In 2022 Oberhausen offers four workshops for different target groups, which all have one thing in common: they deal with analogue film, its haptics, technology or artistic practice.

Workshop 1 - Analogue Film Technology: Projection Practices

The technical challenges of projecting analogue archive copies as well as setting up installations and performances that use analogue film technology are growing continuously. The workshop aims to establish quality standards and integrate them into the curatorial practice of a film festival. Experienced film technicians will share their knowledge of the material and its projection technologies as well as their practical implementation in dialogue with filmmakers and artists. Basic knowledge of analogue film technology required.

Directed by: Lena Martin (Frankfurt/Main)

The workshop will be held in German.

Workshop 2 - Process Cinema: Film Farm in Oberhausen

A hands-on workshop of Film Farm (Canada) for filmmakers who work or want to work with 16mm. With 16mm film as guide medium and using a process built with ecological materials such as wildflowers and seawater, it explores the technical and creative processes of working in an open context – a unique experience in collaboration with one of the most important film collectives working in independent film today. The results of the workshop will be presented during the Festival.

Directed by: Philip Hoffmann, Scott Miller Berry, Terra Jean Long, Rob Butterworth, Deirdre Logue (Film Farm)

The workshop will be held in English.

Workshop 3 - The Living Image: An analogue film workshop for children

The Living Image: An Alternative Experience of Time and Material

The materiality of an analogue film strip can make many aspects of the moving image tangible and comprehensible, especially for children. In this workshop children work with film material, shooting and developing their own analogue film. The workshop will introduce environmental issues by dealing with the recycling of material or ecologically compatible photochemical development methods. The children will present their workshop results in the form of an Expanded cinema performance during the Festival. A video documentation will be produced for subsequent use in educational institutions.

Directed by: Christopher Gorski and Oliver Bassemir (Analogfilmwerke e.V., Hamburg), Stefanie Schlüter (film agent, Berlin)

Closed event in cooperation with a school in Oberhausen.

Workshop 4 - Identity Politics in Film: A Stocktaking

The identity politics paradigm has arrived in the cultural industry and is causing a restructuring of its institutions and relations. Feminist critiques of the classic film canon, debates about casting policies and in the course of this the founding of new initiatives such as "Diversity in Film", diversity checklists, training, conferences and guidelines (e.g. at Amazon & Co. ), internal university discussions around intersectionality, the revival of certain film studies theorems such as that of the "Male Gaze", new job descriptions such as "Sensitivity Reader" or further training courses such as "Diversity Management", public appeals for an ethically based cinephilia that sees itself as "part of a larger cultural-activist project" as well as a number of films with an openly identity-political agenda are just a few signs of this comprehensive reformatting of the film business, which is taking effect at all levels of production and reception. Whether we as filmmakers are faced with the question of which slogans to write into funding applications, as curators mediating aesthetic and moral criteria with each other on a daily basis, or as teachers confronted with new ethics of aesthetics - we are all challenged in our work in one way or another to find a stance on the matter. Yet the economic preconditions of this new paradigm and the relationships between conditions of production, aesthetic positions and contexts of evaluation and reception are rather rarely illuminated in the heated public debates. Instead, we increasingly find ourselves in positioning constraints. We would like to take this common situation as a starting point in Oberhausen, the place for film policy debates, in order to enter into conversation with each other. The aim of the working meeting is to formulate a common research interest on the basis of an exchange of experiences and, if necessary, to develop suitable formats to pursue this further.


Susannah Pollheim