German Filmmuseum Edition

[Wombatz]

And specs for the Asta Nielsen "Hamlet", now scheduled for April:

* Musikbegleitung von Michael Riessler

That should be great!

[zedz]

Would anyone recommend "Im Reich der sieben Punkte"? That's one of their silents that didn't receive much attention, and somehow I never really felt the urge to check it out. But maybe I'm missing something...

I got this as part of the 'Other Weimar' package along with the maligned Noa and soccer films, and thought it was more interesting than those, particularly for its social aspects, but I'm pretty much a sucker for all of the Filmmuseum releases, since even the weakest or most marginal ones are eye-openers on areas of film I never expected to have access to.

[accatone]

I only heard good things about Material by Thomas Heise:
http://www.edition-filmmuseum.com/produ ... erial.html" onclick="window.open(this.href);return false;
Short-bio:
http://heise-film.de/?page_id=1711" onclick="window.open(this.href);return false;

[knives]

I couldn't find this posted anywhere, and I suppose this was hinted at by the Austria filmmuseum's book, but I just received this in an email:

...the Austrian Film Museum is preparing a DVD collection on the work of James Benning under the Edition Filmmuseum’s label.
But it is so far in stage of planning and will be published not before 2011.
I am afraid, but due to the early stage there aren’t any more details available at the moment.

With best regards,
Marcus Eberhardt

very exciting

Has there been any updates on this?

[Fierias]

I recently asked for an update, will post their reply here.

[Fierias]

And their response:

The publishing of James Benning’s films on DVD is still in planning.
The first release will be Landscape Suicide in November this year.
A second DVD is planned for spring 2012 containing Casting a Glance and RR.
Unfortunately that is all information available for now.

[knives]

As small as that is I'm very excited for November now. I've heard a lot about James Benning and have been wanting to see his movies for some years now. That I'll get a physical copy of any of them is enough knowledge for me to wait a little longer.

[Fierias]

Since the structure of Benning's work is often defined by the formal qualities of celluloid and reel lengths, there has always been a vocal few who, as with Snow, consider the film viewing of these works to be the only viewing. I've seen a number of his films on film and on bootlegs, and while they of course look much better on film, they still retained their hypnotic power even in the crumby VHS quality I saw them in. I've not seen Landscape Suicide, but Casting a Glance and RR are flat-out masterpieces all the way to the core. I sincerely hope this project does well enough for EF to eventually get to his 13 Lakes/Ten Skies pair and Grand Opera.

[razumovsky]

A quick shout out for Po Zakonu/Dura Lex/By the Law. I watched it this morning and it's terrific - up there with Dreyer's Joan of Arc when it comes to sheer cinematic intensity. It's also funny, in a very weird way - perhaps because the set-up (prospectors, stuck in a cabin all winter, driving each other nuts) has long been a comedy staple (off the top of my head I can think of Charlie Chaplin and the Two Ronnies) -it wouldn't have been completely bizarre had Buster Keaton made a sudden entrance. The score is good, too. I picked it up off the shelf at BFI Southbank's Filmstore for under £20.

Great news about the Benning, too. 13 Lakes is stunning, and I love One Way Boogie Woogie, too (could be paired with its sequel, 27 Years Later, too).

[zedz]

I recently splurged on a whole lot of Edition Filmmuseum stuff, so here’s some reports back.

47 - Die Parallelstrasse

Ah, the rewards of cinephilia! It’s wonderful that you can spend quarter of a century seeking out the most eccentric and marginal filmmaking and still stumble across a movie that’s like nothing you’ve ever seen.

This bizarre Kafkaesque essay film – or Kafkaesque collision of a dozen or more essay films – also has the distinction of being, it seems, the lost first feature of the New German Cinema. Yesterday Girl will always be Ground Zero for the movement, but Khittl’s film anticipates Kluge in many important ways. It’s certainly a more plausible contender than the film which generally gets the credit - Schlondorff’s fairly traditional Young Torless - and it predates both that film and the Kluge by four years – which I guess makes it the La Pointe Courte of the movement.

