Mark Rappaport for Garageland


In 2016, pioneering video essayist Mark Rappaport presented some of his latest work, never before seen in the UK, at the Essay Film Festival. The filmmaker has carved out his place in the heart of cinephiles everywhere with his frequently wry explorations of film and society.

Old Hollywood – Gregory Peck, Ingrid Bergman, Deborah Kerr, among many others – often finds itself the subject of his gaze, and by the 90s he had established himself as a distinct voice with his films Rock Hudson’s Home Movies (1992) and From the Journals of Jean Seberg (1995). By now, Rappaport has long mastered the art of forging new narratives out of found footage, with a dry, critical Brooklyn-accented narration that both guides and grounds his audience in a celebration of cinephilia.

Recently, the filmmaker sat down with Garageland where he spoke to James Payne about his career, popular culture, and his approach to storytelling. Read the full interview here: garageland

Session #16: Screenings and discussion with filmmaker Jocelyne Saab followed by wine reception

Photo © 2015 Jocelyne Saab

Saturday 1 April 2017

Birkbeck Cinema, 43 Gordon Square, London, WC1H 0PD

1:00–6:00 | [Book here]

Filmmaker Jocelyne Saab will be in conversation with Tim Markham (Birkbeck) and Stefanie Van de Peer (Exeter). Following the event we invite all our guests to join us for wine reception and Negotiating Dissidence: The Pioneering Women of Arab Documentary by Stefanie Van de Peer book launch:

An extraordinary opportunity to see Jocelyne Saab’s Beirut trilogy of essay films made during the civil war in Lebanon in the 1970s and 80s. Having started her professional life as essentially a television journalist, Saab turned to a more personal and essayistic mode of filmmaking as her native city and country were torn apart by civil war. These beautiful and moving films infuse their powerful documentary footage of daily life amid destruction and displacement with a poetic intensity that transcends the conflict and reaches beyond despair. After the civil war, Saab went on to make numerous films, including documentary and fiction, both in Lebanon and around the Middle East and the Arab world, and more recently she has worked in gallery settings as well as creating her own cultural festival in Beirut.

Beyrouth, jamais plus, Jocelyne Saab, Lebanon 1976, 16mm (transferred to digital), 36 mins, English-language version
Lettre de Beyrouth, Jocelyne Saab, Lebanon 1978, 16mm (transferred to digital), 52 mins, English-language version
Beyrouth, ma ville, Jocelyne Saab, Lebanon 1982, 16mm (transferred to digital), 52 mins, English-language version


Beyrouth, jamais plus, Jocelyne Saab, Lebanon 1976, 16mm (transferred to digital), 36 mins, English-language version

The film is an elegy for the city of Beirut and was shot during a period when the war hostilities had ceased momentarily and people were attempting to reconstruct their lives amongst the rubble and destruction of war. Shot over six months, the first half of the film shows us images of a destroyed city, of empty streets, bombarded buildings, random objects, of children playing, accompanied by a voice over written by poet and artist Etel Adnan, telling us how they ”the unusual has destroyed the order of things”. People relate their experiences of desolation and the suffering from the battles. This city portrait is Saab’s first attempt to articulate in personal terms her experience of the war and to rework in essayistic form her previous filmic and journalistic coverage of the history of her country and its conflicts. The essay film is infused with the uncertainty and violence caused by the destruction of a place she had known and that she felt was lost forever.

Lettre de Beyrouth, Jocelyne Saab, Lebanon 1978, 16mm (transferred to digital), 52 mins, English-language version

This highly personal and original film is an attempt by the filmmaker to come to terms with her experience of war and current events in Lebanon. Saab is like a character in her own story, returning to a country and a city that she no longer recognises. The film works through subtle transitions between fiction and documentary, and a series of letters with a text written by Etel Adnan, whose novel Sitt Marie Rose, published one year earlier in 1977, Saab considered to be the best novel about the Lebanese conflict. While traveling around Beirut and to South Lebanon, the filmmaker muses about the country, its politics, censorship, listening to people who speak openly about their lives and what they hope for the future. The film was described as a panorama of Lebanese society and its problems, revisiting the history of Lebanon and the wages of occupation, while showing people’s everyday life during a time of conflict.

