After last years agreement between the Vietnamese Film Instituut and the European Foundation Joris Ivens to establish an active partnership director André Stufkens visited Vietnam on the invitation of director Vũ Nguyên Hùng. The purpose of the successful visit was to make concrete appointments further developing this collaboration of exchange of knowledge and expertise.
On March 28th, during the 2017 annual meeting of The Society for Cinema and Media Studies (SCMS), the Katherine Singer Kovács Book Award for outstanding scholarship in cinema and media studies will be presented to prof. Thomas Waugh for his magisterial The Conscience of Cinema. The Works of Joris Ivens, 1912-1989. It is thé ultimate peer review recognition of the intellectual quality and vibrance of this first book about the complete film oeuvre of Joris Ivens.
Mark Hamlyn made a new composition for The Billi Brass Quintet for Ivens' 'the Bridge'. It is part of the Billi Brass' Silent Films Project.
In the series 'Stationen der Filmgeschichte' (Stations of Film History) the Filmmuseum Düsseldorf presents films of 100 Master film directors who influenced film history. Stations are sites of arrivals, departures, crossings and switches, similar to icons of film history: the selected film directors paved the way of new directions, cross overs and switches in filmmaking. On 3 January the Filmmuseum presents three films of Joris Ivens: Lied der Ströme (1954, Song of the Rivers), ...à Valparaiso (1963) and Regen (19 ...
‘A new Ivens’, this is how German film historian Günter Jordan describes the documentary The Compass Rose (Die Wndrose, 1957). With an outstanding cast, like Simone Signoret, Yves Montand, Helene Weigel, with outstanding directors like Alberto Cavalcanti, Yannick Bellon and Gilio Pontecorvo, this five-episode omnibus film presented a new style and format in documentary film. It was shown during the International Documentary Festival DOKS Leipzig celebrating its 70th anniversary on 3 November.
During the UBUD Writers festival on Bali the 'Black Armada/Hitam Armada' exhibition was presented at the Agung Rai Museum of Art. Dr. Helena Studdert, consul-general of Australia on Bali, attended the opening event. This travelling exhibition, with the permanent screening of Ivens' Indonesia Calling, made by the National Maritime Museum of Australia on the initiative of Mr. Anthony Liem was already shown in Sydney and Yogyakarta. It will be shown at the end of November at the Margarana National Park to commemorate the ...
On Friday prof. Thomas Waugh (Concordia University, Montreal) presented his monumental 'The Conscience of Cinema. The Works of Joris Ivens 1912-1989' in EYE Amsterdam. Together with Amsterdam University Press and the European Foundation Joris Ivens, EYE organized an expertmeeting, two filmscreenings of six Ivensfilms and a live music performance accompanying Rain (Regen, 1929, Ivens/Franken). This marked the launch of a book that for the first time surveys all the films of Ivens, with a description, analysis and ...
At the occasion of the launch of Thomas Waugh's masterly book The Conscience of Cinema. The Works of Joris Ivens 1926-1989, a special Joris Ivens Seminar will organized in EYE Study on 21 October 2016. Paul Kusters, president of the Ivens Foundation, will be the moderator of the day with lectures and debates focussing on 'Ivens & The Netherlands'. The programme also includes the screening of Indonesia Calling!, New Earth, The Bridge, Rotterdam-Europoort and a Q&A.
The 13th Ubud Writers & Readers Festival is Southeast Asia’s leading festival of words and ideas. The Festival celebrates extraordinary stories, amplifies brave voices, and tackles global issues through the lens of literature and the arts. On 30 October Ivens’ Indonesia Calling! will be shown with a Q&A of Agung Rai, Anthony and Helen Liem and other guests from the Australian National Maritime Museum.
With the bulky book 'Saviour of the Tenth Muse. Jan de Vaal and the Netherlands Filmmuseum, 1946-1987' the European Foundation Joris Ivens is presenting the treasures of the national film archive of the Netherlands, as collected, presented and preserved by Jan de Vaal (1922-2001). Until now only sporadically has been published about the pioneering activities by its first director. He started in 1946 without anything, no film, no money, no housing, nog experience and no personnel. After 40 years he left the film museum with 1 ...
The director of the Vietnames Film Institute gave a precious present to the Ivens Foundation, when both FIAF-institutions met in Nijmegen on Thursday 30th of June. Mr. Dao Quoc Hung (on the photo: second from the left side) handed over the found footage of Ivens' visits to Vietnam when Ivens started filmmaking durign the war against the US in 1965. Most of the footage concerns outtakes of Le ciel, la terre (1966) and various meetings in North-Vietnam. Next year the Vitenames Film Institute will commemorate the 50th anni ...
The Sächsische Staatskapelle in Dresden will performing a live concert with film screening of Rain (Regen, Ivens-Franken 1929) during the 7th Shostakovich-Days. The Final concert programs Ludwig von Beethoven, Dmitri Shostakovich, Paul Dessau and Hanns Eislers Fourteen Ways to Describe Rain (1941) with the film.
