Internationale Kurzfilmtage Oberhausen


© Kurzfilmtage

Leaving the Cinema –
Knokke, Hamburg, Oberhausen (1967–1971)

3 – 7 May


This Theme programme examines the historic turning point at the end of the 1960s that saw many filmmakers leaving the existing cinema system and continues to influence the categorisation and perception of artist film to this day. In many countries, these filmmakers created their own festivals, screening venues and distribution cooperatives. Their departure from the cinema went hand in hand with formal experiments such as multiple projections, intermedia and expanded cinema, and with the development of film into a medium for political work. This radical change in the way filmmakers saw themselves was a fundamental step on the path of artist film towards the white cube of the art industry.


In film programmes and discussions, Oberhausen will interrogate the influence and legacy of this “Other Cinema”. Legendary works such as Lutz Mommartz's Zweileinwandkino and films by Claudia von Alemann, Hartmut Bitomsky and Harun Farocki, Hellmuth Costard, Stephen Dwoskin, Birgit and Wilhelm Hein, Werner Nekes and Dore O. or Hans Scheugl will be shown, along with a number of rediscoveries. Outstanding figures of the time, such as Lutz Mommartz, and film scholars, such as Xavier García Bardón, will speak about the strategies employed back then and their place today. The discurse will be broadened by additional film discussions with guests, organised by the media and culture scholar Sophia Gräfe (Berlin).


The curator:

Peter Hoffmann has been actively involved in the collective of the “Kino im Sprengel” in Hanover for many years. He has been researching the “Filmmacher Cooperative Hamburg” and the “Anderes Kino” since 2015. As a filmmaker, he has, among other things, made two feature films that have received international awards: Oliva Oliva (2005) and La dernière année (2011).


Contact: Kristina Henschel

Theme 1 – Beginnings


Schwarz-Weiß-Rot, Helmut Herbst, Germany, 1964, 6’00”

Der Hafenfilm, Franz Winzentsen, Germany, 1965, 4’00”

Anfang, Klaus Partzsch, Germany, 1965, 8’00”

Random, Marc Adrian, Austria, 1963, 5’00”

exprmntl 4 knokke, Claudia von Alemann/Reinhold E. Thiel, Germany, 1968, 43’00”


Fr, 3 May, 4 pm

Lichtburg Filmpalast/Gloria

Theme 2 – Poetry and Protest


Olympisches Feuer, Egon Teske/Hartmut Schubert/Günther Koch, Germany, 1968, 5’00”

I Had a Date With a Pretty Ballerina, Helmut Wietz, Germany, 1967, 3’00”

St’ von den Stones, Rainer Boldt, Germany, 1967, 10’00”

Eve of Destruction, Peter Staimmer, Germany, 1967, 9’00”

Der Spiegel, Wolfgang Orschakowski, Germany, 1969, 11’00”

Kubla Khan, Christian Bau, Germany, 1969, 12’00”

Programmhinweise, Christiane Gehner, Germany, 1970, 10’00”

Prinz und Wahn, Renate Pfab, Germany, 1971, 12’00”


Fr, 4 May, 12.30 pm

Lichtburg Filmpalast/Gloria

Dialogues 1 – Women and film


Talks about "Leaving the Cinema"

Presentation: Sophia Gräfe, cultural and media scientist (Berlin)


Part of the political film work of the “Other Cinema” was the demand for a necessarily new approach to film criticism. Film scholar Annette Brauerhoch talks about the areas affected by this demand in Germany after 1968 and the issues – some of them with consequences, some of them unresolved to this day – that played a role in feminist film criticism.


Fr, 4 May, 2.30 pm 

Festival Space

Free admission

Theme – Zweileinwandkino


Gegenüber, Lutz Mommartz, Germany, 1968, 8’00”

Rechts/Links, Lutz Mommartz, Germany, 1968, 10’00”


Fr, 4 May, 4 pm

Kino im Walzenlager

Theme 3 – Home Movies/Narrative Experiments


Moment, Stephen Dwoskin, Great Britain, 1968, 13’00”

Libro di Santi di Roma eterna, Alfredo Leonardi, Italy, 1968, 15’00”

Play 2 & 3, Hans Helmut Klaus Schönherr, Switzerland, 1968, 24’00”

Das abenteuerliche, aber glücklose Leben des William Parmagino, Klaus Wyborny, Germany, 1969, 20’00”


Sat, 5 May, 2.30 pm

Lichtburg Filmpalast/Gloria

Dialogues 2 – Disrupting the Canon


Talks about "Leaving the Cinema"

Presentation: Sophia Gräfe, cultural and media scientist (Berlin)


‚Other cinema’ claimed for a critique of the canonical form of cinema. New expressions of identity were born and rendered ethics into aesthetics. Freelance curator Pedro Marum explores how contemporary strands of queer and feminist politics intersect with digital technologies to generate new forms of cinema – but also how these are assimilated.