Beyrouth, ma ville, Jocelyne Saab, Lebanon 1982, 16mm (transferred to digital), 52 mins, English-language version

Shot seven years into the war in July 1982 while Beirut was under siege by the Israeli army, the film is another heartfelt tribute to an almost deserted city reduced to rubble after years of conflict. Saab, acting like a reporter of her own history, tells us about the destruction of her house, a 150-year-old building. The film is haunted by the history and memory of places and names and by the stark reality and unbearable violence of the war. The voice over of the film was written by Roger Assaf, a playwright, director and actor, whose work has been profoundly marked by the collective experience of war.

Special thanks to Jocelyne Saab, Miriam Heard, and Nicole Brenez.

We would also like to thank Edinburgh University Press (

Session #15: Screening of Filmfarsi (work in progress) with filmmaker Ehsan Khoshbakht in conversation

Photo © 2015 Ehsan Khoshbakht

Friday 31 March 2017

Birkbeck Cinema, 43 Gordon Square, London, WC1H 0PD

6:00–9:00 | [Book here]

Filmfarsi, (work in progress), Ehsan Khoshbakht, UK/Iran 2017, digital, 108 mins, English and Farsi with English subtitles

Filmmaker Ehsan Khoshbakht will be in conversation with Treasa O’Brien (Westminster)

“Filmfarsi was the cinema of a nation with a split personality”, says filmmaker Ehsan Khoshbakht in this film-critical history of Iran under the Shah.

Khoshbakht’s found-footage essay film Filmfarsi salvages low budget thrillers and melodramas suppressed following the 1979 Islamic revolution. These films defined Iranian cinema in the 1960s and 70s, when the industry shared an equal percentage of the market with the USA. Little more than VHS rips remain.

Khoshbakht here uncovers that which was thought destroyed. A cinema of titillation, action and big emotions, which also presented a troubling mirror for the country, as Iran struggled to reconcile its religious traditions with the turbulence of modernity, and the influences of the West. There are remakes and rip-offs, even a Persian Vertigo. The often cheap, sleazy and derivative films offer an insight into Iran’s psyche.

Exploring the possibilities for the essay film, cinephilia, and the documentary today, Filmfarsi presents a cinematic and social history of a nation, with a keen critical eye. Khoshbakht identifies not only the formal and thematic throughlines in the movies; he also shows us the ways in which Iran has performed specific images of itself.

Among the scratched reels, some keystones of Iran’s extraordinary film culture emerge too: Gheysar, whose title design was done by a young Abbas Kiarostami; the work of director Samuel Khachikian, a progenitor of Iranian noir; and The Deer, a film which more than any other symbolises the historic violent turns in Iran’s recent past.

Filmfarsi presaged a revolution, and it became one of its first victims.


Session #14: The Architectural Essay Film, with Bartlett School of Architecture, UCL

 Photo © 2016 Stefanos Levidis

Friday 31 March 2017

Birkbeck Cinema, 43 Gordon Square, London, WC1H 0PD

11:00–4:00 | [Free event: Book here]

This special collaboration with the Bartlett School of Architecture is in two parts. An introductory talk by Penelope Haralambidou (Bartlett School of Architecture, UCL), defining the ‘architectural essay film’ by looking at historical examples but also examining its emerging role in architectural design, will be followed by a screening of a selection of films made by Bartlett students using film as part of their architectural practice and research. The event will conclude with a discussion with some of the authors/filmmakers/designers.

