Every other Wednesday night the Master’s department of the Film Academy invites guests to come and give a lecture. Speakers can be film makers, visual artists, composers but also philosophers, scientists or film theoreticians. The aim is simple: to broaden our horizon and to get inspired by a diversity of approaches and perspectives.
The lectures are free and open to all who are interested. For most lectures a reservation won't be necessary, but if you want to be sure to have a seat: please use the online RSVP form.
19 March 2014
On truth and fiction in documentary cinema | Jos de Putter
Jos de Putter will focus on narrative, cinematic and philosophical questions that deal with the concept of ‘truth’ in documentary cinema.
Documentary has always manoeuvred between ‘journalism’ and ‘storytelling’, or topic-driven versus auteur-driven. Both traditions make a particular claim to what is called ‘truth’. However, distinctions are not always transparent; thus, ‘storytelling’ is often confused with ‘manipulating’, while the reality claims of direct cinema have their own shortcomings. This leads to the question if we can ‘lie the truth’.
Jos de Putter will focus on this question from different angles. For a practical discussion he will show fragments from his own work and that of other filmmakers, which exemplify the dilemma.
For a more theoretical approach he will include a survey of the theory of sign and meaning as understood in the tradition of Prague Structuralism, notably the work of Jan Mukarovsky.
Jos de Putter (1959) studied political science and literature at the Rijksuniversiteit Leiden, and as a post-graduate modern philosophy at the Freie Universität Berlin. He worked several years as a film critic before he made his first documentary in 1993, ‘It’s been a lovely’, which was very successful. Since then he has made several other prize winning documentaries, made installations and shorts (shown at MOMA, New York), and worked as editor-in-chief for VPRO Tegenlicht. His new film 'SEE NO EVIL' (2014) is a portrait of three elderly famous chimpanzees, who ‘look back upon their lives’.
2 April 2014
FACELESS | Bogomir Doringer
Bogomir Doringer is a visual artist, originally coming from Yugoslavia, these days known as Serbia. After finishing his studies at the Rietveld Academy, he graduated from the Master of Film with cum laude in 2011. Doringer has been nominated twice for the Venice Biennale, with the project that he has been developing during his studies at our academy, entitled ‘Hospitality’.
During the lecture he will be speaking about his recent exhibition FACELESS. Long research on FACELESS formed itself in a two-part exhibition exploring a phenomenon present all around us: the fashion of facelessness that first appeared in the creative arts at the beginning of this century and has remained popular ever since. The exhibition reminds us of the impact that media-generated images can have on the creative arts and the ways in which they respond to public images, pop culture, and the mainstream in general. In today’s socio-political frame in which there is a lot of discussion on the issue of privacy, this exhibition has a special importance and alarming tone.
In the Museums Quartier in Vienna more then 26,000 people visited the exhibition, confirming the importance of this phenomena. In January this year it has been brought to Amsterdam and installed at the Mediamatic Fabriek. It gathers more then 90 contemporary artists including names such as Marina Abramovic, Jill Magid, Maison Martin Margiela, Raf Simons, Jeremy Bailey, Andrew Norman Wilson and many more.
With regards to the exhibition, Doringer says in his statement:
"Following the events of 9/11, images of masked faces of terrorists became dominant in the media; repeated as a ghostly, unknown presence that reminds us of the unsafe time we live in. At the same time, throughout Europe people began to pursue a ban on burqas. Events like the murders of Pim Fortuyn and Theo van Gogh in the Netherlands led to public discussions on the impact of Muslim culture through Muslim minorities on so-called "western values". In addition to the loss of privacy, the rules of modern technology demand that we be constantly visible. Social networks, initially developed as platforms for communication, came to define standards of everyday activity and lifestyle. They approach us with the promise of serving as tools for self-promotion, and then increasingly invade our privacy with our express consent.
The unstable identity of the present begs for the return of power of the mask from ancient times, when it was used as a form of protection, disguise, performance, or just plain entertainment.“
To give the visitors of the lecture a chance to see the exhibition, the lecture takes place NOT at the Film Academy, but at Mediamatic.
Mediamatic, Van Gendthallen (next to Roest) , VOC-kade 10, Oostenburgereiland, Amsterdam. How to get there
16 April 2014
The making of 'One Hand Clapping', found choreography installation and film | Peter Delpeut & Menno Otten
'One Hand Clapping' is a five screen video installation as well as a short dance film in which the hands of five chief conductors of the Royal Concertgebouw Orchestra perform a dazzling dance. The hands are taken from concert registrations, mostly 400% to 500% enlargements of the original footage. The five screens, as well as the frame enlargements confronted Peter Delpeut and Menno Otten (editing) with huge artistic and technical challenges.
