An introductory salon with Hartmut Bitomsky
Before the weekend starts, Hartmut has proposed doing “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.” Bring a video clip in which you can read the filmmaker’s position in their decisions, and let’s see where the fault lines show.
Hartmut is one of the most outstanding German filmmakers to have worked in the last 40 years, as well as a super important critic, editor and translator.
Before the weekend starts, Hartmut has proposed doing “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
We’re interested in how film is a very specific and useful way to think: the best documentary films talk about important situations, and we think the best artists’ films think through how to talk about such situations. Hartmut’s work combines both of these things: he thinks about what should be discussed, and he thinks through how to use every element of film to best talk about it. So then: you’re hereby invited to bring a clip which you might like to talk about a little in relation to those ideas, and let’s see, together what we can share, and where the fault lines show…
“I think that every film is a map on which a way has been marked out. In a good film a clever way has been chosen, which leads us past a number of places that invite us to cast a look aside. That is why I look for subjects that mark out this path for us, like the production lines in The VW Complex. When the subject has this sort of extending movement, then the film sets, so to speak, itself in motion. It’s like a river that passes by the camera.”
- Hartmut Bitomsky
Thanks, as ever, to Marlies Pfeifer and the Goethe Institute Glasgow for their support with Hartmut’s visit.