The Architectural Essay Film, Penelope Haralambidou

As all its advocates agree, the ‘essay film’, a genre which sits somewhere between documentary and fiction, is very difficult to define. But in her opening talk, Penelope Haralambidou will go even further to suggest the existence of a subgenre: essay films that more specifically focus on urban or architectural design subject matter, what she calls the ‘architectural essay film’. Questioning and probing, but often also deeply infatuated by, the cities and buildings they portray, these films are wide-ranging historically and geographically, for instance: Dziga Vertov’s Man With a Movie Camera and Alain Resnais’s Toute la mémoire du monde; Patrick Keiller’s London and Thom Andersen’s Los Angeles Plays Itself; Wim Wenders’s If Buildings Could Talk and Ila Bêka and Louise Lemoine’s Barbicania, to name but a few. Although some of the directors above have either trained as architects (Keiller and Bêka) or have a long-term interest in buildings and architects (Wenders and Andersen), there has been no attempt to link these essay films through their common attention to architecture.

Recent advancements in digital technology have brought the two disciplines of film and architecture closer than ever before. As a result, drawn architectural form – the domain of the architect – and the camera, together with lighting, scripting and editing – the domain of the film director – have merged into compatible software platforms. By adding the dimension of time, architects can explore the storytelling potential of their designs and start flirting with the world of filmmaking. Used as both a creative and critical design tool, film can generate an affective relationship with architecture, a form of empathy with the building.

Haralambidou will present work by students in the MArch Unit 24 at the Bartlett School of Architecture, UCL, which has as a main focus the relationship between film and architecture. The short films use filmmaking as a design tool and practice led research in architecture. Created in an academic environment, these architectural film projects share a speculative, self-reflexive, and boundary-breaking approach, which comfortably places them in the essayist film tradition.

Fictional Constructs, Kairo Baden-Powell, 2014

Wates House, Daniel Cotton, 2014

The Long Now Foundation, Nico Czyz, 2016

Agitprop, Liam Davis, 2014

The Embassy of the Displaced, Stefanos Levidis, 2016 

An Anatomical Embassy, TJ Brook Lin, 2016

Weaving the Ineffable, Angeliki Vasileiou, 2015

The Making of an Architectural Essay Film: Student Films

In this second part of the event, five student filmmakers will talk about specific aspects of the making of their most recent work, considering how these processes of making are essayistic responding to the work will be Grant Gee, Filmmaker, (Patience (After Sebald), ‘Innocence of Memories’).

The architectural essay film can arguably investigate the director’s attitude reflected on architecture, as Penelope Haralambidou argues when claiming how this genre has the potential of ”revealing a link between our perception of the built environment and the structure of intellectual processes” (Harlambidou, 2016). This session will consider the process of making, or being in the making, as such a site where subjectivity, thinking and spatiality could be investigated or questioned. What aspects of the making of an architectural essay film could prompt such discussion?

Five filmmakers from the Bartlett Film+Place+Architecture Doctoral Network, all creating films as part of their ongoing PhD research in architectural design, have been asked to identify a moment during making, and briefly discuss what about these experiences could contribute to the film in question being considered as an architectural essay film. Followed by screenings of these films, the session aims at contributing to the definition of the architectural sub-category of the elusive genre of the essay film.

Blue, Sander Hölsgens, UK 2017, digital, 7 mins

Calcata, Anna Ulrikke Andersen, UK 2017, digital, 15 mins

Cycle 1: The Imprint and the Hand, Phuong-Trâm Nguyen, UK 2016, digital, 5 mins

Austerlitz in London, Henrietta Williams, UK 2016, digital, 8 mins

m i s – m e e t: habitual gestures for the slightly unfamiliar, Bihter Almaç, UK 2016, digital, 6 mins

Dr Penelope Haralambidou, Senior Lecturer, Bartlett School of Architecture, UCL, is acting director of the MPhil/PhD Architectural Design programme and MArch Unit 24 coordinator. Her current work lies between architectural design, art practice and curating, experimental film and critical theory and has been published and exhibited internationally. She is the organiser of the symposium Architecture | Essay | Film, April 2016, and author of ‘The Architectural Essay Film’ (ARQ, volume 19 issue 03, 2015) and Marcel Duchamp and the Architecture of Desire (Routledge, 2013). She has contributed writing on themes such allegory, figural theory, stereoscopy and film in architecture to a wide range of publications.