NAMU in Prague, the publishing house of the Academy of Arts, presented the Czech translation of André Stufkens book Joris Ivens. Filmmaker of the World (518 pages). This Czech book explores the content, production, meaning and reception of 21 Ivens films and was first published in Dutch and German in 2008 and 2009 as part of the DVD box. Especially a chapter about the relationship between Joris Ivens and the Czech Republic has been added, focussing on the documentary The First Years.
What are the greatest documentaries ever made? The international film magazine Sight&Sound publishes in the September issue 2014 a poll of 340 critics and filmmakers in the search for authoritative answers. In this list a remarkable number of 11 Ivens’films were voted.
Museo Reina Sofia in Madrid is presenting a film programme called “Por un cine imposible. Documental y vanguardia en Cuba (1959-1972)” (“For an impossible cinema. Documentary and Vanguard in Cuba (1959-1972)”), from 20 June till 9 July 2016. Curator is Cuban cinema specialist Michael Chanan, with support of the Cinemateca de Cuba. The two Cuban films of Joris Ivens: Carnet de viaje y Cuba and Pueblo armado will be shown, next to films of Santiago Álvarez, Sara Gómez, Octavio Cortázar and Julio García Espinosa.
This film program dedicated to an episode of the vanguard in Latin America which usually has been ignored: the Cuban documentary movement around the Revolution. This program shows original formats from the ICAIC, the International Filmcenter of Cuba fow which Ivens made two films in 1961. Carnet de viaje is a road movie, crossing around the Cuban island, presenting the revolutionary spirit in various cities, regions and files of labour. Pueblo armado shows the militant spirit of the Cuban workers and farmers to protect and defend their socialist country.
Museo Reina Sofía presents this retrospective film-program dedicated to Cuban documentary movement around the Revolution, an Avant-garde episode in Latin America usually ignored. Together with the impulse to show a new reality and rethink the public function of the image, the documentary in Cuba merges the factual record with the aesthetics of shock and agitation of the montage, producing a unique visual manifesto. The program, with original cinema formats from the ICAIC, is articulated in dialogue with the exhibition dedicated to the artist Wifredo Lam(from 6th April to 15th August 2016).
In 1959, Cuban reality changed radically with the triumph of the Revolution, and one of the consequences was the birth of a new cinema, in which the documentary figured centrally. Barely a decade later, one of its leading figures, Julio García Espinosa, wrote a manifesto calling “Por un cine imperfecto” (For an imperfect cinema), a polemical reflection on the practice of revolutionary film, where he argued that the imperfections of a low budget cinema of urgency, which sought to create a dialogue with its audience, were preferable to the sheen of high production values which merely reflected the audience back to itself. It was a thesis he demonstrated in his own documentary, Tercer mundo, tercera guerra mundial, shot in Vietnam in 1968, which is one of the centrepieces of this season, but it is also manifest in the experimental current which runs through many of the others.
The new documentary that emerged in Cuba in the 1960s involves a paradox. The moment was one in which the appearance of new synchronous 16mm cameras in the metropolitan countries stimulated the aesthetic revolution of direct cinema and cinéma vérité, but not in Cuba, where the new film institute, the ICAIC (Instituto Cubano del Arte y Industria Cinematográficos), being geared to cinema exhibition, stuck with 35mm. They quickly learnt to overcome its limitations. The Revolution unleashed a frenzy of creative endeavour as the enthusiastic new filmmakers went out onto the streets to document their rapidly transforming world, which thus became a forcing ground for the documentary as they tried to keep up.
At the core of the season, the boldest innovator, Santiago Álvarez, was in charge of the weekly Noticiero, which he soon transformed. Instead of an arbitrary sequence of disconnected items, he joined them up into a political argument, or turned them into single topic documentaries, and then proceeded to longer films. Audiences flocked to see his fast, strongly montage-driven style of political satire, usually directed against US international politics, just when documentary was disappearing from metropolitan cinema screens. Alvarez also turned the newsreels into a school for young film-makers in how to make films quickly, cheaply, and using whatever materials were at hand. Their imagination fired up, they became, among other things, masters of working with found footage.
To counterpoint the Cuban films are a handful of documentaries made in Cuba by filmmakers coming from abroad in the Revolution's early years. Joris Ivens eagerly accepted the ICAIC's invitation to make two films with them, while others, including Chris Marker and Agnès Varda, came and made films of their own which stand as timely testimonies of solidarity.
To sum up, the series seeks to present an ignored movement in the histories of avant-garde cinema, but foundational in the critical transformation of the documentary in a medium which negotiates with a historical moment while examines its own limits and possibilities.
Film series dedicated to Julio Garcia Espinosa (Havana, 1926-2016)
In collaboration with the Cinemateca de Cuba
For more information, see: http://www.museoreinasofia.es/en/activities/impossible-cinema-documentary-and-avant-garde-cuba-1959-1972