Sat, 5 May, 6 pm

Festival Space

Free admission

Theme 4 – Art/Actions


Prost, Ernst Schmidt jr., Austria, 1968, 3’00”

Denkakt, Ernst Schmidt jr., Austria, 1968, 3’00”

Hinweisaktionen, Hans Helmut Klaus Schönherr, Switzerland, 1970, 4’00”

A, Dieter Rühmann, Germany, 1969, 7’00”

Meer, Rüdiger Neumann, Germany, 1970, 11’00”

Artistothek oder Some of Our Friends, Irm & Ed Sommer, Germany, 1969, 9’00”

Rhythmus 1, Irm & Ed Sommer, Germany, 1970, 8’00”

Günter Brus – Psychodramulett, Irm & Ed Sommer, Germany, 1970, 2’00”

Nitsch – 7. Abreaktionsspiel, Irm & Ed Sommer, Germany, 1970, 13’00”

Warum Katzen?, Rolf Thissen, Germany, 1969, 9’00”


Sat, 5 May, 8 pm

Lichtburg Filmpalast/Gloria

Theme 5 – Self-References


Dieser Film ist ein Film, Hannes Fuchs, Germany, 1966, 13’00”

Warum hast du mich wachgeküsst?, Hellmuth Costard, Germany, 1967, 3’00”

Soziale Plastik, Lutz Mommartz, Germany, 1969, 12’00”

Es spricht Ruth Schmidt, Adolf Winkelmann, Germany, 1968, 13’00”

Heinz Badewitz bildfüllend, Heinz Badewitz, Germany, 1970, 6’00”

Die Anzeige, Bernd Upnmoor, Germany, 1969, 10’00”

Storyboard, Kurt Rosenthal/ Werner Nöfer, Germany, 1970, 10’00”


Sun, 6 May, 10.30 am

Lichtburg Filmpalast/Lichtburg

Theme 6 – Material and Structure


Bogen, Werner Nekes, Germany, 1967, 1’00”

Wien 17, Schumanngasse, Hans Scheugl, Austria, 1967, 3’00”

5 B, Günther Sahm, Germany, 1968, 5’00”

Orange, Marc Adrian, Austria, 1964, 3’00”

Filmreste, Ernst Schmidt jr., Austria, 1966, 10’00”

15/67 TV, Kurt Kren, Austria, 1967, 5’00”

Fingerprint, Peter Weibel, Austria, 1968, 1’00”

Shutter, Dieter Meier, Switzerland, 1969, 3’00”

Ciao Ciao, Adamo Vergine, Italy, 1967, 6’00”

Grün, Werner Sünkel, Germany, 1968, 2’00”

Rohfilm, Birgit Hein/Wilhelm Hein, Germany, 1968, 20’00”


Sun, 6 May, 2.30 pm

Lichtburg Filmpalast/Gloria

Dialogues 3 – Reams of film


Talks about "Leaving the Cinema"

Presentation: Sophia Gräfe, cultural and media scientist (Berlin)


When film left the cinemas, writing about film also took on other forms. This lead to the emergence of the new writing styles of the “Political Left” and the “Aesthetic Left”. Media scientist Philipp Goll reconstructs the consequences of the cinematic experience for film criticism and literature around 1968.


Sun, 6 May, 6 pm

Festival Space

Free admission

Theme 7 – Tribute to Werner Nekes


Die große Pumpelei, Peter Könitz, Germany, 1967, 11’00”

Kelek, Werner Nekes, Germany, 1969, 60’00”


Mon, 7 May, 12.30 pm

Lichtburg Filmpalast/Gloria

Theme 8 – Political Film Work


Die Teilung aller Tage, Harun Farocki/Hartmut Bitomsky, Germany, 1970, 33’00”

Vertrauende Liebe – Glühender Hass (short version), Kasseler Filmkollektiv, Germany, 1969, 29’00”

Vertrauende Liebe – Glühender Hass (Perfoband), Germany, 1969, 9’00”


Mon, 7 May, 12.30 pm

Lichtburg Filmpalast/Gloria