In their lecture Delpeut and Otten will give insights in both processes, focussing on the difference between installation (being monumental and silent) and film (forcing a narrative structure and having a sound track).
'One Hand Clapping' is a so called found choreography: found footage made into dance. Delpeut wrote a blog on found choreography for dance film festival Cinedans, with many examples of and ideas on this new genre of dance film.
Peter Delpeut (1956) is a filmmaker and writer. From 1988 tot 1995 he was programmer and deputy director of the Netherlands Filmmuseum (now EYE). He makes films in many genres: found footage ('Lyrical Nitrate'; 'Diva dolorosa'), documentaries ('In Loving Memory'; 'Immer Fernweh') and features ('The Forbidden Quest'; 'Felice…Felice…').
He writes novels ('Het vergeten seizoen'; 'Kruisverhoor') and traveling essays ('De grote bocht'; 'In de woestijn fiets je niet'). His essays on film and other arts are published in several magazines. They were compiled in 'Pleidooi voor het treuzelen'.
In 1993 he shot the short dance film 'E pur si muove', in collaboration with choreographers duo LeineRoebana. In 2012 the three of them also produced a dance video installation for De Lakenhal in Leiden. In collaboration with Menno Otten, Delpeut wants to develop new found footage installations. Their first official duo presentation 'Sisyphus' can be seen at the EYE Film Institute from 12 March 2014.
Menno Otten (1984) made the award-winning documentaries 'Nightwatcher' and 'Time within Time', while being a student at the Netherlands Film Academy. Recently he premiered his new documentary 'Via Dolorosa' at the IDFA 2013. Currently he’s developing a new documentary for the VPRO.
After graduating from film school Otten worked on several multi screen installations, most recently for an exposition of The National Film and Sound Archive. Otten’s installations focus mainly on re-using and experimenting with found footage.
In 2013 Otten founded his studio InnerVisions, focusing on experimental installations and art-projects. InnerVisions produced a series of “Living Paintings”, shedding “new light” on old Dutch masters and bringing them to life in a way that has never been seen before. The first one will be released early 2014.
30 April 2014
Programme to be announced
14 May 2014
The past tells – telling the past | Willem Capteyn
Reflections of a screenwriter on the omnipresence of the past in film and the many different ways the past can be told.
From formal flash back structures to details of images and sound design; from general preconditions in the mind of the spectator to the complex mental activities that drama can prompt in the viewer and the key role memory plays in this process.
Born in Wierden (the Netherlands) in 1944, Willem Capteyn completed his studies as a violinist at the Amsterdam Conservatorium in the late nineteen sixties. In the seventies and eighties he wrote many radio plays, television plays and television series, often together with co-authors.
Award winning productions to which he contributed include the twelve-part television series 'Zwarte Sneeuw' (‘Black Snow’), which in 1997 received the Gouden Beeld (Golden Image) for the best drama series in the previous season. In 2002 the eight-part series 'De Negen Dagen van de Gier' (‘The Nine Days of the Vulture’) was awarded a Gouden Kalf (Golden Calf) for the best television drama of 2002.
In 1989 Capteyn joined the Netherlands Film Academy where, from 1995 to 2003 he was head of the screenwriting department and, from 2008 to 2009, was its Director.
He is currently working on the scripts for three feature film projects.
28 May 2014
Guerilla filmmaking in South-East Asian cinema | Lorna Tee
11 June 2014
Programme to be announced
Time & place
Programme spring/summer 2014
Wednesday 19 March 2014
On truth and fiction in documentary cinema
Jos de Putter
Wednesday 2 April 2014
Wednesday 16 April 2014
The making of 'One Hand Clapping', found choreography installation and film
Peter Delpeut & Menno Otten
Wednesday 30 April 2014
programme to be announced
Wednesday 14 May 2014
The past tells – telling the past
Wednesday 28 May 2014
Guerilla filmmaking in South-East Asian cinema
Wednesday 11 June 2014
programme to be announced
See past events
Wednesday Night Film Screenings
On the other Wednesday nights (when there is no Master Film lecture) our Master Film students are organizing film screenings and talks at the Film Academy cinema.
Feel free to join! All events will be announced on Facebook