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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Disappearance, 5 April –6 April 2014, Laure Prouvost, Eva 43 years old (2002). Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Disappearance, 5 April –6 April 2014, Shubigi Rao, Visual snow (2014), Performance. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Disappearance, 5 April –6 April 2014, Still from Desniansky Raion (2007), Cyprien Gaillard; part of the screening programme The tear down curated by Anca Rujoiu & Vera Mey. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Disappearance, 5 April –6 April 2014, Still from Untitled (2011), Khvay Samnang; part of the screening programme Phnom Penh: Rescue Archaeology The Body and The Lens in the City curated by Erin Gleeson presented in collaboration with Sa Sa Bassac, Phnom Penh, Cambodia. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Disappearance, 5 April –6 April 2014, I feel their pane (2014), Sonya Lacey, Performance. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Disappearance, 5 April –6 April 2014, I feel their pane (2014), Sonya Lacey, Performance. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
T H E P A R A D I S E = L O S T B O D Y (2014), Nigel Rolfe, Performance, Part 1 & 2. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
CCA – Centre for Contemporary Art, Singapore; The Disappearance, 5 April –6 April 2014, Stills from the screening programme The Margins of Exhibition curated by David Teh.With works by: Anthea Behm, Sherman Ong, Wok the Rock, Emile Zile, Nitipong Thinthubthai. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
CCA – Centre for Contemporary Art, Singapore; The Disappearance, 5 April –6 April 2014, Stills from the screening programme The Margins of Exhibition curated by David Teh.With works by: Anthea Behm, Sherman Ong, Wok the Rock, Emile Zile, Nitipong Thinthubthai. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
CCA – Centre for Contemporary Art, Singapore; The Disappearance, 5 April –6 April 2014, Stills from the screening programme The Margins of Exhibition curated by David Teh.With works by: Anthea Behm, Sherman Ong, Wok the Rock, Emile Zile, Nitipong Thinthubthai. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
CCA – Centre for Contemporary Art, Singapore; The Disappearance, 5 April –6 April 2014, Stills from the screening programme Phnom Penh: Rescue Archaeology The Body and The Lens in the City curated by Erin Gleeson presented in collaboration with Sa Sa Bassac, Phnom Penh, Cambodia. With works by: Khvay Samnang, Lim Sokchanlina, Anida Yeou Ali, Sok Chanrado, Leang Seckon, Tith Kanitha and Svay Sareth. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
CCA – Centre for Contemporary Art, Singapore; The Disappearance, 5 April –6 April 2014, Stills from the screening programme Phnom Penh: Rescue Archaeology The Body and The Lens in the City curated by Erin Gleeson presented in collaboration with Sa Sa Bassac, Phnom Penh, Cambodia. With works by: Khvay Samnang, Lim Sokchanlina, Anida Yeou Ali, Sok Chanrado, Leang Seckon, Tith Kanitha and Svay Sareth. Photograph by Clare Bottomley.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nigel Rolfe, T H E P A R A D I S E = L O S T B O D Y (2014), Performance Part 2
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2dd7ce0d1e1af66655f1f90d3ba40135
Dublin Core
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Title
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Nigel Rolfe, T H E P A R A D I S E = L O S T B O D Y (2014), Performance Part 2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Disappearance acknowledges the inherent changes into an exhibition space and its continuous rewriting. What happens after an exhibition is over? What we remember? How we remember?
Exhibition Mode
Exhibition
Curated Film Programme
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2014-04-05
Exhibition End Date
2014-04-06
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>The Disappearance</i>
Subject
The topic of the resource
Experiential
Embodiment
Spaces of the Curatorial
Description
An account of the resource
<i>The Disappearance</i> situates itself in the architectural setting of a previous exhibition <i>Paradise Lost</i>. It works with what is left out: the traces of the show in the space; its echoes in our memory, <i>The Disappearance</i> conceals and reveals: what has happened before and what will follow. Subject to operations of installation and de-installation, an exhibition space if continuously edited: we erase one text to inscribe another. <i>The Disappearance</i> acknowledges the inherent changes into an exhibition space and its continuous rewriting. What happens after an exhibition is over? What we remember? How we remember? <br /><br />Curated by Anca Rujoiu (Curator for Exhibitions) and Vera Mey (Curator for Residencies), <i>The Disappearance</i> is conceived as a durational event unfolding over two days including a continuous series of manifestations from live performances to film screenings.
