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.
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.
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.