The son of documentary filmmaker Leo Hurwitz created a beautiful website about the films of his father. Most of his unique social documentaries are available on-line now and proof their current value. Joris Ivens used excerpts from Hurwitz’ films in at least four of his documentaries, like the wellknown and shocking ‘looting & shooting’ sequence of policemen against steelworkers on strike in 1993 in Ambridge. https://leohurwitz.com/
On Friday 7 February students at the Kunstakademie Düsseldorf will see historical footage, films, documentaries and interviews, with among others Regen/Rain (Joris Ivens/Mannus Franken, 1929). Teacher and filmmaker Claudia von Alemann will show her own work and discuss the films of others. The Academy of visual arts at Düsseldorf was itself the filmset of 'Werk ohne Autor' (Never Look Away; Florian Henckel von Donnersmarck, 2018).
On Thursday 16th of January H.E. Mrs. Ngo Thi Hoa, Ambassador of the Socialist Republic of Vietnam, conferred the Order of Friendship posthumously to Joris Ivens. Mrs. Annemiek Nooteboom received the Friendship Medal on behalf of the Ivens-family. She gave the medal and certificate to the European Foundation Joris Ivens to keep and treasure it forever in the archives.
The Vietnamese government honors Joris Ivens posthumously by conferring the Friendship Medal. This award will be presented on Thursday afternoon 16th of January by H.E. Mrs. Ngo Thi Hoa, Ambassador of the Socialist Republic of Vietnam at the embassy in The Hague. A family member of Joris Ivens, Annemiek Nooteboom, will receive the medal on behalf of the family.
On Friday 23 October a film crew of Chinese broadcasting (CCTV-9) shoot some footage in Nijmegen for a four-part series on Joris Ivens and China. Prof. Zhang Tong Dao from Beijing University Beida, teacher as well as filmmaker, is the director. Each episode will focus on one of the Chinese films Ivens made between 1938-1988. Dutch filmmaker René Seegers, who made Joris Ivens Old Friend of the Chinese People in 2008, assisted this film crew during the shooting.
Documents and photos from the collectio ...
On 30 and 31 October a delegation from Quang Tri province (central Vietnam) visited the city of Nijmegen, at the invitation of the municipality of Nijmegen, The Economic Board and the European Foundation Joris Ivens. Ms. Ngo Thi Hoa, ambassador of Vietnam in The Hague, attended the meetings. In Quang Tri the Ben Hai River is situated on the 17th parallel, where Joris Ivens and Marceline Loridan-Ivens in 1967 shot the long documentary Le 17e parallele. The delegation was headed by mr. Hoang Nam, the vice-president of the Peoples C ...
The NDR-Radiophilharmonie will perform 'Fourteen Ways to Describe Rain' by German composer Hanns Eisler, together with the projection of Ivens' film Regen (1929, Rain) in the Sprengel-Museum in Hannover on Tuesday 15 and Wednesday 16 October 2019.
Recently two new books were published in Vietnam about Joris Ivens. The first one describes the life and career of Joris Ivens as a filmmaker with a special focus on Vietnam, the second book is the result of the International Joris Ivens Symposium, held in Hanoi in November 2018. All lectures of Vietnamese filmmakers and friends/assistents of Ivens as well as international film scholars are included.
Matera in the Italian region of Basilicata is this year’s European Capital of Culture. The exhibition ‘Visione Unica’ of the design group Formafantasma includes Joris Ivens’ documentary l’ Italia Non è un Paese Povero (1960) as part of a visual archive about the very rich patrimony of this region. The last decades Matera shows a remarkable switch from poor and subordinated region towards a spectacular cultural pinnacle, praised by UNESCO, the World Monuments Fund and used by many famous ...
On 16 November at IDFA Amsterdam the documentary Marceline. A Woman. A Century made by German director Cordelia Dvorak will be premiered. This portrait of the strong-minded filmmaker Marceline Loridan-Ivens (1928-2018) and fourth wife of Joris Ivens, saw its final editing two days before she passed away. In this film we see Marceline serving her guests coffee or vodka in her Paris apartment at the rue des Saints Peres.
At the occasion of the 120th birthday of Joris Ivens and the 50th anniversary of the debut of the film The 17th Parallel, The People’s War (Joris Ivens and Marceline Loridan-Ivens, 1968) the VietNam Film Institute in collaboration with the European Foundation Joris Ivens are organizing an international Ivens-seminar in Hanoi on 22-24 November. Renowned (film) scholars from Vietnam, Canada, USA, Australia, Indonesia, China and The Netherlands will provide an impulse to the Ivens Studies around the world. Former Vietnamese co ...
On Monday May 28th the VietNam Film Institute presented a new documentary film about Ivens in VietNam at the occassion of a ceremony in Nijmegen celebrating 50 years of solidarity between Nijmegen and VietNam. Mrs. Ngo Thi Hoa, Ambassador of VietNam in The Hague, Mr. Hubert Bruls, mayor of Nijmegen, and activists from the 1960s and 70s supporting VietNam, attended this meeting. The theme 'Looking back for a better future' was illustrated with specialists presenting innovative technologies from Nijmegen in nowadays projects in Viet ...
The DEFA Foundation in Berlin released a new German DVD with Ivens-films in conjunction with the book Günter Jordan published about these films. DEFA already had launched a DVD with Song of the Rivers in and now presents The Wind Rose, Friendship Will Win and The Peace Cycle Tour Warsaw-Berlin-Prague 1952.