Contributor
An entity responsible for making contributions to the resource
Anca Rujoiu
Vera May
Cyprien Gaillard
Malak Helmy
Sonya Lacey
Manuel Pelmus
Laure Prouvost
Shubigi Rao
Nigel Rolfe
Marie Shannon
Diego Tonus
Mona Vătămanu & Florin Tudor
Erin Gleeson
Planting Rice
David Teh
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Performance
Film
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Online film programme of Trinh T. Minh-ha. Films exhibition, co-curated by Dr Marc Glöde and Dr Ella Raidel.
Exhibition Mode
Curated Film Programme
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Exhibition Start Date
1 November 2020
Exhibition End Date
28 February 2021
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Trinh T. Minh-ha. Films. Online Film Programme: Speaking / Thinking Nearby
Description
An account of the resource
<p>Trinh T. Minh-ha’s approach to film has addressed a wide field of discussions—reaching from the ethics of representation in ethnographic film, to aspects of migration, debates on global socio-political developments, and different layers of feminist discourse. Her films are investigations into the question of the voice as well as the relationship between the visible and audible. This programme will present a selection of films that echo some of these discussions negotiated by Trinh in her filmic works as well as her writings, and create a dialogue with other filmmakers and scholars.</p>
<p>Co-curated by<span> </span><strong>Dr Marc Glöde</strong>, Assistant Professor, NTU ADM, and<span> </span><strong>Dr<span> </span></strong><strong>Ella Raidel</strong>, Assistant Professor, NTU ADM and WKWSCI.<br /><br /></p>
<p><strong>1 – 14 November 2020<br /></strong><strong><em>the time is now. (I+II)</em></strong><strong>, Heidrun Holzfeind, 2019<br /></strong>Colour, sound, 48 min<br />Rating: PG</p>
<p>Holzfeind is interested in architectural and social utopias that create an alternative living. She documents the shamanistic rituals of the Japanese improvisation/noise duo IRO, Toshio and Shizuko Orimo, in what they call “Punk Kagura”—in reference to Kagura, a ritual dance tradition and music for the gods. Holzfeind uses a visual language that adapts their mystical rituals: breaks in image; the colour and narrative corresponding with the soundscape; the modernist architecture of Takamasa Yosizaka; and the surrounding nature in which the duo performs a choreography for healing our damaged planet. The urgency is underlined in the title<span> </span><em>the time is now</em>.<br /><br /></p>
<p><strong>15 – 28 November 2020<br /></strong><strong><em>Heaven’s Crossroad</em></strong><strong>, Kimi Takesue, 2002<br /></strong>Video, colour, sound, 35 min<br />Rating: G</p>
<p>What does it mean to “look” cross-culturally? This film follows up on this question by creating a visual journey through Vietnam. Instead of following the established patterns of the classic documentary, Takesue creates an experimental experience that challenges the audience and invites us to reflect on what it means to “truly see another culture”. Within this beautiful visual travelogue, questions of desire, projection, and communication begin to appear, that are embedded in this idea of the cross-cultural encounter.<br /><br /></p>
<p><strong>29 November – 10 December 2020<br /></strong><strong><em>Naked Spaces—Living is Round</em></strong><strong>,<span> </span></strong><strong>Trinh T. Minh-ha,</strong><strong><span> </span>1985<br /></strong>16mm transferred to digital file, colour, sound, 135 min<br />Rating: PG13 (<span class="TextRun SCXW256177418 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW256177418 BCX9">This film contains some nudity)</span></span></p>
<p>Six West African countries (Mauritania, Mali, Burkina Faso, Togo, Benin and Senegal) stand in the centre of this film. The work explores the life in the rural environments of these countries by taking a closer look at the everyday. With its nonlinear structure, the film steps away from the classical traditions of the documentary/ethnography tradition and offers a sensuous approach. It is a poetic journey to the African continent in which the interaction of the encountered people or the spaces in which they are living becomes relevant.<br /><br /></p>
<p><strong>11 – 24 December 2020<br /></strong><strong><em>A Song of Ceylon</em></strong><strong>, Laleen Jayamanne, 1985<br /></strong>16mm film, colour, sound, 51 min<br />Rating: PG13 (<span class="TextRun SCXW112179085 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW112179085 BCX9">This film contains mature content and some nudity)</span></span></p>
