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Free PhotoFilm! Shorts Screening | SFMOMA

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Friday, May 18, 2012 - 4:30 pm to 6:30 pm | Cost: FREE
Phyllis Wattis Theater, SFMOMA | 151 Third Street, San Francisco, CA

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Photofilms are composed with still photographs and stimulate one’s imagination in an artistic way. Photofilms move between art forms and create a new scope for experimental, animation, documentary films as well as narrative cinema.

Curator Gusztáv Hámos will be present for discussion at the screening.

La Jetée (The Jetty)
France 1962, 35mm, 28 min, director: Chris Marker, cast: Hélène Chatelain, Davos Hanich
Marker’s legendary sci-fi consists solely of photographs, apart from one short moving image scene. After a nuclear war, survivors, living in the cellars of Paris, use a prisoner for their experiments in time travel. Through his memory of a particularly strong mental image, a woman’s face, the prisoner manages to travel into the past and meet her.

Der Fischmarkt und die Fische (The Fishmarket and the Fish)
Germany 1968, Beta SP, 9 min, director: Leonore Mau and Hubert Fichte

The film reveals the everyday life and existence in the Portuguese fishing village of Sesimbra under the dictatorship of Salazar in 1964. Fichte addresses the fishermen directly and analyses their working conditions as well as their social and political relations.

Beshin Lug (Beshin Meadow)
Soviet Union/USA 1935/67, 35mm, 30 min, director: Sergei Eisenstein, editor: Jay Leyda, Sergei Jutkewitsch

Beshin Lug only exists involuntarily as a photo film. Stalin’s film minister Schmujatzki had the work on the film stopped because it was considered to be too formalist and subjective, and then the negative was destroyed during World War 2, only stills and single frames remained.

Fremdkörper (Transposed Bodies)
Germany 2002, 35mm, 28 min, director: Katja Pratschke and Gusztáv Hámos, cast: Patrick von Blume, Oliver Elias, Vera Baranyai

Based on the Thomas Mann novella The Transposed Heads, the film recounts the story of two inseparable friends, Jan and Jon, and their shared love of Marie. Inspired by the affinity and alienation of photos and film images, the film quite deliberately draws a line between the inside and the outside of bodies, between moving and non-moving images, between medical imaging techniques and photography.