Ferdinand Khittl was one of the original signatories of the Oberhausen Manifesto (according to the booklet, he was actually the guy who read the manifesto out at the festival), so he’s absolutely central to the New German Cinema movement and his claim to precedence could hardly be more secure.

Onto the film:

We begin, quite literally, in media res (a couple of minutes in we get a title announcing the end of Part II, then a little later the start of Part III). A committee of five men sit at a table discussing documents presented by a figure who sits slightly apart. He can give them some additional information about the numbered documents, but he can’t make any decisions about them (well, maybe some).

The committee have agreed to a set of unstated rules (which we never learn), but they seem generally perplexed about and disengaged from their task, and don’t even know how long they have to complete it – though they are continually reminded that time is running out.

We never get any real sense of what the project is all about. Sometimes the committee members extract short phrases from the documents, try them in different permutations, then combine them with random phrases from a different document they’d considered a couple of days before and agree that this part of the puzzle at least has been satisfactory solved. In other cases they’ll just give up on a particular document as unfathomable, or set it aside for a later moment that will never come, or all agree that, yes, this document can be very obviously be assigned a place on ‘the chart’ and they don’t need to discuss it at all.

This committee footage is shot in black and white and a great deal of it is seen from an extremely high bird’s eye view. The committee members and the overseer turn their desk lamps on and off, so sometimes we have a bird’s eye view of pitch darkness. Oh, and they sometimes change positions, but according to the rules they’re only allowed to do this three times, so are they sure they want to squander one of those shifts right now?

The documents they consider are short, mostly colour, films, but there are also amongst the hundreds of documents such paraphernalia as train tickets, receipts and so forth – though the overseer happily skips over these. These films utilise found footage (though it looks like some of the footage was found by Khittl himself) and are all over the place. There’s travelogue footage accompanied by facts and figures, archival stuff, industrial films, shots of a desert and its insects with no soundtrack except a scream that almost masks one whispered word (“did you hear the word right after the scream?” probes the overseer).

Some of the documents are science fiction resolved into verifiable fact (shots of an endless bridge crossing an entire ocean are revealed to be Route 1 to Key West); others are ordinary industrial footage extrapolated into science fiction: by ordering the shots in reverse and running some of them backwards, slaughterhouse footage illustrates a description of a complicated resurrection process, with sheep being filled with blood and sewn up, the fleece being lovingly attached and so on. This odd filmlet is immediately paired with the story of a man who lives his life backwards (though unlike Benjamin Button, he doesn’t seem to be the odd one out). Another film describes a town whose different quarters are geographically and temporally remote from one another (one part Macchu Picchu, one part Angkor Wat, one part Weeloona in the outback. . .)

The short films, many of them parodies of the kinds of commissioned works Khittl had been making up to that point (and thus anticipations of the parodic documentary forms later utilised by Kluge and Herzog), are fascinating in their own right, but the formal and circumstantial tension between them and their narrative frame is the engine of the film. If it’s not abundantly clear by now, the film is a clear precursor to much of Greenaway’s early work up to The Falls and Vertical Features Remake.

44 - Three Films by John Cook

Slow Summer

I loved this ultra-low budget refracted home movie. It was grimy, grainy (Super 8) and grungy, with a satisfying sense of everyday rhythms that brought to mind, at different times, Warhol, Garrel, Eustache, Rozier and early Wenders. But the casual, improvisatory surface masked a compellingly complex layering of reality, at the centre of which was a very elusive present moment: the complexity of the structure means that the film’s events seem to be unfolding at several parallel moments simultaneously – or, on further inspection, at none of them.

It’s a film about John and Helmut recording the commentary track (a world first in 1976?) for the film they’re appearing in and which was mostly shot a few years earlier, which film is a documentary record (in the terms of the framing device) of the filmmakers’ struggle to get together the funding and equipment to make the film that’s already been made. So the paradox is that the film John and Helmut are trying to finish was not, in the world of the film, ever really started: what’s been recorded was recorded by somebody other than the nominal filmmakers, and outside the timeframe the film defines as when the film was shot. And Helmut and John are simultaneously the actual actual filmmakers, the actors playing the filmmakers within the film, the filmmakers within the film (commenting on their work) and the actors within the film within the film. But they’re all the same, really.

