Theater am Olgaeck, Charlottenstraße 44, Stuttgart
Curated by Dr. Lily Fürstenow
Nov. 24, 2016. 8 pm:
Some Interviews on Personal Matters. Lana Ghoghoberidze
USSR, 1977, 95 mins, Color, 35mm
In Georgian with German subtitles and English electronic titling
Sofiko, a young newspaper employee, is passionately involved in her work interviewing people who have submitted complaint letters to the editor. One of the women Sofiko interviews is her mother, and the pair's onscreen relationship strongly resembles the tragic early life of the director and her mother, making this a very personal film for Lana Gogoberidze. A bold mixture of documentary and social-psychological drama - and the first film to make mention of Stalin's camps - Some Interviews on Personal Matters makes powerful statements about women, work, family, and marriage that earned it international acclaim as the first feminist film of the Soviet cinema.
Camera. Seoul. Musquiqui Chihying
The Camera (16) HD Video 1:46 on Loop 2016 Seoul Soundtrack from Twice Global: Tzuyu’s Official Apology
As the extension of the eye, the camera transcends the human imagination of time and space. Though specific operations, cameras can turn into powerful ideological machines, and easily seize a subject’s autonomy. When the shutter opens, a power competition between the camera and the subject begins: the one who stands in front of the lens has only a brief time to respond to the force of the camera. A video clip released by a South Korean entertainment company in 2016 could be a good example of such a situation. On the screen, the audience can see a young girl apologising for recent representations in the media about her national identity. However, the helplessness in the girl’s facial expressions and other non-verbal communication are seen by viewers as evidence that the girl has been forced to apologise. As a result, members of the public react negatively against the entertainment company, in strong support for the girl’s rights. Whether intentional or not, as a filmed object, the action of the young girl could be seen as a performance with a certain strategy, contending the force of the camera. By turning the lens of the camera and reconstructing the image from the subject’s perspective, which otherwise never really exists, the work The Camera faces the dominant narrative power of the camera. After the entertainment company refuses to co-operate with this project, The Camera (16) works with a young performer, who is the same age as the young girl, from a famous South Korean star scouting website. Using methods such as the performer’s imagined re-enactment of the event (?) and the recreation of the young girl’s view onto the office window, the process of the anonymous cameraperson shooting the young girl’s apology is reproduced as fictional documentary.
All images courtesy
of Lana Ghoghoberidze and Musquiqui Chihying
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