The long awaited book (in German) about Ivens and his East-German films, written by thé specialist in this field, Günter Jordan, has been published by the DEFA Foundation. This beautiful book describes in 680 pages the triumph in the 1950’s, the condemnation at the end of the 1960’s when Ivens became persona non grata in the GDR, until the resurrection of Ivens’ DEFA-films.
Name curator: Ana Siqueira
Name artist: Edu Yatri Ioschpe
Title of the work you have chosen: Retrato número 1 - O povo acordado e suas mil bandeiras
English title: Portrait Number 1 - An Awakened People and their Thousand Flags
Year of production: 2013
English subtitles are available in You Tube! Please click on the subtitle screen in the right corner.
About the curator
Name: Ana Siqueira
Function: Curator, translator
What is your main interest: documentary and avant-garde films
Where do you come from/ where do you live: My hometown is Belo Horizonte, Brazil, and I'm currently living in New York, USA
About the film and the filmmakers:
What can you tell about this film? A young Brazilian filmmaker, photographer and educator, Edu Yatri Ioschpe has developed a series named "Portraits" (Retratos, in Portuguese), which is composed by short documentary films proposing to address its subjects in a frontal, stripped off manner, typically giving up any editing or interference past the shooting. Retrato número 1 - O povo acordado e suas mil bandeiras ("Portrait Number 1 - An Awakened People and their Thousand Flags"), the first of the series, is a glimpse of the protests that took over Brazilian streets in June 2013 triggered by the increase of the bus fare. Consisting solely of a five-minute sequence, this seemingly unpretentious film achieves to condense many of the feelings and contradictions of this historical moment in Brazil and its later developments, operating as a sort of a harbinger of the upcoming social and political divide. Amid the large and voracious production of images that took place during the demonstrations, the film cuts out a brief moment off the flow, with no actual start or ending, leaving its completion to the viewer. The result is everything but random and a number of things are there at stake, such as the crisis of political representation, the discontent with the corruption impregnated political class, the clash between generations and classes with hordes of newcomers (frequently born in the already "post-ideological" world), traditional (or not that much) party politics and social movements often refusing the latter and eager for new types of engagement and action. The sequence also anticipates the emergence of a new militant generation willing to found politics anew and, and quite complimentary, the appearance of a raging right wing unembarrassed to show off its intolerance and to protest against the slight loss of historical privileges it has been recently facing. Towards the end of the confrontation pictured in the film, the crowd cries that the people have awoken, referring to the fact that they are back protesting on the streets, thus resoundingly ignoring the historical militancy that they are willing to expel from a place from which it had never completely withdrawn and which is, furthermore, represented in the film by an unmistakably minority: a middle-aged working class nonwhite woman.
How does this relate to the theme ‘politics and poetry’ in your opinion? Resolutely political, the film encounters its poetic force in the esthetics intensity obtained in holding up the camera and facing closely this woman, resisting along with her the oppressive slogans cried by the fierce crowd who remains mainly off-camera but is palpably felt within it. The precarious conditions of filming in the middle of an enormous demonstration, in a rather agile and spontaneous manner, turns out to be also a strength of the film. The filmmaker cannot stand aloof, previously impose a form to the event, there is no film outside of it, and at the same time he remains conscious of the power of the camera mediation, sustaining the shoot, deciding when and where to cut and to focus, choosing his point of view. The form derives from the event and is inextricable from it, but still there is a formal elaboration, the invention of a form that does not preexist the film neither aims to seize its subject but rather to access and somehow synthetize it.
Are politics and poetry (or politics and arts) two separate worlds according to you? Why / why not? Politics and poetry are worlds frequently intertwined but not equivalent, and their relation has been subject to important discussions far beyond the cinema field and prior to its own existence. Joris Ivens is precisely an eminent example of a filmmaker indissociable of both politics and poetry, a director whose work has crossed an impressive number of the 20th centuries main political issues remaining, at the same time, entirely concerned by aesthetics matters.
There are a lot of political tensions and changes in the world right now. Do you (already) notice any changes in the focus and/or ideas and work of artists because of these developments? Do you have examples? I could speak more closely of the Brazilian case which I find to be experiencing a fertile re-emergence of a politically active and diverse cinema, dealing, off the beaten tracks, with a number of aspects of both the country's current situation and history. Indigenous filmmakers have been ahead of an inventive and prolific production, in spite of the oppression they are still subject to (the 30-year-old project Video nas Aldeias being the oldest and forerunner of several others that exist today), there are filmmakers directing powerful works set in their suburban neighborhoods (Adirley Queirós, Affonso Uchôa), directors dealing with middle and upper class issues in a critical and frontal approach (Anna Muylaert, Kleber Mendonça Filho), films directly born of the militancy or coping with the dictatorship history and archives (Anita Leandro, Maria Clara Escobar, Flávia Castro), features dealing with the aggressive development perspective that has been the political credo of the Brazilian governments (Marcelo Pedroso), only to name a few, for this is far from an exhaustive list.
Besides the theme of ‘Politics and poetry’ are there any other comparisons between this artist and Ivens according to you? I would say that Edu Yatri Ioschpe, in his Retrato número 1, shares Ivens understanding that a certain film is necessary at a certain moment, regardless of how the events will later unfold.