The Ticking Final Days
July 7, 2010
Reality
Tick. Tick. Tick.
The days seem like hours now, so short they are in my perception. I fly to Chicago on July 14th, where I will be picked up and delivered back to Iowa, where I’ll be until early August.
Yes, that means no more Guy in the Black Hat Meets Berlin in less than a week. Egal – I’ll switch the name to Guy in the Black Hat Meets [Wherever My Permanent Residence Happens to Be at the Time]. I figure anywhere I go will provide me with interesting encounters to post on the Internet. Long live Guy in the Black Hat Meets Northampton!
Berlin has been more than kind to me: I have never felt as cosmopolitan before in my life. I met filmmakers, drank in nice places/dives, attended a few concerts, saw a lot of movies, rummaged through archives, churned out articles and essays, visited Prague, Aarhus, Venice, Bremen and Göttingen, spent some time in an artificial tropical rainforest at Brand (Niederlausitz), saw the Frida Kahlo exhibit, experienced the elation of the Germans as Lena Meyer-Landrut won the Eurovision 2010 contest in Oslo, hung out with people from around the world, and managed to get plenty of much-needed sleep in the midst of it all. All in all, I should not be complaining. Still, a small update is necessary:
Just as my article and blog post on Uwe Boll came out, I discovered he was coming to the HFF on June 24th. So I decided to audio-record the entire speech, which is an enjoyable 2.5 hours if you understand any German. In fact, it was one of those instances in which understanding the German language quite literally gave me a better level of access to information about how the world works, which is why I am continuously baffled by why universities think cutting back on German is a great idea. Understanding German connects you with a whole next level of cultural production that, well, needs to be situated within its context.
Kat left for Iowa on the 29th, and I don’t think I’ve actually had a phone conversation with her since then, on account of her not having a cell phone but being on the road up in the Twin Cities and the time difference and all. This makes me sad. 😦
All the more sad beyond having to leave Berlin and doing so alone is the fact that I missed the very wedding I didn’t want to: that of Preeti Gupta and Seth Bacon. These are two exceptional individuals with whom I’ve spent many a fine day, and whose wedding I knew was going to be awesome. And then it was scheduled to take place within my last two weeks here, also on the very weekend I had a conference in Bremen. So to all my Grinnellian alumni friends that were there (Taylor, Megan, Eve, David, John, Katie, Aaron, Ann, Sean… oh, the list is too long): I missed dancing, gaming and reveling with Preeti and Seth. And to Preeti and Seth: the present’s on its way, but my well-wishes now will have to do.
So: the Bremen conference. It was my first official conference paper delivered in German to a German audience on German soil, and I think it went fairly well. The topic was “Turns und Trends in der Literaturwissenschaft,” and was designed to gather young scholars into debate about the field of Germanistik via papers delivered. I dealt with material pertaining to a racist “geopolitical fiction” science-fiction novel – Pereat Austria! – from 1907 written by a right-wing self-help author Marie Carola Freiin von Eynatten. My paper was described as the “postcolonial turn” of the conference. In any case, it will be published (with revisions) in German in October. I’m psyched. But I was even more psyched to by chance visit with Sarah, a former UMass professor, and her coterie of German exchange students to Dickinson College. It was like being back with Grinnellians for the evening – interesting liberal-arts college types – and I felt suddenly at home amidst an otherwise somewhat alienating conference experience.
Naturally, we stopped our final discussion on Saturday as Germany trashed Argentina in a World Cup quarter final showdown. Though it didn’t pan out for Germany in the semi-finals against Spain, the victory celebrations for the quarter final were extremely intense in Bremen, with cops and smoke bombs and yelling people and vuvuzelas and (enough booleans) such. I remember exiting the Hauptbahnhof in Berlin and asking myself: “Is this a warzone?” Men were hauling up random people off the street and stuffing them into a van to drink. A couple in Tiergarten seemed to be celebrating with a deliberately heavy amount of heavy petting. Bottles flew, music blasted, Germans yelped for joy. Well, at least they made it to the semi-finals.
