A Season of Footage and Films Part 5. The Time Between Recording and Projection


Sunday, January 23, 2011, 6:30 pm
CAMP Roof

1. The Specialist
Eyal Sivan and Rony Brauman
1999
128 mins

2. Ici et Ailleurs
Jean-Luc Godard, Anne-Marie Miéville, Jean-Pierre Gorin,
 AKA The Dziga Vertov Group
1974
53 mins


1. Fifteen years after the end of the Second World War, SS Colonel Adolf Eichmann was captured in Argentina, where he was living and working under a false name, by Mossad agents and taken to Israel for trial. Leo Hurwitz, an American leftist film-maker was hired to record the Eichmann trial, which he did using four concealed cameras. In 1991, when filmmaker Eyal Sivan inquired about the footage, he was told that it didn't exist. In 1999, Sivan and Rony Brauman put together this 128-minute film, disrupting the chronology of the trial and highlighting instead its tone and environment, from over 300 hours of the recorded footage they were able to access (one third of which had decayed by then).

2. At the request of the PLO, "The Dziga Vertov Group" shot footage of the Palestinian resistance in 1970. They were only able to edit the footage and make the film Ici et Ailleurs (Here and Elsewhere) in 1974, retaining "only five shots" from the original material.

"In 1970, this film was called Victory. In 1974, this film is called Here and Elsewhere. And elsewhere. And..."
 
"For it’s in the nature of cinema (delay between the time of shooting and the time of projection) to be the art of here and elsewhere. What Godard says, very uncomfortably and very honestly, is that the true place of the filmmaker is in the AND. A hyphen only has value if it doesn’t confuse what it unites."
 - Serge Daney (A Preface to Here and Elsewhere)

Gallery: A Season of Footage and Films Part 5. The Time Between Recording and Projection
A Season of Footage and Films


CAMP presents
Saturday or Sunday evening screenings through winter, exploring footage both within and outside the usual capsule of "the film". An experience that could be similar to watching films, or at other times harder to digest, or slower to release, closer to the moment of shooting, less censorious, and less fearful of finitude. Another life, another world of viewing and listening experiences is always possible.



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