November 05
16:00 - 17:30

History on the Move: Archival Knowledge, Liminality, and Nation Building

Transcultural (im)mobility of the Alps. A Comparative Audiovisual Analysis of the Multiple version Der Sohn der weißen Berge / Les Chevaliers de la Montagne (Trenker, Bonnard 1930)

The focus of this proposal is the mountain film Der Sohn der weißen Berge / Les Chevaliers de la Montagneby Luis Trenker and Mario Bonnard,coproduced as a German-French multiple version (MV) in 1930.Theearly audio-visual translationstrategy of MVsand the open-air epicentre of the Alpsappear to fostertransnational mobility, while also challenging film circulation and early sound film technique. In this regard, our comparative analysis takes into account both image and music, production and reception of the two versions. The main aimis to show that the Alps, due to their semantic openness, provide an ideal setting for transcultural communication and, at the same time, for the nationalization process essential to the MVs.

Maria Adorno

With a background in philosophy of cinema and European film studies, she is currently a PhD candidate in history of cinema at the Universitiesof KölnandUdine,working under the co-supervision of J. Garncarz,L. Quaresimaand M. Barnier (“Doctor Europaeus”project, DAAD). She researches the multiple versions of the early sound film history within the European context, with a comparative, systematic, transcultural approach.

Maria Fuchs

Postdoctoral scholar at the Center of Popular Culture and Music at the University of Freiburg, leading the FWF project "Soundscapes of 'Heimat': Mapping Musical Signatures in Heimatfilme and Bergfilme (1930-1970)". Study of Musicology, Comparative Literature and Gender Studies (University of Vienna, Free University of Berlin). Doctoral fellowship from the University of Vienna and the DAAD for her thesis on the theory and practice of silent film music (Schüren 2017). Lecturer at the University of Music and Performing Arts Vienna and Berlin University of the Arts.

Echoes from Haji Pir Pass

Drawing from a selection of films from the Films Division Archive, my paper will explore the ways in which war is represented as an event in independent India. Looking at the decade1962–1972 (during which India participated in three wars), I examine the ways in which filmmakers working within the infrastructure of the Films Division construct documentary narratives to represent these events. Thinking through the compilation film (Leda, 1964) or the recombinatory process (Wasson and Grieveson, 2018), I explore the creative potential of repetition and re-enactment as forms of mobility, and the creation of meaning through such cinematic interventions in the context of India.

Mallika Visvanathan

She is an independent researcher and filmmaker. After completing her post-graduation in Arts and Aesthetics from JNU, she trained as a filmmaker at the Creative Documentary Course, SACAC. Following this, she worked at the Sarai programme, CSDS, from 2019–2021as a researcher on the ICAS MP project Media in Times of War.

Senegalese Cinemathèque: the Recovery of Dakar’s Newsreels

We hereby propose our video to share the story of the recovery, reorganisation and digitisation of the Senegalese cinematheque, currently established by the Cinematographie, i.e. the bureau of Ministry of Culture and Communication in Senegal dedicated to cinema. 

Besides a photographic collection (around 100.000 negatives), the archive holds in Dakar 250 films, mainly newsreels in black and white 16mm film, from 1960, the year of independence of Senegal, to 1988. The head of the newsreels office was the director Paulin Soumanou Vieyra, pioneer of sub-Saharan cinema and an acknowledged voice for the history of world cinema. Among the films in the newsreels collection, there the only copy available of Vieyra’s reportage of the first World Festival of Negro Arts, which took place in 1966 in Dakar.  

Recently, the collection has been rescued thanks to the good practices for the treatment, conservation, and digitization of the heritage. This work has a strong significance with regards to the issue of mobility, and specifically the geopolitics of media discourses through movement: in fact, cinematic media have played a pivotal geopolitical role, not only in tracing the flow of people’s movements, but also serving as infrastructures for elaborating and discussing colonial and postcolonial debates.  

Marco Lena

Marco Lena is a historian, videomaker and technician specialized in the restoration of audiovisual archives. He worked on video reports in Ghana, Mali, Burkina Faso, Senegal and Benin. Before working for the Ministry of Culture and Communication in Senegal, he has been in charge of the digitization of the archive of Moroccan Newsreels at the Center of Moroccan Cinematography. He is also involved in artistic projects devoted to art exhibitions and vj sets, mostly based in Dakar.

Tiziana Manfredi

Among her installations, interactive works and performances, her creative approach offers a visual experience that questions the usual consumption of images. Her video works have been selected by several festivals and artistic contests. Currently, besides the collaboration to the restoration of the newsreels heritage in Dakar, her artistic practice has been applied to exhibitions and events to celebrate and disseminate the recovery of such audiovisual heritage.