For reasons I’ll not state here, I was back early from Bremen and found myself in Berlin for the Fourth of July, which was celebrated at Tempelhof Park by the Young Democrats Abroad. Hilary Bown ’02 and Justin Torrence ’03 were present and made me feel at home there. We had a cherry pit spitting contest, and some guy named Jerry impressed me with his deep knowledge of Cold War history as an American ex-pat who lived in Kreuzberg. Then Kira and I commiserated and had ice cream.
Monday night was a BBQ in Prenzlauer Berg in one of the older houses along Husemannstr. After exactly one beer, I was repeatedly told by the Germans that I was “zu laut,” leading me to believe that I project my voice much better in the foreign language…
And now Peggy, my landlady, has come and inspected the apartment. I am most definitely leaving, and the sparseness of my surroundings bears testimony to that fact.
But what’s life without melancholy, bittersweet endings, or the sending off of old friends to new places?
Fantasy
Die Liebe und die Königin (1976)
Based on Viktor Hugo’s novel Maria Tudor, this film stars Gojko Mitic as the dashing Fabiano Fabiani, an Italian nobleman who murders a Jewish loan-shark plotting to overthrow the throne, starting a whole chain of events. The first time I’ve ever seen Mitic play a villainous role, though it looks like he’s still only got about two possible expressions. It supports my argument for my GSA paper in the fall anyway…
Die schöne Lurette (dir. Gottfried Kolditz, 1960)
An adaptation of Jacques Offenbach’s operette by the same name. Best watched on fast-forward, I think – then you see fast-moving soldiers and peasants weaving in and around each other, occasionally donning masks and kissing. Much better than its awkward Powell/Pressburger aspirations.
Echo Bazaar
I took the (loneliness-fueled) plunge and joined a choose-your-own-adventure Twitter app called Echo Bazaar. The premise: you are a quasi-damned, quasi-deceased soul in Fallen London, an underground version of the same that happens to share a border with Hell. Quite addictive and quite well-written (because it’s British), my character has already done any number of dubious tasks, such as fed a hapless drunk to a demon and composed an ode about a fungal creature. Fun times.
Shifting Forest Storyworks
A LARP community in California, Shifting Forest Storyworks, has been so generous as to offer many of their written parlor LARP scenarios for free. I took a gander at several, including the Mirror Room, and was pleasantly surprised with how tightly structured and playable they all seemed. It made me excited to run several upon my return. Any players willing to have a go?
An Evening with Gojko, an Afternoon with His Cameraman
March 6, 2010
Reality
This week has been structured by two parallel visits with DEFA personalities involved in the creation of the studio’s genre films, namely: star Gojko Mitic (pictured at right) and cinematographer Otto Hanisch.
On Tuesday March 2, I attended Mitic’s reading/q&a at the Urania cinema near Nollendorfplatz. The event was in part blatant advertising for the recent DEFA-Stiftung fan book Gesichter der DEFA, and in part a kind of nostalgic service (in the religious sense) for the fans. I was easily the youngest person in the theater, for example, whereas most of the people present were likely from the target demographic of Mitic’s Indianerfilme in the 1960s and 70s: GDR children aged 6-16.
The Serbian star narrated his life for the audience, repeating interview material from the newspapers with almost knife-like precision. The man is a true professional. Nevertheless, the legend proved moving: the moderator confessed that he always wanted to become an Indian while he was growing up (whereas Mitic always wanted to be a sea captain) and Mitic claimed that he always stayed in the GDR out of the tremendous love his fans expressed for him. He continuously returned to the kind of “spiritual socialism” (socialist spiritualism?) expressed in his films, namely utopian thoughts of correcting injustice around the world through culture and combating the greed of capitalism by re-writing history. But the audience was truly moved. Mitic’s speeches were greeted by spontaneous applause, approving laughter and enthusiastic questions. After the lecture was over, the 70-year old actor was mobbed by 40 and 50 year-olds for autographs. I’ve never seen anything like it. Mitic was perhaps the GDR’s only real star after all.
