One of the main programmes for the 60th (1 to 6 May 2014), entitled Memories Can鈥檛 Wait 鈥 Film without Film, will bring together works that take place in a cinema but play with the normal viewing situation. Many of these works move away from the traditional moving image projection. So what happens in the cinema when the key element of the movie-going experience 鈥 the film itself 鈥 is taken away, when the screen is blank, when memories are evoked or 鈥渋mpossible films鈥 presented? In one of the most extensive programme of 鈥渇ilmless films鈥 so far, Oberhausen will present over 30 historical and new pieces that explore this question. Film without Film is curated by Mika Taanila, one of the most renowned contemporary Finnish artists and filmmakers. We speak to Taanila about his latest project.
A: Why did you go with the theme Memories Can鈥檛 Wait: Film without Film? What is the idea behind it?
MT: The idea is to screen cinematic works that challenge the traditional projection methods. Some of these works don鈥檛 even project anything; instead use spoken words, shadows and sounds as main components. It鈥檚 fascinating to think about the notion of 鈥渁 film鈥 and what else can you potentially do in a cinema space than watch a movie passively. I did a single one-off programme called Film without Film for our Avanto Festival, November 2004 in Helsinki. That experience was really nice, we screened for example Ernst Schmidt jr鈥檚 Hell鈥檚 Angels and zzz: hamburg special by Hans Scheugl, with couple of audio-only films. These programs at Kurzfilmtage are a fantastic opportunity to dig deeper and show a variety of 鈥渇ilmless films鈥. It鈥檚 a strange, beautiful and vibrant sub-genre of experimental cinema.
A: What do you want audiences to take from this section of the film festival?
MT: Many of the films and performances in the programmes are inviting the audience to participate. Not only in the physical sense, like a few pieces do, but mentally to fulfil the cinematic experience. I鈥檝e selected many pieces which can only be shown in a cinema and not online. In this way one important aspect is really to celebrate the cinematic space, the collective unique screening atmosphere. I鈥檓 not a huge fan of watching moving image on a smart phone or iPad myself. I hope the audience will be surprised, baffled and maybe even confused by the filmless stuff here.
A: What do you think the benefits of short film are?
MT: I think the greatest freedom in contemporary cinema is in the short film sector. There鈥檚 very little commercial pressure, it鈥檚 all about art and free-flow of ideas.
A: How did you choose the artists to participate in Memories Can鈥檛 Wait: Film without Film?
MT: It鈥檚 been a long process. Initially I had an aim that I should have a good balance of historical and unknown 鈥 or at least rarely screened 鈥 as well as the brand new releases. It鈥檚 a combination of my long-time personal favourites and more recent works that I鈥檝e been introduced to by friends. It鈥檚 been a pleasant chain of recommendations and totally new discoveries for me. Looking at the final list of 32 artists here, I鈥檓 happy that it鈥檚 quite an eclectic bunch really. We鈥檙e very proud that we鈥檙e able to have world premieres for eight pieces.
For more information on the International Short Film Festival Oberhausen visit .
Credits
1. Hans Scheugl, zzz: hamburg special (1968). Courtesy of the artist.
