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 European Foundation Joris Ivens scanned and archived the entire photo collection. Fifty-two boxes full of pictures taken by Ivens where digitized. There are photos taken from Ivens during meetings, on the set, visiting world leaders and famous artists and filmstills collected by Ivens or others.
Eisenstein visits Ivens in Amsterdam
The `Retrospective` of the 62nd Berlin International Film Festival rediscoveres the legendary German-Russian film studio Mezhrabpom-Film and its German branch Prometheus, hence the titel of the retrospective: `The red dream factory`. They wrote film history from 1922 to 1936. The aim of the retrospective is to show the difersity of this major studio and to give people the opportunity to see films that have hardly been shown for decades and have also faded into oblivion in Russia – especially after Mezhrabpom was liquidated by the Stalinist dictatorship in 1936.
The Retrospective will present some 30 programmes made up of over 40 silent and sound films. Joris Ivens` film Komsomol is one of the sound films. Ivens was commissioned by Mezhrabpom-Film to make this documentary symphony in the style of the New Objectivity. The music was composed of the noises made by the Magnitogorsk Combine, working in co-operation with Hanns Eisler. They thus created a genuine industrial soundtrack for one of the very first Soviet sound-film documentaries. At the same time, Dziga Vertov made a similar sound-film, TRI PESNI O LENINE (Three Songs of Lenin) for the studio. Both experimented with the new medium, although Ivens adopted a different approach. Applying motifs of the steppes and the city, the past and the future, he staged and condensed situations, with the aim of convincing viewers dialectically of the need for all the colossal construction work. The remixing of modern tones – factory noises, telephones, radios and Eisler`s exciting music – is particularly successful.
Here you can find the complete program:
The history and aesthetics of these films will be reappraised in detail (by Russian and German authors) in the extensive publication accompanying the Retrospective. These studies will be supplemented by historical documents, countless unpublished photos, contemporary film posters and a complete filmography.
Ivens working in his room in Amsterdam
On Monday, December 12 Mrs. Fadila Laanan, Minister of Culture and Audiovisual of theFederation Wallonia-Brussels presents, in the presence of Mrs. Marie Storck (the daughter of Henri Storck) the first two DVD titles of the Henri Storck Collection. The most famous film from the oeuvre of the Belgian documentary filmmaker Henri Storck (1907-1999) was Borinage (1934), which he and Joris Ivens made in the Walloon mining.
On the first DVD from a series of four films are early recorded images by Storck in his hometown Ostend. Like Ivens, Storck developed a passion for movies by watching movies in a filmclub, where the innovative avant-garde films of the twenties were shown.He had founded this Cineclub himself in 1928 and met young filmmakers as Rene Clair.Thanks to the personal contact with artists like Spilliaert Ostend, Ensor, Labis Permeke his films were of an artistic charge. Like Ivens he shot his first film exercises from the hand, without a tripod with a Kinamo camera doing so he made poetic and surreal short films, in which movement plays a central roll. He also experimented with innovative camera techniques, such as a camera car on a beach. From his hometown, he began to boast of documentary films. Gradually he became the most important documentary filmmaker of Belgium, which yielded him international fame.
In August 1933 he visited Joris Ivens in Paris with the request to make a film together in the Walloon Borinage mining district, where the miners had suffered under therepercussion measures after a big strike. In September, they both went into the area and were shocked by what they found. Because of the gendarmes part of their film had to be shot illegally. With the support of the miners Borinage became a genuine and profound indictment of the crisis, which is still gripping. This film and other social documentaries of Storck, such as House of misery (1937), are on the second DVD.
Pablo Neruda en Joris Ivens
During the last year in Chile much attention was given to Ivens. At the origin of the interest was the reopening of the filmschool in Santiago where Ivens in 1962 was invitedto teach. ... a Valparaiso was the result of the film classes he gave there. A book was published `Joris Ivens and Chile ...a Valparaiso, a film between poetry and criticism"with stories and notes from the time. At this moment there is a Ivens retrospective in the Chilean portcity Valparaiso
Tiziana Montanari Panizza and Judith Silva Cruzatt are the authors of the book.Theyfound many notes and a screenplay by Ivens in the archives of the film school in Chile .They talked to the students an colaboraters from the time Ivens taught and filmed in Chile. Tiziana and Judith were also a guest at our foundation in Nijmegen. Theyconsulted the archives of the European Foundation Joris Ivens.