On Thursday, screenwriter Stefan Kolditz (Atkins, Burning Life) was so generous as to bring me to the Berlin apt. of Otto Hanisch, his father’s top cameraman. I had done my homework for the interview, so I knew that Hanisch was a WWII veteran who had survived a sinking submarine and had spent three years in Soviet gulags, before becoming a painter and a cinematographer under the GDR’s genre film directors. I knew he had apprenticed under UFA legends Bruno Mondi (Jud Süß, Das kalte Herz) and Robert Baberske (M, Der Untertan), and had to improvise a great deal to get the DEFA-Indianerfilm to “work” filmically in comparison with international westerns in the 60s. Frankly, I had no idea what he would be like.
It turned out to be a wonderful afternoon. Hanisch and his wife warmly greeted us and invited us to coffee and cake. “What do you want to talk about?” Hanisch asked me. I explained my interest in DEFA genre films and broke out the digital recorder. “Put that away,” he said. “And I’ll show you all my production materials for Spur des Falken and Signale.” Well, I couldn’t pass that deal up, so for the next 3 hours we pored over photos of stuntmen falling off horses and talked about his difficulties in getting the DEFA Indianerfilm genre off the ground, etc. Hanisch openly bore great respect for Gottfried Kolditz (okay, his son was present, but still…), always referring to him as “The Doctor,” and they clearly saw themselves as “Fachmänner” of a sort — expertly trained filmmakers who overcame grave difficulties to create some of the most popular genre entertainment in the GDR, despite little recognition for their work from the government. He complained of the “thin” scripts he received from Dr. Günter Karl, that they then had to convert into compelling stories on a limited budget. He detailed production difficulties in Georgia and Mongolia, but reminded us constantly that his encounters with film professionals from those countries were always cordial. “We all spoke the same language: film.” he remarked. Only interactions with politics and political ramifications in the Cold War seemed in hindsight to be challenges he could’ve done without. “But then at least we got to make films,” he said. “Not like today where it’s very difficult to get work outside of specific networks.” His point is well-taken, especially with what my colleagues at the HFF have said to this effect.
Both Mitic and Hanisch were seen as true experts at what they did, existing in some sphere outside of politics where all that matters is stunts performed and stunts recorded. Is the “stunt” necessarily an apolitical act? I’ll have to muse on this.
Fantasy
Chingachgook, the Great Snake (dir. Richard Groschopp, 1967)
The Last of the Mohicans, except with a happy socialist ending.
President (dir. C.T. Dreyer, 1919)
A masterpiece of silent storytelling by Dreyer, following many of his usual motifs, namely persecution, guilt, and religion. A local judge seeks to do penitence for not marrying his childhood love because he promised his father he would not wed out of the nobility. Even though the improvised piano soundtrack was lacking this time around, there is little damage it could do to a gorgeous print of a compelling film.
The Scout (dir. Konrad Petzold, 1983)
Ever wanted to see a movie about Native American cowboys? Gojko Mitic plays one here: a Nez Perce sent to lead the white men and their horses astray. Shot in Mongolia, this was the film that nearly killed Gojko in a stampede and only made after its original director Gottfried Kolditz died while location scouting in Yugoslavia. No wonder this was the last DEFA Indianerfilm.
Come Drink with Me (dir. King Hu, 1966)
One of the early, pre-Bruce Lee kung fu films that left their mark on action-film posterity. A general’s daughter is sent disguised as a man to rescue her brother from evil bandits, only to be helped by a beggar-kung-fu-master along the way. The constellation of characters and narrative are simple, but effective.
Berlinale Days Three through 10 (Feb. 13-21)
February 28, 2010
Reality
Writers have blogs, but dissertation writers probably shouldn’t. I realize this after I woke up this morning and realized there’d been a week since the end of the Berlinale and I hadn’t so much as hinted at my experiences there. Too much other writing going on.
