26. ‐ 31.03.2019

The Festival’s theme “Chaos” is examined closely in the accompanying LICHTER programme in cooperation with the Frankfurt Cluster of Excellence Normative Orders (EXC)

How to Film Nothing

Thursday, 5th of April 2018 // 21:15 o’clock // Naxoshalle

Lecture with director Boris Mitić

An inspiring overview on the creative and technical production-related challenges that the development of In Praise of Nothing (International Programme CHAOS) brought about.

Starting as a global project in the bankrupt Serbia, the film is a rhetoric provocation of an autodidact filmmaker as well as a creative process running over 8 years in which 20.000 pages of eclectic bibliography were distilled into childlike verse – to the surprise of the author, narrated by Iggy Pop and musically supported by the cabaret-grandmasters of the Tiger Lillies, furnished with “documentary material of Nothing” filmed in 70 countries by 62 filmmakers – stars and novices alike that at first had free reign, but soon received precise instructions from the director, discussed together in a unique, tailored anonymous online-brainstorming platform.

To this end we are serving “Nothing’s favorite homemade schnapps”. Don’t miss it!

Let Chaos reign?

Friday, 6th of April 2018 // 19 o’clock // Foyer 1st floor Deutsches Filmmuseum

Lectures and Discussions.

In cooperation with the Exzellenzcluster Normative Orders of the Goethe University Frankfurt, we will have a closer discursive look on Chaos on Festivalfriday. Jacob Lillemose, curator of X AND BEYOND in Copenhagen will have a look at catastrophes in film in his lecture "The End is Not the End. Post-apocalyptic Imaginaries in Contemporary Movies“. Followed by a talk with Peer Illner (EXC) on Lillemoos’ observations. In Tohuwabohu 2.0Matthias C. Kettemann (EXC) tries to uncover chaos on the internet, while Marcus Döller (EXC) follows the aesthetic idea of the chaotic shapelessness in Chaos in die Ordnung bringen. Following this, they all test their ideas for compatibility and fruitfulness in a moderated talk. 

Host: Stefanie Plappert (DIF)

Free entry

Jacob Lillemose PhD 

The End is Not the End. Post-apocalyptic Imaginaries in Contemporary Movies

Lecture in English

It is an age-old thing for humans to imagine the end of the world. Already the cave paintings in Chauvet, dating back 37.000 years, depict the real-life monstrous drama of a volcanic eruption. Today, such depictions of earth-shattering events abound in the works of fiction produced by the movie industry, from the satellite malfunction in Geostorm to the zombie pandemic in World War Z. However, in these contemporary depictions of catastrophes the end is never really the end but always an occasion for a return to something that existed before the event or the beginning of something completely new. This talk will engage with a broad selection of current cinematic disasters to discuss the implications of these two types of "non-endings." It approaches the question of the end of the world as a horizon for world-making to raise both critical and visionary awareness of the political and existential aspects of imagined disasters.

Dr. Matthias C. Kettemann, LL.M. (Harvard/EXC)  Tohuwabohu 2.0

Chaos on the net as a force of productivity and a source of danger. At the beginning there was chaos. Then came freedom. Then came the states and with them the law. But does this loss of chaos also mean the loss of freedom? ‘Anti-chaotic’, legal approaches to order in the regulation of the internet may of course be justified, but – if excessive, instrumentalised by intermediaries or loaded with state authority – they carry the danger of violating freedom. Let chaos reign? The internet has many meaningful ‘chaotic’ tendencies: fragmentation, cyber attacks, diversification of private organising. Chaos is not anarchy if chaos on the internet stays as a productive force and universal basic values as well as basic principles of the internet are secured – especially on the internet as a non-linear dynamic system in which, as in physics, chaos is the regulatory state. And regulations are famously normative.

Marcus Döller (EXC)  Chaos in die Ordnung bringen (Bringing Chaos into Order) 

The philosophical thinking on aesthetic execution in artistic practices is marked by a reflection on the disruptions in successful executions in social practices and their normative constitutive conditions. The disruption of social practices of success opens aesthetic windows for the dissolution and production of forms that are themselves not constituted like the forms of these figments. Chaos is the name for the non-shape of the synchronism of dissolution and production of shapes out of shapelessness. In his lecture, Marcus Döller will survey the paradox connection of chaotic shapelessness and orderly shape on his own internal dialectics by interrogating the modern aesthetics on the structure of production of chaotic shapelessness through the forms of artistic practices. Aesthetic practices therefore enable the portrayal of a synchronism of dissolution and production of shapes by opening up, in the shape of products, to chaotic shapelessness and staging the differences of orderly shape and chaotic shapelessness in form of their productions themselves.

Donald Trump, The Actor

Saturday, 07th April 2018 // 8 p.m. // Mal Seh'n Kino

Donald Trump, the 45th president of the USA, has performed in 25 film and TV productions since 1981, once even winning the Golden Raspberry Award for worst male supporting role. Trump mostly played himself in the form of small Cameo performances. In doing so, he has earned an image which makes him nearly invulnerable today. Urs Spörri hazards a scholarly film analysis, accompanied by numerous film excerpts. He is convinced that this lecture can make the Trump mystery – and maybe also can find out, why so many people voted for this man. 

The analysis will be held in German.

 About The Speaker:

Urs Spörri studied film studies, journalism, and political science – he has been pursuing the history of US presidential election campaigns intensively for 20 years. It is thus not surprising that his interest in the extraordinary candidate Trump was soon awakened. During his numerous months of research, he constantly came across films in which Trump had acted.

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