CLUES, HISTORIES, MYSTERIES AND MYSTORIES

by Billy Stanton

San Sabba 

On the 28th of April the Birkbeck Institute for the Moving Image hosted “Clues, Histories, Mysteries and Mystories”, an event dedicated to essay films focusing on international, personal and familial history in the first-person mode; what was demonstrated by the films shown and the speakers arguments was the potential held by this specific form to probe and present suppressed and buried histories, both general and individual.

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Records of War: Film, History and the Art School

Conny Klocker, intern at the Birkbeck Institute for the Moving Image (BIMI) and PhD candidate at the School of Law writes on a recent screening of 1930s propaganda film. 

As part of the UCL Festival of Culture, the Birkbeck Institute for the Moving Image (BIMI) was showing two propaganda films about the Italian invasion in Abyssinia in 1935/36 according to a programme first presented at the London Film Society in 1937. One film depicted a Soviet account of the events from the Abyssinians’ perspective, the other from the invaders, the fascist Italian perspective.

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Essay Film Festival 2018: Montgomery Clift documentary (work-in-progress session)- Report and Interview with the Film-Makers

by Danielle Capretti

There was palpable excitement amongst the audience for a work-in-progress screening of a Montgomery Clift documentary at the BIMI on 27th March 2018.  Would they just be viewing selected clips, introduced by the filmmakers?  Or perhaps even more?  When the audience learnt they would be the first people beyond the film’s collaborators to preview this work, their anticipation increased a few notches.

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Essay Film Festival 2018: Thomas Elsaesser

We are happy to present a recording of a discussion between Thomas Elsaesser and Erica Carter (King’s College London) following our screening of his film The Sun Island on 28th March 2018.

In his first film, The Sun Island, Thomas Elsaesser, eminent film theorist and film historian, documents the life and professional career of his grandfather, Martin Elsaesser (1884-1957), who was architect and chief city planner in Frankfurt from 1925 to 1932. The recent and controversial acquisition of the latter’s landmark building, the Frankfurt Central Market, by the European Central Bank as the site of their new headquarters, allows the film to draw attention to the importance of Martin Elsaesser’s place in the city’s architectural history, and to the neglect of his legacy.

But the film also revolves around Martin’s private life, and notably his wife Liesel’s long-standing liaison with landscape architect Leberecht Migge. Home movies and photographs are combined with personal letters and contemporary interviews to create an intimate portrait of these relationships, and of the protagonists’ collective attempt to create a self-sufficient utopia on Sun Island during the crucial years between the Weimar Republic and World War Two.

Recording

Further Information:

1. Martin Elsaesser Stiftung PDF

2. Review of The Sun Island

3. Thomas Elsaesser website