The Unit 24 website can be found here:

Session #13 : Critique, Protest, Activism and the Video Essay, a lecture-performance by Kevin B. Lee

Photo © 2016 Kevin B. Lee

Thursday 30 March 2017

Institute of Contemporary Arts, The Mall, London, SW1Y 5AH

8:30–11:00 | Cinema 1 | [Book here]

The current social and political environment demands a moment of urgent reckoning for the audiovisual essay, whether it is practiced by artists, scholars, or everyday video-makers: How can or should it address the current crises facing the world? Kevin B. Lee’s work has pondered this question, in the past, through video essays on filmic forms of social protest and dissent. But at what point do audiovisual studies of works of activism become activist works in their own right? How do criticism and activism co-exist, and possibly inform and nurture the other? In this special lecture-performance, Lee will explore these questions by showing and discussing a range of recent audiovisual essays that engage with a social and political consciousness, including Steven Boone’s Snake Oil for N—–town Fever, which uses Roger Corman’s The Intruder as a blueprint for diagnosing the prevailing logic of Trumpism; Kiera Sandusky’s Problems with the Gendered POV Shot in Lilya 4-Ever, which examines the problematic outcome when a mainstream film is used for social education purposes; and extracts from Lee and filmmaker-scholar Chloé Galibert-Laîné’s ongoing research project about videos produced and circulated by the Islamic State.

With the support of the Department of Film, Theatre & Television, University of Reading, and the Goethe-Institut, London

Sight & Sound Film Poll: Nicole Brenez on La hora de los hornos / The Hour of the Furnaces, Kevin B. Lee, 2012, digital video, 8 minutes
Produced for Sight & Sound magazine’s international poll of the greatest films ever made, this video adapts Nicole Brenez’ argument for the poll to give greater consideration to political films, as well as to the politics of filmmaking.

Real Film Radicals, Kevin B. Lee, 2013, digital video, 6 minutes
A recontextualization of “radical” cinema, this video critiques how the use of the term “radical” has been applied to certain contemporary films. It then pays tribute to films, many of which have been neglected or marginalized from film history, that attest to a legacy of radical resistance filmmaking.

State of Emergence: The Wall, Anti Banality Union, 2016, digital video, 3 minutes
Who is the enemy, exactly? Dozens of clips from Hollywood zombie films are interwoven into a single sequence depicting how societal paranoia is propagated by mainstream entertainment. An excerpt from State of Emergence, a work-in-progress feature by Anti-Banality Union, a New York based media activist collective

Snake Oil for N—–town Fever, Steven Boone, 2016, digital video, 10 minutes
The 1960s Roger Corman B-movie The Intruder is used as a blueprint for diagnosing the prevailing logic of 21st century Trumpism and the enduring racial dynamics of the United States.

Problems with the Gendered POV Shot in Lilya 4-Ever, Kiera Sandusky, 2017, digital video,  6 minutes
The 2004 Swedish film Lilya 4-Ever depicted the problem of sex trafficking so powerfully that it was used by governments, NGOs and educators as an awareness raising tool. This video examines the aesthetic choices that make the film so powerful, as well as the problematic outcomes when it was used for social education purposes.

My Crush Was a Superstar, Chloé Galibert-Laîné, 2017, digital video, 10 minutes.
This desktop documentary follows a single image of an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. An excerpt from an ongoing research project by Galibert-Laîné and Kevin B. Lee investigating videos produced and circulated by the Islamic State.


Kevin B. Lee is a filmmaker and critic who has made over 300 video essays exploring film and media. His award-winning Transformers: The Premake was named one of the best documentaries of 2014 by Sight & Sound Magazine and played in several festivals including the Berlin Film Festival Critics Week. In 2017 he is the first-ever Artist in Residence of the Harun Farocki Institute in Berlin.