<p>This film is an intense study of the body, gender and the multiple aspects of colonialism. It addresses theatrical conventions by recreating classic film stills and presenting the body in striking tableaux. A remarkable film on which Trinh T Minh-Ha, in<span> </span><em>Discourse</em><span> </span>(1989), commented: “The anthropological text is performed both like a musical score and a theatrical ritual….The film engages the viewer in the cinematic body as spectacle…”.<br /><br /></p>
<p><strong>25 December 2020 – 5 January 2021<br /></strong><strong><em>Surname Viet Given Name Nam</em></strong><strong>, Trinh T. Minh-ha, 1989<br /></strong>16mm film transferred to digital, colour, sound, 108 min<br />Rating: PG13 (<span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">This film contains s</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">ome </span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">d</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">isturbing </span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">s</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">cenes</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9"> from the archival footage of the Vietnam War</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">)</span></span></p>
<p>This film is Trinh’s complex deep dive into the difficulties of translation, as well as themes of exile or dislocation. By using historic material, dance, printed texts, folk poetry and combining it with anecdotal narratives, she examines the status of Vietnamese women since the Vietnam War, as well as the status of images as evidence. It is a complex approach that invites the audience to reflect on the modes of perception and encourages a profound critique of audio-visual strategies.<br /><br /></p>
<p><strong>6 – 19 January 2021<br /></strong><strong><em>Nervous Translation</em></strong><strong>, Shireen Seno, 2018<br /></strong>Colour, sound, 90 min<br />Rating: PG</p>
<p>This film follows the inner voice and play of an eight-year-old girl who cooks perfect miniature dishes, mimicking the world of adults. The perception of the child is translated through fragmentation and sounds that are written into words, such as the ring of the telephone, and the sound of the aircon, all forming together, an orchestra of the everyday. Waiting, boredom, and dead time pave the temporality of her imagination, while she is listening to cassette tapes recorded by her father, a migrant worker in Saudi Arabia. The personal phantasmagoric vision encounters the political dimension echoing the times of the People Power Revolution in the Philippines.<br /><br /></p>
<p><strong>20 – 31 January 2021<br /></strong><strong><em>Reassemblage</em></strong><strong>, Trinh T. Minh-ha, 1982<br /></strong><span lang="en-us">16mm film transferred to digital, colour</span><span lang="en-us">, sound, 40 min<br />Rating: PG13 (<span class="TextRun SCXW256177418 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW256177418 BCX9">This film contains some nudity</span></span><span class="TextRun SCXW262228809 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW262228809 BCX9">)</span></span><br /></span></p>
<p>With her remarkable and widely discussed first film, Trinh brings the conventions of the documentary to our attention and asks how films in the field of documentary and ethnographic tradition have consecutively established a power to manipulate the way in which we perceive different cultures. By gathering filmic means and techniques that reject the traditional narrative forms, Trinh constantly alerts us to our own process of perception, furthermore reminding us that watching a movie is not a passive, but an active process.<br /><br /></p>
<p><strong>1 – 14 February 2021<br /></strong><strong><em>The Human Pyramid</em></strong><strong>, Jean Rouch, 1961<br /></strong>DCP, colour, sound, 93 min<br /><span lang="en-us">Rating: NC16 (<span class="TextRun SCXW8554943 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW8554943 BCX9">This film contains mature content)</span></span></span></p>
