38052 10:00-10:30 | Room 503 (5F)
Narrating the Self
Markus Heidingsfelder, Habib University, Pakistan
Our psyches inscribe narrativity into the medium of language to be able to observe our actions. By providing these actions with a story, we are not only able to simplify ourselves – and by doing that, establish a relationship to the world -, we are also capable of telling others ‘our story’, so that they can ‘read’ us. In other words: We are all storytellers when it comes to identifying ourselves (our selfs). In my presentation, I will first reconstruct what we call storytelling by looking at its form i.e. the selective mechanisms that ignore simultaneity in favor of chronology, to then look at the different possibilities of presenting simultaneity in a linear form. In a second step, I will focus on four key aspects of self-narrativity: a) the problem of isolating actions from each other, b) the paradoxon of self-observation, c) the general importance of narrativity in society, and d) last but not least the social conventions that licence certain narratives and prohibit others. Finally, I will ask in how far the new media technologies may have affected the ways of how we narrate ourselves today
The Roppongi Art Night Executive Committee will be hosting Roppongi Art Night 2017 for 2 days on September 30 (Sat) and October 1 (Sun), 2017. This year’s Roppongi Art Night 2017 will be featuring art and performance from around the world, including many from Asia, proposing a new creative form of ‘matsuri (festival). Its theme is ‘Mirai no Matsuri’ (festivals of the future), and Roppongi Art Night is excited in welcoming Photographer and Film Director Mika Ninagawa as the main artist.
In addition, Roppongi Art Night will be launching the ‘Southeast Asia Project’ in which artists from Southeast Asia as well as Japanese artists will work together with the Roppongi community and its people to create and present art.
Overview of Roppongi Art Night 2017
|Official Title||Roppongi Art Night 2017|
|Overview||Roppongi Art Night is a one-night celebration of art staged in the district of Roppongi. The event proposes a pioneering model for urban development as well as a lifestyle that celebrates the enjoyment of art in our everyday lives. Presenting modern art, design, music, film, and performances, Roppongi Art Night offers a surreal, extraordinary experience. Launched in March 2009, the event is growing every year.|
|Time and Date||September 30(Sat) 10:00- October 1(Sun)18:00, 2017
<Core Times> September 30(Sat) 17:27(Sunset) – October 1(Sun) 05:36(Sunrise)
*Core times is the period with the highest concentration of events with many performances and workshops held.
|Venues||Roppongi Hills, Mori Art Museum, Tokyo Midtown, Suntory Museum of Art, 21_21 DESIGN SIGHT, The National Art Center, Tokyo, Roppongi Shopping District, other cooperating facilities and public spaces in the Roppongi area.|
|Admission||Free (however, fee is required for certain programs and museum events)|
|Organizers||Tokyo Metropolitan Government, Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture), Minato City, Roppongi Art Night Executive Committee [The National Art Center, Tokyo, Suntory Museum of Art, Tokyo Midtown, 21_21 DESIGN SIGHT, Mori Art Museum, Mori Building, Roppongi Shopping District Association]|
OPEN CALL FOR PROPOSALS: FILM TALENTS – VOICES FROM PAKISTAN AND AFGHANISTAN
ABOUT THE PROGRAM FOR FILM TALENTS – VOICES FROM PAKISTAN AND AFGHANISTAN:
What? The Prince Claus Fund and Goethe-Institut have collaborated to set up an Open Call for Proposals for the programme “Film Talents – Voices from Pakistan and Afghanistan”. We would like to offer young emerging filmmakers in Pakistan and Afghanistan the opportunity to take part in a mentorship programme for filmmakers through a series of five workshops to take place in 2017 and 2018 in the region.
Who for? This Call is open to ﬁnal-year ﬁlm, multimedia and art students and recent graduates in these ﬁelds who are willing to commit to participating. Applicants must be nationals of and reside in Afghanistan and/or Pakistan. Selected grantees are not restricted in theme or format (feature or documentary film). However, priority will be given to themes of untold stories, that make unheard voices from Pakistan and Afghanistan heard, for national and international audiences.
Selected participants will be provided support for accommodation and travel from Afghanistan and other cities in Pakistan for the workshops in Karachi. The programme will also cover production costs for short film projects by the selected filmmakers. These projects will be further developed with each filmmaker, under mentorship provided at the workshops. A jury composed of regional and international professionals will choose the successful applicants on the basis of their quality, innovation, the relevance of their proposal for the social context of their countries and the expected impact their proposed project could have.
At the end of the programme the successful participants will be supported in making an application to the Berlinale Talents, IDFA and/or similar festivals.
Who by? The Workshop will be conducted by the Goethe-Institut Karachi, the Prince Claus Fund and award winning Berlin-based ﬁlmmaker Till Passow in collaboration with Goethe-Institut Kabul and a number of mentors, partners and trainers from Pakistan and Afghanistan. They will train the filmmakers on capacities in developing a film project, screenwriting, implementation of the idea, producing a trailer and pitching and presenting their project. The programme focuses on enhancing the career opportunities for young filmmakers both locally and internationally.