It’s an extremely elaborate and provocative construction, but it’s not at all slick or academic (should I add that the film John-within-the-film is making is an autobiographical one about a woman we never actually see?), and the actual film that results (not the cathartic Ilsefilm that is continually promised) out of all this benign chaos is, if you pay attention, the one John promised right at the start.

Clinch

Cook’s second feature is much more ‘professional’ and much less unusual, but it retains the same relaxed, fluid everyday rhythms despite its very different style. He still favours medium and long shots, even without the alibi of supposedly ‘documentary’ shooting, and, tellingly, even in cramped interiors, where he contrives to get maximum distance from the action.

Clinch is the story of hapless Hermann, drifting in and out of work and in and out of relationships, until one day he decides to stop drifting. The proletarian social context of the film, with conflict in the home and the workplace, is like a milder version of a number of Fassbinder films, with Cook choosing to damp down rather than heighten the drama at every key moment. I found it a great film to sink into.

I Just Can’t Go On

Cook’s first film, a mid-length documentary following a Gypsy would-be boxer and his hard-working, older German wife, is very different in tone to the two features. It’s more or less a straight documentary, but Cook densely layers the soundtrack with commentary from the principals, sometimes explaining the action, sometimes cutting across it. This results in very intense and passionate immersion in their lives. Another excellent find.

[zedz]

53 - A Sixth Part of the World

Dziga Vertov’s first feature is as formally daunting and impressive as you’d expect, though I found the rhythms of its propaganda overly familiar (chains of exhortative crescendos punctuated by increasingly frenetic intertitles). But there are many great sequences, including intriguing ‘Westinghouse’ tracking shots across the ceilings of factories. The lesson learnt is, I guess, if it moved, or was perilously close to something that did, Vertov was prepared to strap a camera to it.

The Eleventh Year

I found this follow-up much more impressive, mainly because Vertov seemed to be honing his bountiful aesthetic to a greater extent and exploring particular methods and effects in more depth. In the opening section, he presents several layered, flattened compositions (the kind of collapsed perspective that worked so well in that great Lumiere film about the washerwomen), then he goes on to create his own, physically impossible ones, through multiple exposures. Some are obvious tricks (a giant worker pounding the top of a slag heap), but others are a lot more subtle and atmospheric. The momentum is less forced in this film and Vertov gets to play with some interesting effects, such as superimposing two tracking shots, using a lot of abstract water imagery, and generally achieving more complex and nuanced rhythmic effects than the consistently urgent Sixth Part of the World.

Both films have new scores by Michael Nyman, and I thought the one for The Eleventh Year much more successful, since the visual rhythms of A Sixth Part of the World are extremely insistent and Nyman seems to disregard them a lot of the time.

The cherry on top is a German compilation film, In the Shadow of the Machine, which recycles parts of The Eleventh Year (and Zvenigora). In a thrilling piece of archival detective work, historians have likely found the lost (and spectacular) conclusion of Vertov’s film hidden away in this derivative work.

43 - Wunder der Schopfung

This film is like the most charmingly illustrated illustrated lecture you could ever hope to see. Learn about the cosmos through staged scenes, found footage, dazzling animation and lots and lots of intertitles! The English version opts for the proper ‘illustrated lecture’ format, with a narrator on the soundtrack – which saves the movie being drowned in a rising tide of subtitles. The latter half of the film takes the form of a journey via spaceship to the (pre-Pluto) planets of the solar system and beyond, with the ‘beyond’ part the bit that gets the credit for inspiring the ‘Drop Tab Now’ segment of 2001.

Also included are the remains of Kornblum’s incredibly ambitious film explanation of the Theory of Relativity and some interviews with the man himself – though the latter are not subtitled.

[whaleallright]

I'm particularly interested in the Female Comedy Teams and Max Davidson sets, but looking around it seems there's no way to purchase these from the USA for less than $40 each (including shipping). That's awfully steep. Does anyone know of a cheaper source?

For what it's worth, these titles tend to be cheaper on Amazon's German and Italian sites.

