Jeonju Digital Project 2007: Memories

Eugene Green

Eugène Green (New York City, NY, USA, 1947) moved to Paris in 1969, where he founded in 1977 the Théâtre de la Sapience, which has staged numerous Baroque and modern plays. He debuted as a filmmaker with Toutes les nuits, which received the 2001 Prix Delluc for Best First Film. He next made Le nom du feu, a short film which was presented at Locarno in 2002 and was released along with Le monde vivant, which participated that same year at the Quinzaine des réalisateurs. For Correspondances he shared the Special Jury Prize with Harun Farocki and Pedro Costa at the 2007 Locarno Film Festival, where he returned in 2009 with A Religiosa Portuguesa and in 2014 with La sapienza. In 2011 Torino Film Festival dedicate a complete retrospective to his works. Then all his films have been presented in the Festival. 

FILMOGRAFIA

Toutes les nuits (2001), Le nom du feu (cm, 2002), Le monde vivant (2003), Le pont des arts (2004), Les signes (mm, 2006), Digital Sam in Sam Saek 2007: Memories (ep. Corrispondences, mm, 2007), A Religiosa Portuguesa (2009), La sapienza (2014), Faire la parole (doc., 2015), Le fils de Joseph (2016), En attendant les barbares (2017).

Harun Farocki

Harun Farocki (Nový Jicin, Germany, 1944 - Berlin, 2014), starting in 1967, made over one hundred and twenty films and installations which analyze the power of images in all their forms and expressions. After studying at Berlin’s Deutsche Film und Fernsehakademie in the climate of political agitation sweeping Germany during the late ‘60s, he began to make agitprop movies in black and white and in 16mm, often combining activism and performance, as is the case with Inextinguishable Fire (1969). Aware of the specificity of his means of communication, Farocki focused his work on a critical analysis of images and the contrasts they create with history, power and the dominant performance system. First with 16mm film, then with video, and finally with digital and digital animation techniques, Farocki developed the video-essay form about the visual arts. From his work during the 1980s and ‘90s, such as Before Your Eyes Vietnam (1982), An Image (1983), Images of World and Inscription of War (1988), and Still life (1997), to his installations of the 2000s (Counter Music, 2004; the series Serious Games, 2010, and Parellel, 2012-2014, which he created and curated with his life partner Antje Ehmann), his works trace and criticize the evolution in the language of images, in between stints at the editing table, photographic collages, security camera shots, aerial photos from WWII, advertising, fragments of films from the past, thermographic cameras, television clips, videogames, digital sequences, computer reconstructions of real landscapes… As a critic for the magazine “Filmkritik,” in his publications and during his seminars, Farocki studied the history of cinema and of German society, analyzing the evolution of the concept of work (for example, in How to Live in the Federal Republic of FRG, 1990) and measuring himself against filmmakers such as Jean-Marie Straub and Danièle Huillet, or Jean-Luc Godard, to whom, in 1998, he dedicated the book Speaking with Godard, which he wrote with Kaja Silvermann.

FILMOGRAFIA

Jeder ein Berliner Kindl (1966), White Christmas (1968), Die Rote Fahne (1968), Nixon kommt nach Berlin (1969), Nicht löschbares Feuer (1969), Sache, die sich versteht, Eine (1971), Zwischen zwei Kriegen (1978), Jean-Marie Straub und Danièle Huillet bei der Arbeit an einem Film (1983), Peter Lorre - Das doppelte Gesicht (1984), Image und Umsatz oder: Wie kann man einen Schuh darstellen? (1989), Videogramme einer Revolution (1992), Schnittstelle (1995), Arbeiter verlassen die Fabrik (1995), Bewerbungen (TV, 1996), Der Auftritt (1996), Stilleben (1997), Worte und Spiele (1998), Gefängnisbilder (2000), Die Schöpfer der Einkaufswelten (TV, 2001), Erkennen und verfolgen (2003), Formation (2005), On Construction of Griffith’s Film (2006), Digital Sam in Sam Saek 2007: Memories (ep. Respite, cm, 2007).

Pedro Costa

Pedro Costa (Lisbon, Portugal, 1959) abandoned his history studies to follow an editing course held by António Reis at the film school of the Conservatório Nacional. In 1989 he made his first feature film, O Sangue, screened at International Film Critics Week at Venice, followed by Casa de Lava. His film Ossos won the Osella d’oro at the Venice Film Festival in 1997 and in 2000 No Quarto da Vanda received the Jury Prize at the Locarno Film Festival. In 2001 he made the documentary Où gît votre sourire enfoui? and in the following years his films Juventude em Marcha and Ne change rien participated at Cannes and were also presented at the Torino Film Festival. Vitalina Varela received the Golden Leopard at the Locarno Film Festival.

FILMOGRAFIA

Cartas a Júlia (cm, 1987), É Tudo Invenção Nossa (cm, 1984), O Sangue (1989), Casa de Lava (1994), Ossos (1997), No Quarto da Vanda (2000), Danièle Huillet et Jean-Marie Straub cinéastes (doc., tv, 2001), Où gît votre sourire enfoui? (doc., 2001), 6 bagatelas (cm, 2003), Juventude em Marcha (2006), O Estado do Mundo (ep. Tarrafal, cm, 2007), Digital Sam In Sam Saek 2007: Memories (ep. The Rabbit Hunters, cm, 2007), Ne change rien (doc., 2009), Our Man (cm, 2010), Centro Historico (ep. Sweet Exorcist, cm. 2012), Cavalo Dinheiro (2014), Vitalina Varela (2019).