Puškice iz vizuelnih kultura

Antropološke projekcije dokumentarnih filmova
Svakog utorka od 20h

Bulevar (Kralja Aleksandra) 93, crvena vrata
Ulaz dž
Većina filmova ima titl na engleskom

Puškice su Vegin projekat nedeljnih projekcija dokumentaraca, koji je započeo 2008,
koncipiran kao svojevrsni uvod u istrazivacke i teorijske domete u oblasti studije vizuelnih kultura.
Program je zasnovan na metodama neformalne edukacije, i teži da kroz gledanje filmova i diskusije
publika sama otkriva-razmenjuje znanja o kuturnim fenomenima predstavljenim na platnu.
Ideja Puškica je da kroz sopstvenu realizaciju približi publici-učesnicima znanja iz vizuelne antropologije i na taj način izmesti to znanje iz uskog konteksta akademije, čineći ga relevantnim za lični razvoj i aktivnost učesnika.

Puškice su otvorene za programske sugestije publike, sa tim da je glavni koncept da u program ulaze
pseudo i dokumentarni filmovi, koji problematizuju ili istražuju kulturne fenomene.

Od politički angažovanih priča, preko ponovnog promišljanja arhivskih snimaka, isprobavanja potpuno subjektivnih do neintervencionističkih perspektiva, refleksivnih traktata, do komparativnih istraživanja ljudskih osobenosti,
- svaki od izabranih filmova pruža korisne informacije najpre o svojim autorima
i njihovim okruženjima, a zatim o načinima na koje su zainteresovani za ljude koje snimaju….

Isprobajte gledajući ove filmove drugačije
objektive i odaberite omiljene perspektive.

Puškice u aprilu : četvrtkom!

Program projekcija u aprilu pomeren je za četvrtak, budući da utorkom imamo gostujući program

pod nazivom "Identiteti". Projekcije su i dalje od 20h, na istom mestu, ulaz dž.

5. i 12. aprila:

"la commune" (Peter Watkins, 2000)

The events of the Paris Commune, the first workers’ power in history, have inspired a century of revolutionary thought (from Bakunin to Luxemburg, from Marx, Lenin, Mao to Badiou). Its constitution and its obliteration have been at the core of the main political debates of the Left throughout the XXth century. In the 1960s the Commune became the historical event privileged by militant thinkers opposing the conventions of the established Left and its fixed theories about the right revolution. For the Situationists to study the Paris Commune meant ‘to contribute to a radical critique of Stalinism and, more generally, of the bureaucratic phenomenon’. Since then, a myriad of thinkers and activists have repeatedly recuperated the Paris Commune against the absolute privilege of the Russian model of ‘successful revolution’ and for the articulation of a politics of emancipation different from Left party traditions. Since May 68, and again since the collapse of the Soviet Union, the Paris Commune has become not so much the model but the key historical event for different analyses and practices re-thinking and experimenting a politics-without-Party. In a word, the lessons of the Commune have been re-interpreted in order to to re-invent the sense(s) of the political.

Peter Watkins explains the recuperation of the Paris Commune for a film in the year 2000 as follows: ‘We are now moving through a very bleak period in human history - where the conjunction of postmodernist cynicism (eliminating humanistic and critical thinking in the education system), sheer greed engendered by the consumer society sweeping many people under its wing, human, economic and environmental catastrophe in the form of globalization, massively increased suffering and exploitation of the people of the so-called Third World, as well as the mind-numbing conformity and standardization caused by the systematic audiovisualization of the planet have synergistically created a world where commitment is considered old fashioned. Where excess and economic exploitation have become the norm - to be taught even to children. In such a world as this, what happened in Paris in the spring of 1871 represented (and still represents) the idea of commitment to a struggle for a better world, and of the need for some form of collective social Utopia - which WE now need as desperately as dying people need plasma. The notion of a film showing this commitment was thus born.’

19. aprila...........

.......................................................................................................

.......................................................................................................

.............

.....

26. aprila

The Autobiography of Nicolae Ceausescu (2010)

Ovaj film pokazuje da je moguće upotrebiti postojeće slike kako bi se ostvarila forma epskog istorijskog filma, po uzoru na američki film previjetnamske generacije. U prvom planu je montaža kojom se realizuju scene koje nisu snimljene, da bi se u klasičnom postupku spajanja scena dobio konačni smisao.

Režija: Andrei Ujica

Trajanje: 180 min.

Linkovi: IMDB

...............................................................................

...............................................................................

Izbor filmova: Alban, Jo i ostali

.