[zedz]

More dispatches from the kevyip:

49 - Wundkanal

Nearly as much of a one-of-a-kind film as Die Parallelstrasse – and there’s two of them!

This is a very strange chamber piece by Thomas Harlan in which an old Nazi is abducted by members of the RAF and interrogated for a couple of hours about all the things he’s done, from helping to plan the holocaust to overseeing Stammheim when, you know. . .

It’s tense and claustrophobic throughout, with shifting unseen interlocutors, mirrors aplenty and, ultimately, the kidnapped man interrogating himself (with the help of whispered prompts from his captors). As the film progresses, his terse denials and confirmations evolve into voluble defences.

We’re kept as disoriented as he is by the constant fragmentation through mirrors and video screens and the long sequence shots which mask their transitions from film to video and back. It’s all very artfully conceived and executed, but the real kicker lies ever so slightly outside the film, and that’s what Robert Kramer’s companion piece Notre Nazi is all about.

You see, the actor playing the abducted Nazi is not just any old crotchety septuagenarian, it’s Alfred Filbert, an authentic Nazi war criminal who is, in large part, being interrogated about his own past. It’s a bold and dangerous casting decision, and Kramer documents the fallout in his fascinating record of the shoot.

Clearly Harlan has some major issues he’s working through with this project: he’s the son of Veit Harlan, the highly favoured Nazi filmmaker, and he goes so far as to include a scene in Wundkanal of Filbert, misty-eyed, watching one of his father’s films on one of the bunker’s ubiquitous television screens. Notre Nazi confronts Harlan as he confronts Filbert. The filmmaker seems to want to drive the old man to some kind of realisation of the horror of his actions, and is appalled when, 1) Filbert only seems to break down when confronted with his own failure to advance within the SS (though Kramer’s camera allows us to question Harlan’s maniacial insistence on this point); 2) members of the crew begin feeling sorry for the old man.

The entire situation, though highly artificial, nevertheless raises some interesting ethical issues, both in terms of filmmaking and much more broadly, and Kramer also explores the personal dilemmas of the crew and their changing attitudes towards the project, Filbert and Harlan.

All in all, a really compelling double feature, and one in which neither individual part would be half as interesting without the other.

62 – Himmel und Erde

A daunting nearly-five-hour documentary portrait of life in a tiny alpine village, shot between 1979 and 1982. As you’d expect at that running time, it tends towards the meditative, and there are sporadic voiceovers from director Michael Pilz that hint at his deeper / grander intentions of creating some kind of study of human consciousness.

I’m not sure he pulls that off, but I’m quite happy with the deep-dish immersive experience he delivers in the meantime. The footage is largely observational, though Pilz does interact directly with the villagers from time to time, notably when he asks them to choose a location for their individual posed portraits. The films this reminded me of the most were Eustache’s two Rosieres de Pessacs and (for obvious reasons, twice) Le Cochon: there are lots of calm observations of agricultural and social rituals but little delineation of specific individual characters. I wonder if Pilz avoided individual psychology in the pursuit of a more communal (and global) portrait.

The film is divided in two halves: the first seems more preoccupied with the natural order – villagers interacting with the ancient cycle of the seasons, the harvest, life and death; the second begins to address anxieties about change and modernity. But unlike a lot of documentaries, which structure those sort of contrasts as a ‘then’ and ‘now’ comparison (most obviously when the documentary filmmaker returns to a site five or ten years later to document its decline / transformation), these two portraits are contiguous and interlinked – the past is always contemporary with the future.

To tell the truth, the film is so low-key that it could give you the screaming abdabs if you’re not in the right mood, but I found it a great way to fill up a lazy day, and at the end of this epic journey to nowhere you’re rewarded, just after the credits, with a perfectly dazzling final shot.

38 – Lutz Dammbeck: Film and Media Collage 1975-1986

Comprehensive collection of the animated and experimental films of erstwhile East German Dammbeck. Disc One is strictly animation and, to my eyes, rather banal and technically uninteresting, unless you’re a big fan of Rene Laloux or Bruno Bozzetto. The most interesting of the films is the most abstract and associative, Einmart, which combines Dali knock-offs with the aerial photography from the prologue of Andrey Rublyov.