<p>At the Lycée Français of Abidjan, Ivory Coast, Rouch worked with students there who willingly enacted a story about the arrival of a new white girl, Nadine, and her effect on the interactions of and interracial relationships between the white colonial French and Black African classmates, all non-actors. Fomenting a dramatic situation instead of repeating one, Rouch extended the experiments he had undertaken in <em>Chronicle of a Summer</em>, including having on-camera student participants view rushes of the film midway through the story. The docu-drama shows how working together to make the film changes their attitude towards each other.—Icarus Film<br /><br /></p>
<p><strong>15 – 28 February 2021<br /></strong><strong><em>95 and 6 to Go,</em></strong><strong><span> </span>Kimi Takesue, 2016<br /></strong>Digital, colour, sound, 85 min<br />Rating: G</p>
<p>While visiting her grandfather, a recent widower in his 90s in Hawai’i, Takesue begins to follow his everyday routines. When he shows interest in his granddaughter’s stalled romantic screenplay, an interesting discussion about her work, family, memories, and identity unfolds. Shot over six years, this film shows how personal aspects intertwine with a critical reflection of the documentary genre.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1 November 2020 – 28 February 2021
Contributor
An entity responsible for making contributions to the resource
Marc Glöde
Marc Glode
Ella Raidel
Heidrun Holzfeind
Kimi Takesue
Trinh T. Minh-ha
Laleen Jayamanne
Shireen Seno
Jean Rouch
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Africa
North America
Subject
The topic of the resource
Feminism
Geopolitics
Ritual
Cultural Heritage
Body
Displacement
Race
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Exhibition Mode
Curated Film Programme
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Single Screen
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Online
Exhibition Start Date
7 April 2020
Exhibition End Date
27 September 2020
Collaboration
No
Commissioned Work
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Non-Aligned</em> Film Programme: <em>Third Way / After Bandung</em>
Subject
The topic of the resource
Identity
History
Decolonialism
Postcolonialism
Inequality
Description
An account of the resource
<div class="content--inner">
<div class="page--content">
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<p>This film programme was originally intended to be screened on-site in parallel with the exhibition <b><i>Non-Aligned</i></b>. During Singapore’s Circuit-Breaker period, selected films were available to be streamed on our website for limited periods of time, even after the Centre re-opened to the public on 27 June 2020. As of 18 August 2020, the Film Programme is being screened exclusively on site in the Single Screen, with limited capacity and physical distancing measures in place. NTU CCA Singapore gratefully acknowledges the collaboration of the curators, filmmakers, and distributors in making online screening possible during the global COVID-19 crisis.</p>
<p>____</p>
<p>This programme features films that engage post-colonial processes covering different moments and geopolitical contexts. The Asian-African Conference in 1955, known as the Bandung Conference, amidst the complex processes of decolonization, established self-determination, non-aggression, and equality as part of the core values that then formed the Non-Aligned Movement. This history is unpacked and contextualised through this series of screenings.</p>
<p>Co-curated by writer and curator<span> </span><strong>Mark Nash</strong><span> </span>and film researcher <strong>Vladimir Seput</strong>.</p>
<p>Screening on loop during opening hours.</p>
<p><strong>Joris Ivens,<span> </span><em>Indonesia Calling,<span> </span></em>1946 <br /></strong>35mm transferred to digital file, b&w, sound, 22 min</p>
<p>This film shows the role trade union seaman and waterside workers in Sydney played in Indonesia’s independence struggle after World War II. Comprising different nationalities and races, they united together to prevent the departure of Indonesia-bound Dutch ships that carried weapons meant to bring the Indonesian National Revolution to a halt. The film seeks to distil aspects of the historical context of the events depicted in the film and gives insight to the major re-alignments in the relationship between Australia and Indonesia.</p>
<p>4 – 16 August 2020 (On loop in The Single Screen and also available online) <br /><strong>First conference of Non-Aligned Movement, 1961<br /></strong>Archive footage, colour, sound, 10 min 51 sec</p>
