Turkey. This video talks about the censorship it went through, while reflecting about violence and the image.<\/p>\n 5:30 p.m. The lecture tries to map the modes and behaviors of censorship in the Eastern European countries, from the time of socialist modernization to nowadays. It reflects as well on anomalies of artistic behaviors and misinterpretations of censorships, such as self-victimization and self-censorship. The legal frames of aggressive control over the redistribution of cultural subventions are in the present democratic societies more effective than the \u201cgood old\u201d censorship strategies. The lecture will be illustrated with excerpts from films made in the German Democratic Republic, Poland, ex-Czechoslovakia, Hungary and ex-Yugoslavia. 7.00 p.m. Fri, 17.03.2017, Aula<\/b> 12.00 a.m.<\/span> 2.00 p.m. 5.00 p.m. Community workers are doing their archival job now for the sake of the digitalization of the national heritage inside a corrupted institution.<\/p>\n After the screening talk with Sebesty\u00e9n Kodol\u00e1nyi<\/p>\n 6.00 p.m. The documentary CITIZEN KRONE <\/i>(2002) by Belgian filmmaker Nathalie Borgers shows Hans Dichand (Founder and publisher of the Kronen-Newspaper)<\/i> with the former Austrian president Thomas Klestil in Vienna\u2019s Hofburg while having cake \u2013 a Gugelhupf. Thereafter, Klestil eagerly leads Dichand through his offices at the Hofburg. This has been often interpreted as Klestil\u2019s going down on his knees in front of Dichand, and, according to observers, testifies to Dichand\u2019s status of power. In his 1996 book, Dichand himself described his role as being in the \u201catrium of power\u201d (also the title of his book), but nonchalantly relativized this stance later. This documentary film has never been shown by Austria\u2019s public broadcasting station, a decision officially justified by \u201cjournalistic deficits\u201d because in one short instance, Borgers used unauthorized, accidental audio material of this visit to the Hofburg.<\/p>\n After the screening talk with Nathalie Borgers<\/p>\n Sat, 18.03.2017, Top Kino 1.00 p.m.<\/span> 2.00 p.m. In her interviews, Schmiedt discusses how the mechanism of conscious and unconscious repression of historical events and their relevance for the present is still lingering. Her discussion partners address the discrimination of Sinti, Romani and Yenish out of historical, biographical, psychoanalytical and linguistic\/discursive reasons.<\/p>\n After the screening talk with Marika Schmiedt<\/p>\n 4.00 p.m. Reggio Emilia, Italy, 1969. Thirty young militant communists leave the Communist Party, accusing it of having betrayed the ideals of the Resistenza, and, together with other young people of anarchic, socialist and catholic extraction, they form The Apartment, a commune where revolutionary dreams are bandied around and where the most dangerous terrorists of the future Red Brigades will come from. In 2007, five former militant communists from those Red Brigades of 1969 meet again in a restaurant: it\u2019s the beginning of the first exploration of the ideological and political roots of the far-lefts terrorism.<\/p>\n After the screening talk with Gianfranco Pannone<\/p>\n 6.00 p.m. Archaic Torso<\/i> [Archaikus torz\u00f3], dir.: Dobai P\u00e9ter, orig. format: 35mm, bw, 31 min, HU, 1971<\/p>\n Newly Married (News Reel)<\/i> [Ifj\u00fa h\u00e1zasok (H\u00edrad\u00f3)], dir.:G\u00f6dr\u00f6s Frigyes \u2013 Pint\u00e9r Gy\u00f6rgy, orig. format: 35mm, bw, 7min, HU,1974<\/p>\n Merry Working Class<\/i> [Vesela radna klasa], dir.: Bojana Makavejev orig. format: 35mm, bw, 13 min, Yugoslavia, 1969<\/p>\n Centaur<\/i> [Kentaur], dir.: Szentj\u00f3by Tam\u00e1s, orig. format: 35mm, bw, 37 min, HU, 1975<\/p>\n Patrons of Art\u2019s<\/i> [Mec\u00e9n\u00e1sok], dir.: L\u00e1szl\u00f3 Vit\u00e9zy, orig. format: 35mm, bw&col., 24 min,\u00a0 HU, 1976<\/p>\n After the screening talk with Sebesty\u00e9n Kodol\u00e1nyi<\/p>\n Finissage<\/p>\n Guests:<\/b><\/p>\n Nathalie Borgers<\/span><\/b><\/a>,<\/span><\/span> born in Brussels, Belgium. B.A. in journalism. Thereafter she studied radio, film and television in San Francisco. Realization of several short documentary films with ATRIOM Productions as director and producer. The documentary film Truth Under Siege<\/i>, which was shot in 1994 during the Yugoslav Wars, was her first big success and received several international awards such as the Special Jury Prize of the San Francisco International Film Festival. She has realized several documentary films for TV and cinema, which received numerous awards. Borgers lives and works in Vienna, Paris and Brussels.