Since I probably have too much to describe anyhow, I will use the woefully insufficient writing device of bullet points to summarize.
During Days 3-10 of the Berlinale 2010, I…
* …attended three retrospective panels with film artists in attendance.
* …discovered an excellent bistro: Marcann’s.
* …helped the HFF and sehsüchte host the Filmhochschule Party at HBC.
* …began planning a DEFA conference.
* …found myself watching more Japanese films than German or American.
* …saw Katrin Saß, Sylvain Chomet and Hanna Schygulla in the flesh.
* …met Gojko Mitic, Wolfgang Kohlhaase, Günter Reisch, F.B. Habel, Stefan Haupt, Anton Kaes, Rainer Rother, Ralf Schenk, Günter Agde, Wolfgang Mühl-Benninghaus, Wolfgang Klaue, Karl Griep and Bernd Plattner. I leave this to be examined by DEFA scholars.
* …regularly got up at 6 a.m. to get my accreditation tickets at Potsdamer Platz.
* …was threatened with physical violence by an angry old woman who thought I had unfairly cut in front of her in the ticket line.
* …wrote eight pages of solid film theory for my dissertation (dork moment).
What films did I watch and what did I think of them? Scroll down to Fantasy.
Here’s some photographic evidence of my meeting DEFA director Günter Reisch:
Günter Reisch and me at the Progress Reception
Fantasy
The Illusionist (dir. Sylvain Chomet, 2010)
Utterly brilliant. Read my thoughts here.
Chronicle of Anna Magdalena Bach (dir. Jean-Marie Straub, Danièle Huillét, 1968)
A history of Bach that preserves its own historicity. I must have seen this one about six or seven times. Yet I still have trouble ordering all the images in my head, but they look fantastic in 35mm.
The Law of Desire (dir. Pedro Almodòvar, 1987)
A tightly controlled meditation on the sensual possibilities of film and film-writing through melodrama. Anticipates Almodòvar’s entire career.
Red Sorghum (dir. Zhang Yimou, 1988)
A Chinese nationalist epic that starts off on the right foot and somehow ends on the far right foot…
Summer Wars (dir. Mamoru Hosoda, 2009)
This is the must-see anime of the year: a look at cyberwarfare through the story of a shogun family in modern times. Reminds one of Satoshi Kon’s Paprika (2006), with perhaps a far less open ending.
Kyoto Story (dir. Yoji Yamada, 2010)
A declaration of love to Kyoto Uzumasa, site of the former film studios. A fictional love triangle is masterfully interwoven into the daily lives of real shopkeepers on a real street.
The Bedeviled Medium
September 29, 2009
Reality
Saturday brought a stormy conclusion to the Kamera als Waffe conference, which might have been expected given the topic of Nazi propaganda cinema within a larger historical context. But first the uncontroversial papers: Kay Hoffmann (University of Stuttgart) presented Roel Vande Winkel’s paper on the Nazi newsreels made to export, and how foreign audiences wouldn’t just accept the German newsreel dubbed into their language (ironically like the Germans’ present means of consuming the world’s TV/film culture), but required new perspectives on propaganda events. Rainer Rutz presented on the fascinating magazine “Signal” that the Nazis produced for European sales, combining images of well-groomed soldiers taking some hot-bodied time off and blonde beauties bathing on captured French beaches. Martina Werth-Mühl from the Bundesarchiv told us not to use YouTube to watch these newsreels, but received resounding applause when she suggested a reduction of price per newsreel at the Bundesarchiv might be to everyone’s benefit. Judith Keilbach argued that the use of propaganda footage in television documentaries generally reproduce the same effects of their original intended purpose: to demonstrate Nazi dynamism and power in elaborately staged war spectacles.