<p>Archive footage from the first conference of the 1961 Non-Aligned Movement,<em> </em>otherwise known as the Belgrade Conference, presenting historical events from the meeting. The inaugural conference was initiated by three key figures: Josip Broz Tito, President of Yugoslavia; Gamal Abdel Nasser, President of Egypt; and Jawaharlal Nehru, First Prime Minister of India. Attended by 25 countries from Asia, Africa, and Latin America, the conference is a direct response to the division of sphere of influence settled between the major world forces after WWII and the Cold War, enabling members to independently formulate their own position in international politics.</p>
<p>18 – 23 August 2020 (On loop in The Single Screen)<br /><strong>Ousmane Sembène,<span> </span><em>Borom Sarret</em>, 1963<br /></strong>35mm transferred to digital file, b&w, sound, 18 min</p>
<p><em>Borom Sarret</em>, considered to be the first African film by a black African, is a portrayal of poverty and inequality in postcolonial Africa. It follows the daily life of a Dakar “borom sarret”, or cart driver in Wolof (a language of Senegal), who is constantly being taken advantage of by others. Feeling hopeless about his situation, he compares modern life to that of a working slave, imprisoned in a cycle of poverty. </p>
<p>Restored in 2013 by The Film Foundation’s World Cinema Project in association with Institut National de l’Audiovisuel and the Sembène Estate. Restoration work was carried out at Laboratoires Éclair and Cineteca di Bologna/L’Immagine Ritrovata laboratory. Restoration funding provided by Doha Film Institute. </p>
<p><strong>Mikhail Kalatozov,<span> </span><em>I am Cuba (Soy Cuba)</em>, 1964<br /></strong>35mm transferred to digital file, b&w, sound, 141 min</p>
<p>Narrated by Raquel Ravuelta, a seminal figure in Cuban theatre, film, television and radio, as “The Voice of Cuba,”<span> </span><i>I am Cuba</i> follows four stories of Cubans during the Cuban Revolution. Maria works at a Havana nightclub; Pedro is a tenant farmer; Enrique, a young university student, is part of the intellectual resistance; and Mariano is a peasant who joins the rebel army. The script was co-authored by the Cuban novelist Enrique Pineda Barnet and the Soviet poet Yevgeny Yevtushenko.</p>
<p>25 – 30 August 2020 (Every hour in The Single Screen)<br /><strong>Ousmane Sembène,<span> </span><em>Black Girl (La noire de… ),<span> </span></em>1966 <br /></strong>35mm transferred to digital file, b&w, sound, 60 min</p>
<p>The film chronicles Senegal’s first years of independence by following a young ambitious woman, Diouana, who moves to the French Riviera with a bureaucrat and his wife who return to France after working in Dakar. Originally hired as the family nanny, she becomes enslaved as a maid in France. A human drama and a radical political statement, <em>Black Girl</em> critiques the enduring colonial mind-set of a supposedly postcolonial world. <em>Black Girl</em> was Ousmane Semb<strong>è</strong>ne’s first feature film and the first black African feature film which screened at Cannes. It alsowon the Prix Jean Vigo and top prize at the Carthage Film Festival. </p>
<p>Celebrating the 30th Anniversary of The Film Foundation. <br />Restored by Cineteca di Bologna/ L’Immagine Ritrovata laboratory, in association with the Sembène Estate, Institut National de l’Audiovisuel, INA, Eclair laboratories and the Centre National de Cinématographie. Restoration funded by The Film Foundation’s World Cinema Project. </p>
<p>1 – 6 September 2020 (12pm, 1.45pm, 3.30pm, 5.15pm in The Single Screen)<br /><strong>Tomás Gutiérrez Alea,<span> </span><em>Memories of Underdevelopment,<span> </span></em>1968<br /></strong>35mm transferred to digital file, b&w, sound, 97 min</p>
<p>The film’s narrative, based on the novel <em>Inconsolable Memories</em> by Edmundo Desnoes, is presented through the lens of Sergio, a wealthy bourgeois aspiring writer, during the aftermath of the Bay of Pigs Invasion. His family decides to retreat to Miami during the turmoil of social changes. The film is interspersed with real-life documentary footage of protest and political events in which Sergio’s life and personal relationship unfolds. As the threat of foreign invasion looms over Sergio, his desire for companionship also intensifies. </p>
<p>Restored by the Cineteca di Bologna at L’ Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematograficos (ICAIC). Restoration funded by the George Lucas Family Foundation and The Film Foundation’s World Cinema Project.</p>