During the third Dutch film week
in Havana this October there will be a tribute to Joris Ivens. This is a collaboration between the Cinemateca de Cuba, Holland Film and the Dutch Embassy in Havana. Seven films by Joris Ivens, including two Cuban films are scheduled at the Ciné Chaplin. During the Dutch filmweek several features, documentaries and animated films of contemporary dutch film makers will be screened.(See the complete program here).
Robau Antonio Mazon, the programmer of the Cinemateca asked Olivia Buning, coordinator of this program, if it was possible to get an Ivens retrospective. The European Foundation Joris Ivens contributed to this retrospective where also the two films made in Cuba in 1961 (Carnet de viaje and Pueblo en armas) will be shown. Maybe former students of Ivens, who taught at the ICAIC (Instituto Cubano del Arte e Industria Cinematográficos) will be present at the screening. They worked as assistance on these two films. In the book `On which side and What universe` Ivens writes about another (secret) filmschool on Cuba of wich he was the director.
"At that time I worked at the ICAIC. One day I had a conversation with Osmani Cienfuegos, brother of Camillo. Osmani had a responsible position in the Cuban army, and he stated that I am one of the few filmmakers with war experience. He explained that Cuba, while it was constantly under attack and an invasion threatened, nobody was there that could film the attacks. This was in his eyes a deplorable situation and in conclusion he added: "We have an army, but we have no one that can handle a camera. Fidel wants to fill this deficit and I am sure that you with your experience are ideal for the job to train these war cameraman "
Without hesitation I said yes. A short time later I was talking with Fidel Castro. I asked him what he wanted, and he had replied: "Militant filmmakers who will have nothing else to do than to shoot combat actions in case of attacks or bombings. You should especially remember that this has nothing to do with filmart because then I would send them to you at the ICAIC. No, I want practical, fast-working people. I want soldiers not artists. "
Ivens and Castro talking
still tv show ´Zomergasten´
During a three-hour interview program of the VPRO, where guests can show a selection of film clips, Erik van Lieshout showed a fragment of Borinage (1934). Van Lieshout, internationally one of the most famous Dutch contemporary artists, was fascinated by crisis, places, people and artworks created by crisis. In the interview Van Lieshoutcalled Ivens` film Borinage a point of reference, especially the aesthetic properties of black and white, and the social struggle.
Group photo of the photographers working in Amsterdam (ARFOT `s) seated, second from right, Joris Ivens. 1931, Coll. JIA, Nijmegen.
A major international exhibition on the history of the workers photography at theMuseo Nacional Centro de Arte Reina Sofia in Madrid with more than a thousand pictures, magazines, books and filmsshowing illustrate the importance of the workers` photography. Pictures from Robert Capa, Henri Cartier-Bresson and John Heartfield, but just as good pictures of anonymous photographers and snapshots.The Ivens` films Komsomol (1933), Borinage(1934) and The Spanish Earth (1937) are continuousily screening.
According to curator Jorge Ribalta, the international workers`photography are a key moment in the history of photography. This movement, created between the two world wars, is often ignored, underestimated or marginalized, but the exhibition catalog and symposia photography show that the workers introduced a new model of photography. This new model developed by conscious rebels against the bourgeois `model`of photography. But the ARFOT model includes not only a modernist aesthetic, based on the mechanics of the camera and the mechanics of degrading industrial world, in production and distribution (through magazines, newspapers, books, movies,unions, political associations and exhibitions inside and outside) but the ARFOT was a serious alternative to the bourgeois photography, media and cultural world.
Joris Ivens is the Dutch leading figure within the movement. His stay in Berlin, the Soviet Union, Frankrijk and the U.S.A. provided direct contact with the workers` expressions of photography.Through his films he gave a personal twist on the development.
The exhibition is on show until August 22, 2011
Cover photo book about Kees Ivens and the 75 year old Waal bridge.
Photo Hustinx. Publishing Vantilt/FragmaPublishing
Nijmegen celebrates on June 16 the 75th anniversary of the Waal Bridge, which was the largest arch span bridge of Europe at the time. The father of Joris Ivenstook in 1905 the initiative to build the bridge over the Waal, the great river thatconnects Rotterdam to the Ruhr industrial aera in Germany. TheMuseum Valkhof displays the exhibition `Kees Ivens and the Waal Bridge 1905-1936 ` until November 6.