Then the moment of controversy struck when Michael Kloft, the main historical film producer for the ZDF (Das Goebbels Experiment and 29 others), took the podium and said, effectively, that he uses Nazi newsreel footage because it was the footage taken at the time, and it educates the children visually about a time period that is fast losing all of its eyewitnesses. His talk produced visible tension in a room where the medium of television had clearly already been consigned to the 11th circle of Hell. Thus once Kloft was done with his speech, several very eloquent arguments about the “Gleichwertigkeit” toward Nazi footage since the introduction of television in the 50s were posed against Kloft’s flippant remarks. You could tell that among these history professors, a kind of ferocious anger concerning all of the facts they had to make their students unlearn every year thanks to television was promptly unleashed. We ended up staying past the end of the conference to conclude the very intensive discussion with the question of whether television can be allowed to become an “open” medium like film, where the eyes and ears are permitted to wander in a space and evaluate the “rough edges” of history on their own terms.
On Sunday morning, I had breakfast at the famous Café Bilderbuch – my third visit since I’ve arrived – on Akazienstrasse. The café has a reputation thanks to its Viennese style décor, classy music selection, newsletter-styled menus and, of course, excellent coffee and meals named after storybook characters. There I sat and wrote most of what is to be the next chapter in the Peppersmoke Players series. It gives me something to do with my hands, after all.
After the usual laundry and dishes labor befitting Sunday, I found some time to attend Kino Arsenal yet again for a series of underground 8mm films made in eastern bloc countries. Claus Löser – journalist, film historian and curator of the exhibit – was present to introduce the films, as was one of the filmmakers Ramona Köppel-Welsh. The crowd itself was interesting: a mostly silent bunch of maybe half-a-dozen Poles, two Russians, two Germans and myself. I think the language barrier was significant enough that only the Germans and I had a conversation after the film. The nice thing about the Kino Arsenal, of course, is that they give you free wine and pretzels afterwards, so Claus, Ramona, the Germans and I stood around for a time and chit-chatted about the GDR and the United States. Ramona, it turns out, was invited to Los Angeles in 1993… during the L.A. riots. That gave her a lasting impression of the States I maybe wouldn’t envy but, hey!, it was probably a more accurate picture of our divisions than most visitors get.
I’ll finish the “Reality” section of this blog with a brief summary of Monday, when I visited a personal Mecca: the Filmmuseum Potsdam. Located in a beautiful building with horse statues leaping from the walls near the train station, the Filmmuseum Potsdam is a repository for, well, all things DEFA (with a spot of UFA and Pro-Babelsberg here and there). Seriously, though: every major film and a good chunk of the minor ones had some sort of artifact or remnant on display in the museum, from the concentration camp outfit used in Jacob the Liar to the bow Gojko Mitic fought the white Americans with in Falcon’s Trail. Even the counterfeiting kit from the Oscar-winning The Counterfeiters was there in all its faux-1940s glory. At the end of the tour, I went to sign the guest book and noticed a lot of people complaining about the overflowing presence of DEFA materials over UFA and other materials. “Bah!” I said, and wrote a proper defense of the East German studios right there in the guest book.
Blog entries to come:
• A poem on my surreal and awful experience at the Ausländerbehörde
• Several short reviews of academic books I’m reading for my dissertation
• Peppersmoke Players Chapter 3 – Rehearse or Die
Fantasy
Naked Lunch (dir. David Cronenberg, USA 1991)
Boy, what a trip! Similar to Steven Soderbergh’s Kafka (1993) as a kind of tribute to a whole surrealist author’s body of work, Naked Lunch is a film about the destabilization of the armored male subject through the psychic/psychotic transformative experience of writing. This time around I noticed several things: the rampant homoeroticism (complete with talking anuses), the Orientalism (kind of done Madman style: a stereotyped “chinaman” and Moroccan “exoticism” are both foregrounded at different points), the utter fakeness of the sets, Peter Weller’s droll mumbling as Bill Lee (see Ralph Fiennes in Cronenberg’s Spider for the same), and the dissonant soundtrack created by Howard Shore and Ornette Coleman. Now I kind of see the Naked Lunch story as kind of a cross between Camus’ L’etranger and Schnitzler’s Traumnovelle: the former due to the narrator’s utter lack of Self becoming grounds for a murderous act, and the latter because there’s a sort of extraordinary sexual journey that Bill Lee goes through without actually having sex with anybody (e.g., Fridolin and his night wanderings).