<p>8 – 20 September 2020 (12pm, 1.30pm, 3pm, 4.30pm, 5.45pm in The Single Screen)<br /><strong>Želimir Žilnik,<span> </span><em>Early Works (Rani Radovi)</em>, 1969<br /></strong>35mm transferred to digital file, b&w, sound, 58 min</p>
<p><span lang="en-gb">Winner of the Golden Berlin Bear Award at the 19<sup>th</sup><span class="apple-converted-space"> </span>Berlin International Film Festival,<span class="apple-converted-space"> </span><i>Early Works (Ravi Radovi) </i>focuses on the June 1968 student demonstrations in Belgrade, as well as the<span class="apple-converted-space"> </span></span><span lang="en">Soviet invasion of Czechoslovakia in the same year. Both incidents happened<span class="apple-converted-space"> </span></span><span lang="en-gb">against an international backdrop of student protests, political movements and anti-colonial struggles<span class="apple-converted-space"> </span>around<span class="apple-converted-space"> </span>the world. In the film, three young men and a girl called Yugoslava attempt to start a revolution in the countryside after being inspired by the early writings by Karl Marx, but are unsuccessful.</span></p>
<p>8 – 20 September 2020<strong> </strong>(In The Single Screen)<br /><strong>Želimir Žilnik,<span> </span><em>Shorts: Black Film (Cri Film)</em>, 1971</strong><br />16 mm transferred to digital file, b&w, sound, 14 min</p>
<p><span lang="en">An example of the Yugoslav Black Wave, the film movement in Yugoslavia in the 1960s to 1970s,<span class="apple-converted-space"> </span></span><i><span lang="en-gb">Shorts: Black Film (Cri Film)</span></i><span class="apple-converted-space"><span lang="en-gb"> </span></span><span lang="en-gb">is a spontaneous effort by Žilnik to highlight socio-political issues. In the wee hours, he approaches six homeless men<span class="apple-converted-space"> </span>on the streets of Novi Sad.<span class="apple-converted-space"> </span>Žilnik<span class="apple-converted-space"> </span>interviews them and allows them to sleep over at his home. Over the next few days, he speaks to members of the public, social workers,<span class="apple-converted-space"> </span>and the police, but nobody is able to offer any solutions.</span> </p>
<p><strong>Karpo Godina,<em><span> </span>Litany of Happy People (Zdravi ljudi za razonodu)</em>, 1971</strong> <br />35mm transferred to digital file, colour, sound, 15 min</p>
<p>The <em>Litany of Happy People </em>is a song-film about the diverse group of people living harmoniously in rural Vojvodina, an autonomous province of Serbia known for its multi-cultural and multi-ethnic identity. The film presents families with multi-ethnic backgrounds, standing in front of their seemingly similar but colourful rural houses. The film won numerous awards at short film festivals.</p>
<p><strong>Karpo Godina,<em> About Art of Love or a Film with 14441 Frames (O ljubavnim veštinama ili film sa 14441 kvadratom)</em>, 1972</strong> <br />Colour, sound, 10 min</p>
<p>This film presents an almost journalistic report of the female textile workers and male military soldiers in the Macedonian village of Stip. Interwoven with military footage and shots of the village, the alternating scenes present the two groups in proximity, while being completely isolated. The film went through a thorough restoration process in 2016 and was shown at the 30th edition of Il Cinema Ritrovato in Bologna, Italy. </p>
<p>22 – 27 September 2020 (12pm, 1.30pm, 3pm, 4.30pm, 5.45pm in The Single Screen)<br /><strong>Isaac Julien,<span> </span><em>Frantz Fanon: Black Skin White Mask</em>, 1995<br /></strong>35mm transferred to digital file, colour, sound, 70 min</p>
<p>This film interrogates the life and work of Frantz Fanon, a highly influential anti-colonial writer, civil rights activist, and psychoanalytic theorist from Martinique. The docudrama is interspersed with archival footage of Fanon as well as interviews with family members and colleagues. Reflecting on the black body and its representations, the film is rooted in the black arts movement in Britain and North America.</p>
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Date
A point or period of time associated with an event in the lifecycle of the resource
7 April — 27 September 2020
Contributor
An entity responsible for making contributions to the resource
Mark Nash
Vladimir Seput
Joris Ivens
Ousmane Sembène
Mikhail Kalatozov
Tomás Gutiérrez Alea
Želimir Žilnik,
Karpo Godina
Isaac Julien
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Africa
South America
Europe
Asia