[www.nathalieborgers.com<\/a>]<\/span><\/p>\n Sebesty\u00e9n Kodol\u00e1nyi,<\/b> cineaste, curator, archivist and film programmer; former archive director of the B\u00e9la Bal\u00e1zs Studio (BBS) in Budapest.<\/span><\/p>\n Gianfranco Pannone<\/b><\/a> is an Italian film and television director. After graduating in Cinema history and criticism at La Sapienza University of Rome, he graduated in Directing at the CSC (National Cinema School). Between 1990 and 1998, he directed and produced several documentary films. He teaches documentary filmmaking at CSC \u2013 Experimental Centre of Cinematography in Rome and Palermo and is teaching coordinator of the Master Film and Television program at the University Suor Orsola Benincasa in Naples, as well as head of the documentary film laboratory at Dams in Rome. From 1990 until today Pannone has made many documentary films dedicated to the complex history of his country, Italy.<\/span><\/p>\n belit sa\u011f<\/b><\/a> is a videographer and visual artist from Turkey, based in Amsterdam. She recently finished a residency program at the International Studio and Curatorial Program (ISCP) in New York. During 2014\u20122015 she was in residency at the Rijksakademie van Beeldende Kunsten. She studied mathematics in Turkey, and art in the Netherlands. Her video background is rooted in alternative video-activist\/artist groups in Ankara and Istanbul, where she co-initiated groups such as VideA, Karahaber, and Videoccupy.[www.bit.contrast.org <\/a>and www.vimeo.com\/belit<\/a>] <\/span><\/p>\n Marika Schmiedt<\/b><\/a> is an artist and activist. She was born in Upper Austria. Herself a Rom, she has dealt with the history and present of the prosecution of Romani and Sinti since 1991. [www.marikaschmiedt.wordpress.com<\/a>]<\/span><\/p>\n
\n<\/b> <\/b><\/span><\/p>\n
\nOpening
\nWelcome address: Andrea B. Braidt, Vice Rector for Art and Research
\nIntroductory remarks: Marina Gr\u017eini\u0107, Professor of Conceptual Art
\nPresentation of the project: Bet\u00fcl Seyma K\u00fcpeli<\/p>\n
\nbelit sa\u011f, Ayhan and I<\/i> [Ayhan ve ben], 14.12 min., NL\/TR, 2016
\n(Turkish with English subtitles)<\/p>\n
\nbelit sa\u011f, 2016<\/span> <\/span><\/span><\/p>\n
\nFilm expert\u2019s lecture
\nSebesty\u00e9n Kodol\u00e1nyi, \u201cScope and Critical Topology of Censorship in Eastern Europe\u201d<\/p>\n
\n(in English)<\/p>\n
\nTalk with belit sa\u011f and Sebesty\u00e9n Kodol\u00e1nyi<\/p>\n
\n<\/b><\/span><\/p>\n
\nSEMINAR 1<\/span>
\nRen\u00e9 Vautier, Afrique 50<\/i>, 17 min., FR, 1950
\n(French with English subtitles)
\nAlain Resnais, Night and Fog<\/i> [Nuit et Brouillard], 32 min., FR, 1956
\n(French with English subtitles)
\nAfter the screening talk about the films<\/p>\n
\n<\/b>SEMINAR 2
\nGillo Pontecorvo, The Battle Of Algiers<\/i> [La Bataille D’Alger], 121 min., IT\/<\/i> Algeria, 1966
\n(French with English subtitles)
\n<\/i>Talk about the film with Gianfranco Pannone<\/p>\n
\nSebesty\u00e9n Kodol\u00e1nyi \u2013 Independent Theater Budapest, Camp<\/i> [T\u00e1bor], 25 min, HU, 2014 \u2013 2016
\n(Hungarian with English subtitles)<\/p>\n
\nSebesty\u00e9n Kodol\u00e1nyi, 2014-16 <\/span> <\/span><\/span><\/p>\n
\n<\/b>Nathalie Borgers, CITIZEN KRONE<\/i> [Kronenzeitung<\/i>: Tag<\/i> f\u00fcr <\/i>Tag<\/i> ein<\/i> Boulevardst\u00fcck<\/i>], 58 min., <\/i>AT\/FR\/BE, 2002 (German with English subtitles)<\/p>\n
\nNathalie Borgers, 2002. Photo Deinhardstein, 2001<\/span> <\/span><\/span><\/p>\n
\n<\/b> <\/b><\/span><\/p>\n
\nBrunch<\/p>\n
\nMarika Schmiedt, <\/i>Why the Wound Remains Open<\/i> [Warum<\/i> <\/i>die Wunde offen bleibt], 80 min., AT, 2016<\/p>\n
\nMarika Schmiedt, 2016<\/span> <\/span><\/span><\/p>\n
\nGianfranco Pannone,\u00a0Red Sunrise<\/i> [Il Sol dell’avvenire], 77 min., IT, 2008
\n(<\/b><\/i>Italian with English subtitles)<\/p>\n
\n Gianfranco Pannone, 2008<\/span> <\/span><\/span><\/p>\n
\n<\/b>Save their life \u2013 Protect the working class
\n<\/i>Film program curated by Sebesty\u00e9n Kodol\u00e1nyi<\/p>\n