Film history as print history
In the biography of a film print there are often coincidences and peculiaritiesthat have little to do with the film itself but have decisivelyshaped its reception history. With this in mind, the re-selected project,begun in 2018 and headed by Tobias Hering, is dedicated to the Oberhausen archive. One of three programmes in 2019 is devoted to earlyfilms by Želimir Žilnik, which caused a sensation in Oberhausen andwhose archived prints bear witness to how being shown or not shownbecame a political issue and films became secret messages. ŽelimirŽilnik will be present.
Contact: Eva Hegge
About the project
Instead of propagating the digital 'rescue' of a cinematic work as an ideal, the project is interested precisely in the unique characteristics of a print, which are as a rule obliterated during digitisation. This leads to questions and insights connected with a print’s concrete history, specific target publics and historical configurations. Where and when was a film shown at all? Who saw it, in what version and within which structure?
Prints differ from one another; their specific impact histories take different courses and cannot simply be boiled down to the history of a particular film. Every print is an original – and not just when it turns out to be the only remaining print of a film, which is ever more frequently the case as negatives become lost and analogue media are withdrawn from service.
re-selected is a joint project headed by Tobias Hering and run by Oberhausen and Arsenal – Institute for Film and Video Art as part of “Archive außer sich” in cooperation with the Haus der Kulturen der Welt, supported by the BKM within the framework of “Das Neue Alphabet”, based on a resolution of the German Bundestag.