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.
The "art of lifting heavy stones" is not only empiral knowledge, but it's mostly related to the way we perceive others.
This has certainly nothing to do with tolerance, since the idea of tolerance itself is being in a position of power against someone else who is vulnerable.
It´s true that we have the experience of the world not only to aknowledge it, but essentialy to change it.
Thats why the "art of lifting heavy stones" is simultaneously a process of humbleness and fairness. Although, this process also requires some sort of effort and commitment (as always)... Sometimes carrying "heavy stones" might put us in a similar situation to the one of Sisyphus, but, on the other hand, it might also be the beginning of something else - a new world, perhaps? Either way, in this case both the means and the end itself seem to be equally important.
By Pedro Tavares
During the year of 1929, Ivens received an invitation to show his films and to lecture at the club house of the Metro construction workers in Moscow. After having shown Zuiderzee, a worker stood up from the audience and confronted him: "You say you are from the middle class, yet the film we have seen was surely made with the eyes of a worker. I know, because it is exactly the way i see the work. So, either you are a liar and bought the film in Holland from somebody or else you are a worker pretending to be from the middle class - and that is certainly not necessary here in a worker's and peasant state,". Ivens took it as a higher compliment and asked him, "Where in my film do you see the work shown exactly as you see it?"
"Several places," he said, "especially in that heavy stone work on the dike. I have done that kind of work."
"I see what you mean. I can explain how i filmed that sequence. I could not find the right angle of my camera on this stone work. So i started watching the work to see how it begins, how it ends, what its rithym is; but still a could not find my camera angle. Then i tried to move the heavy basalt stones myself because i thought it would be valuable to get the actual feel of the work before filming it. I soon became exhausted because i wasn't used to the work, but i found out what i wanted to know (...)"
Quotations taken from The Camera and I (Seven Seas Books, Berlin, 1969)
By Pedro Tavares
Modern war is based on such qualities as distance and speed. Filmmaking, on the other side, is all about patience and “getting closer” - or, at least, trying to find a fair spot (both physically and morally) between us and the ones which are being filmed. So, how can both filmmaking and modern war get along together? The question raised presupposes two possible answers, but we already know that only one of them is right: modern war is no business for filmmakers. Having said this, we can only assume the heavy conscience of being rather too late (most likely) or too soon, but never on time… It might even be possible that the work of filmmakers concerning modern war relies only on the aspect of ruins, which means providing a trace of a trace and never the actual happening.
Would it be possible nowadays to make an honest film like The Spanish Earth based on an actual conflict? Unfortunately, I’m afraid we can only expect something like Germany, Year Zero (which is being far too optimistic, by the way).
Still from Germany, Year Zero (1948)
Ruins of the National Library of Bosnia and
Herzegovina in Sarajevo (1992)
By Pedro Tavares
«(...)Then it is not enough for the documentarist to show what is happening. As a participant he is able to understand and to show why it is hapenning and what for. This approach generates new forms of expression, new styles, new techniques. New methods of work have led to collective direction in some instances.
Film makers have also to take into account the considerable change in the reaction of the public to their work. The intensive political changes mentioned above have stimulated a need and a demand on the part of public for political films, fiction as well as documentary.»
Brief Remarks about Militant Documentary Film, by Ivens (A.I.D. News, nº1 - Jan. 1971)
By Pedro Tavares