Vivre sa vie (dir. Jean-Luc Godard, France 1962)
Twelve scenes that show Godard’s contempt for conventional Hollywood narrative that’ll leave you breathless. The movie was rather dull this time around, but maybe it’s because I’ve worked extensively with One Plus One, Tout va bien and Alphaville, which I find to be much better executed films (and don’t all revolve around Anne Karina’s visage).
The Third Man (dir. Carol Reed, UK 1949)
Speaking of well-executed films, Carol Reed’s nihilistic classic put its hooks back into me after I watched The True Glory for the first time on Friday. An incessant zither soundtrack backs this film noir story set in the dark streets of Vienna, where sharp lines such as “death is at the bottom of all things” are delivered so non-chalantly that they make this sort of filmmaking look easy. My theory is that Reed, along with Billy Wilder, did his time during the war with the allied propaganda, thereby earning the right to be totally sarcastic about the peace afterward. Wilder’s A Foreign Affair (1948) and, more to the point, Sunset Boulevard (1950) both peel back the post-war consumer society to reveal a disturbed undertone of fractured identities and incoherent culture.
Ein-Blick (dir. Gerd Conradt, FRG 1986)
Conradt set up a camera to take 1 frame per second for 12 hours, and then recorded East Berlin from West Berlin. Every time anyone looks at the camera, he freezes frame for just a moment. The film gives you a good overall impression as to what a day in the life of a security camera might be like, except with more exciting motion and lighting.
Z mojego okna (dir. Józef Robakovski, Poland 1978-2000)
Another stationary camera set-up, this film is translated to roughly “Outside My Window.” Indeed, Robakovski basically took footage from outside his window for 22 years, recording people running errands, assorted state parades and ultimately a five-star hotel being built that cut off his magnificent window view. What struck me about this film was that, unlike Conradt’s, it wasn’t anonymous surveillance. The filmmaker expresses in a voice-over the story of every person whom he spies on, revealing an urban environment that’s actually more like a community than most U.S. cities.
Trabantomania (dir. János Vetö, Hungary 1982)
A music video for a Hungarian band Trabant, Trabantomania is not so much about the East German car – the Trabant – as it is about showing us silly footage of dolphins and seals, and of the band sitting around in a messy apartment. You still get a definite impression of the interdisciplinarity and intertextuality that underlie such experimental films.
Zestokaja bolezu musicia (dir. Igor and Gleb Aleyinkov, USSR 1987)
This abrasive picture is about this guy who gets on a subway car, two security officials proceed to sodomize him, then leave. I liked the high-contrast film filters used. It looked a little bit like Aronovsky’s π (1998).
Lesorub (dir. Yevgeny Yufit, USSR 1985)
This amusing film is about bodies against snow, mostly wrestling with each other, but sometimes doing perverse things with a dummy. This one’s probably my favorite of the short films.
Sanctus, Sanctus (dir. Thomas Werner, GDR 1988)
In 1988, Thomas Werner and a lot of the East German 8mm scene walked in a May 1st parade, passing Erich Honecker, Egon Krenz and all the party cronies at the time. The soundtrack is a beautiful church hymn that at once mocks and commemorates the GDR within a single musical line.
Konrad, sprach die Frau Mama (dir. Ramona Koeppel-Welsh, GDR 1989)
An anxious picture if I’ve ever seen one, Konrad, sprach die Frau Mama (ich gehe weg und du bleibst da! – Struwwelpeter) has been released on our Counter-Images DVD at the DEFA Film Library, but it was much better on the big screen. Disturbing images of little children weren’t what almost got Koeppel-Welsh thrown in jail over this picture, but rather a little footage of the Berlin Wall shot from a hospital window. The realm of the politically/culturally forbidden past 1961 usually centered around the thematization of the Wall, and this film proved to be no exception.