Disc Two, the more experimental work, is much more interesting, and the first two shorts are fantastic, multi-layered collages. Metamorphosen overlays a POV train trip with scribbles and scratches and some great music – a wonderfully dynamic and inventive film. Hommage a la Sarraz might be even better. It’s certainly more ambitious, layering even more diverse sources in a tribute to a 1920s gathering of avant-garde filmmakers. Dense and wonderfully accomplished.

After a video document of one of Dammbeck’s performance / mixed media pieces (inconclusive – I guess you have to be there) comes the most recent film, from 1990 (which date calls the title of the set into question), Hercules’ Cave, a multi-layered essay film bereft of animation but intriguing enough to justify revisiting. It’s completely different to everything else in this collection.

The package is augmented by a couple of substantial and very helpful interviews with Dammbeck.

[antnield]

Screening the Poor 1888-1914

Edition Filmmuseum 64

Around 1900, the issues of poverty and poor relief were the source of heated controversy. This beautiful 2-disc DVD set illustrates in seven chapters how examinations of the 'Social Question' were presented in magic lantern slide sets and early films. On the screens of auditoriums, Sunday schools, music-halls, cinemas and churches, visitors could witness orphans freezing to death in the snow, drunkards plunging their families into misery and helpless old people begging for a scrap of bread. Audiences experienced poignant moving pictures in performances with music, singing and recitations. The photographic and film industries delivered glass slide sets and films in very large runs on a variety of themes relating to poverty.

This DVD set recalls the forgotten art of projection and presents it anew on the modern electronic screen: drawing on original images and using authentic projection equipment, Ensemble illuminago shows enchanting Victorian slide shows and films in a live musical performance at the Munich Film Museum. Digital slideshows reconstruct the interaction between slide sets und text recitals, and early silent films are accompanied with music as they were a century ago: piano and violin underscore the moods that find visual expression in the films.

Nowadays it is rather unusual to find both films and slide sets presented on one DVD set. Around 1900 it was common knowledge that the "moving pictures" in a film had evolved from photographic slide sets. Showmen, touring lecturers, music-hall entrepreneurs and cinema operators often used both projection media alternately in their live shows.

The content was curated by Martin Loiperdinger and Ludwig Vogl-Bienek.

Release date: May 20, 2011

DVD features
DVD 1

Slumming

The Magic Wand GB 1889, 6'
Comment les pauvres mangent à Paris FR 1910, 4'
Le Violoniste della carità IT 1911, 10'
La tournée des Grand Ducs FR 1910, 10'

Children in Misery

Ora Pro Nobis GB 1897, 6'
Le Bagne des gosses FR 1907, 11'
Bébé veut imiter St. Martin FR 1910, 6'
Billys's Rose GB 1888, 8'

Child Labour

The Cry of the Children US 1912, 28'
The Little Match Girl US 1905, 9'
The Little Match Girl GB 1914, 10'

Charity and Social Care

Le Chemineau FR 1905, 6'
Rigadin a l'ame sensible FR 1910, 9'
In the Workhouse GB 1890, 7'
Christmas Day in the Workhouse GB 1914, 14'
Ahlbeck. Der Kaiser bei den Berliner Arbeiterkindern DE 1912, 2'

DVD 2

Drink and Temperance Movement

Manchester Band of Hope Procession GB 1901, 2'
Enter not the Dramshop GB 1890, 5'
Les Victimes de l'alcoolisme FR 1902, 6'
Ein vergeudetes Leben DK 1910, 8'
Buy Your Own Cherries! GB 1905, 28'
Buy Your Own Cherries! GB 1904, 5'
Dustman's Darling GB 1894, 5'
A Drunkard's Reformation US 1909, 15'

Perils of Wage Labour

A Bunch of Primroses GB 1889, 8'
Au pays noir FR 1905, 14'
Die Beerdigung der Opfer des Grubenunglücks auf der Zeche Radbod DE 1908, 6'
Don't Go Down in the Mine, Dad GB 1910, 5'

Escape

The Two Roses US 1910, 12'
Deux petits Jésus FR 1910, 17'
The Emigrant Ship GB 1890, 13'
Geheimnisvolle Streichholzdose DE 1910, 5'