When? The workshops will take place in Karachi in September and December 2017 and throughout 2018. Each workshop is two weeks long.
TIMELINE OF THE CALL FOR PROPOSALS:
Deadline to send in application: 13th of August 2017 at midnight AFT or PKT.
Possible dates for the first workshop: 04/09-17/09
Second workshop: 11/12-22/12 (tbd)
All Applicants will be contacted by mid- August 2017 by email with an answer on their application.
Why? The Film Talents – Voices from Pakistan and Afghanistan programme is intended to support the professional development and creative production skills of young film makers in Afghanistan and Pakistan. The Prince Claus Fund and Goethe-Institut firmly believe that young film makers from the region can foster understanding of their local communities both locally and internationally. This collaboration between the Institut and the Fund is designed to help young filmmakers tackle the challenges they face and to bridge a gap between formal education in film and media in Pakistan and Afghanistan and actual production in the field. Through mentoring, this programme will also help young filmmakers develop storytelling methods to engage with audiences and the insights needed to break through to international festivals. In today’s world, documentary research and film offer both tools and platforms to connect people through stories. Among the demographically young populations of Pakistan and Afghanistan there is great potential for talent in creative production to address the social issues they see locally. Both countries are home to very diverse communities. There is a pressing need for young people in this region to become aware of the positive possibilities of a diversity of narratives as well as the potential for a wider (international) impact.
Eligible candidates are individuals working in the field of filmmaking who are based in Afghanistan and Pakistan and who are nationals of the respective country. Applicants must have a proven track record connected to film making either through education and/or trainings.
The collaboration will cover costs of participation and accommodation during the 5 workshops of the program.
Place and Duration
The five workshops will take place in the Goethe.-Institut in Karachi, lasting 2 weeks each.
How to Apply
Complete and submit the application form (in English) and send it to email@example.com.
All applicants will be contacted by mid-August 2017 by email with a reply to their application. Short-listed applicants will receive information on the next steps in the application process.
Payment of costs of production and accommodations will be made in several instalments, production costs will be based upon proposed projects plan.
 We define quality as the ability of projects to combine social relevance, artistic excellence, newness of proposed idea and impact on local contexts with a global relevance
 Foreign and Pakistani trainers, among them Till Passow (Germany), Babar Sheikh (Pakistan) and others will mentor the process and discuss contents of projects with the participants.
 During the course of the workshops each participant will be supported to produce one or two short films and to present and pitch their projects at international ﬁlm festivals.
Thanks to Peter Bürger, the writings of my grandfather have been finally published. Peter did a great job in collecting all those articles – they show my grandfather as an engaged citizen and Catholic, who was very critical about the Adenauer regime and its attempts to supplant the horrible crimes that took place in Nazi Germany. I wish there would be an English translation, as those texts show a different post-war Germany … There is also no English translation for ‘Trauerarbeit’, but that is what he mainly did: reminding the Germans of their guilt, asking them to remember. Of course not many were ready for that. As filmmaker Christian Petzold once said, there is a big gap in German Cinema:
“The Germans had to have this ‘coming home’ story in 1945, but they didn’t make it. They don’t want to have a picture of themselves. Because they are guilty and because they don’t want to stand in front of their guiltiness. I think this is a scar, a wound, which goes through our film history through today. I think someone like Fassbinder, who started to make period pictures, in Fassbinder you can find the fascists in the contemporary movies, but then he starts to make period pictures, and he uses Douglas Sirk—also a German director, for example, who’s a refugee—to go back to this gap, this moment, where we don’t have the cinema. We had propaganda, and after we had propaganda again, and there’s a big gap.”
This gap is not only to be found in German Cinema. The collection of my grandfather’s writings can help fill that gap – just like Petzold’s latest movie did.
“Open Space” is an exhibition introducing works of media art and other forms of artistic expression born out of today’s media environments, to a broad audience. On display along with explanatory notes that help understanding the respective pieces are leading works from the realm of media art, artworks incorporating cutting-edge technologies, works with a critical standpoint, and in addition, projects that are currently in progress at various research institution. Next to presenting works to view and enjoy, the exhibition was conceived as an occasion for visitors to think about backgrounds and contexts such as today’s diversified forms of media and communication, problems in contemporary society, future prospects, and in addition, new sensibilities and aesthetics.
In the year of the 20th anniversary of the opening of ICC, the 12th installment in the series, titled “Open Space 2017: Re-envisioning the Future” and themed around creating new future visions, looks back on the past two decades, while at once reflecting on what kind of future we might be able to propose for the decades to come.
Also on the schedule during the exhibition period are a number of related programs including talk sessions, lectures, symposia and workshops with artists and experts, as well as guided tours around the exhibits with explanations by the curatorial staff.
My favorites: the “Marshmallow Monitor” by IWAI Toshio and nor’s “herering”, an audiovisual installation themed on synesthesia.
Composer and sound designer Yui Onodera demonstrating nor’s “herering”, Tokyo, July 2 2017.