Scores by Günter A. Buchwald and Judith Herrmann
Live performances and speakers: Ludwig Vogl-Bienek, Karin Bienek, Mervyn Heard
16-page bilingual booklet
Extensive documents about each title as ROM features

Edited by: Deutsches Filminstitut, Medienwissenschaft Universität Trier and Filmmuseum München
DVD authoring: Ralph Schermbach
DVD supervision: Anke Mebold, Thomas Worschech

First edition May 2011

[Wu.Qinghua]

Oh yeah ... This looks great, doesn't it? Though I wonder in what ways that lean 16-page booklet will contribute to a further understanding of the films and slides ... But maybe those live performances and speeches will mimic historical commentaries on the moving pictures?

[antnield]

I'm guessing the "extensive ROM documents" more than make up for the slim booklet. The live performances and speakers, I presume, will echo those instances found on the BFI's Dickens on Film set, another release that also used 'pre-cinema' examples amongst the films.

[Tommaso]

This set looks spectacular, especially with the inclusion of the lantern slide projections. I assume we'll get a great look at the beginning of moving pictures (as opposed to 'movies' in the narrow sense). Having a pdf for each and every film is more than could have been expected.

And as if this wasn't enough, they also announce now (without details):

67 Die Suffragette & Das Eskimobaby Asta Nielsen, 1913/18

and I'm already swooning at this new entry in the 'In Preparation' list:

Algol Hans Werckmeister, 1920

This is one of the earliest science fiction films (and a great one, too), and hitherto it was only floating around in a disastrous looking copy.

Man, how I love this label!!

[Wu.Qinghua]

Extensive documents about each title as ROM features

Ah ... I've missed this piece of information.

[HerrSchreck]

Algol Hans Werckmeister, 1920[/b]

This is one of the earliest science fiction films (and a great one, too), and hitherto it was only floating around in a disastrous looking copy.

Man, how I love this label!!

That's pretty awesome and out of left field.

Now, about that Sylvester rumour....

[markhax]

Now, about that Sylvester rumour....

Is there such a rumor, or is it just wishful thinking, Herr Schreck? I am still longing to see this film!

And what about E.A. Dupont's Variété?

[HerrSchreck]

Now, about that Sylvester rumour....

Is there such a rumor, or is it just wishful thinking, Herr Schreck? I am still longing to see this film!

And what about E.A. Dupont's Variété?

Well, over on another forum I was talking about Pick and my longing for a better copy of Sylvester, and someone responded:

a restored version of Sylvester will be shown at the Filmmuseum in Munich on June, 5th. It's part of a series of "Kammerspiel" screenplays written by Carl Mayer (Scherben, Vanina)
Hopefully, this will be a subject of the superb "Edition Filmmuseum" DVD series....

So let us pray to the gods of home video. . . .

[antnield]

Not strictly an Edition Filmmuseum release so it may have passed some by. The Austrian Filmmuseum have just released Vienna 1900: Pictures of a Metropolis:

This collection of short films from the holdings of the Austrian Film Museum offers a vivid glimpse of urban life in Vienna during the last decade of the Empire–the street life, traffic, pastimes and festivities of Vienna between 1906 and 1916. For the first time ever, these films are available on DVD in new digital transfers, featuring piano accompaniment and English subtitles. An enclosed booklet provides key historical and topographical information.

Vienna Tramway Ride 1906, 4 min / Vienna 1908 ca. 1908, 13 min / Matzleinsdorf Procession ca. 1909, 5 min / The Emperor of Film Compilation ca. 1910-16, 12 min / The Funeral Procession of Franz Schuhmeier 1913, 6 min.

Piano accompaniment by Elaine Brennan (optional). German intertitles with English subtitles. Region Code 0 / All Regions; 4:3 NTSC.

[antnield]

The Digital Fix on Screening the Poor.

[marnum]

At the moment Amazon.it seems to be the cheapest for many items. Here's just a few examples.

Sestaja cast' mira & Odinnadcatyj:
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River:
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[knives]

It still seems cheaper to get the Kluges from their site though if you want to go by big packages.