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Course: A Chronicle of Contemporary Cinema. Innovators vs Archaists

Date

From 04 April 2021 to 31 May 2021

Place

Garage Auditorium

10 lectures

120 min
Course: A Chronicle of Contemporary Cinema. Innovators vs ArchaistsCourse: A Chronicle of Contemporary Cinema. Innovators vs Archaists

A course for those who wish to understand the history, main trends, and personalities of twenty-first-century cinema.

The course will focus on innovators and classics who made the most significant and talked about (not only within the professional community) films over the past twenty years. Participants will analyze the peculiarities of the director’s vision, the style and poetics of each movement, study their connection with the earlier tradition, and learn more about the revolution of the end of the twentieth century and substantial innovations in cinema.

The classes will help participants to get or expand an understanding of contemporary cinema, prepare a map for independent study, and systematize knowledge about the development of filmmaking in the twenty-first century.

For more information on the course, please contact us.

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Number of classes and duration:

Ten 90-minute lectures

Classes are held in Garage Auditorium and online with broadcast on a closed channel.

All course participants will also receive access to a channel featuring additional materials for further study and group discussion.


Season ticket costs:

Full-time (includes access to online broadcasts of sessions, optional)—12,000 RUB

Online—9,000 RUB

Schedule

Change of landmarks. The ethics and optics of the Dardenne brothers

The end of postmodernism and the onset of the neorealist era. The specifics of new characters and a different social cinema.

Date
Sunday, April 4
Time
17:30–19:30

Romanian wave. Experience and time of the everyday

The universal specificity of the post-Soviet European space in the films of Puiu, Porumboiu, and Mungiu. Reflection on the ideological and aesthetic heritage.

Date
Saturday, April 10
Time
18:00–20:00

Rehabilitation of the document: the problem of perception

The destruction of the Twin Towers as the beginning of current history. Attention to and trust in the document, and its mysterious opacity.

Date
Saturday, April 17
Time
18:00–20:00

Ulrich Seidl’s alternative radicalism. Method and imagery

The middle class, as portrayed by the Viennese perfectionist. A special sensibility: heaviness and tenderness.

Date
Saturday, April 24
Time
18:00–20:00

“Neo-classics” and new meanings

The supposed and the unobvious in the work of Michael Haneke, Laurent Cantet, Eliza Hittman, and other filmmakers.

Date
Friday, April 30
Time
19:30–21:30

Based on actual events: documentary as a fictional element

Reconstruction of historical facts in fiction and documentary cinema. Work with video evidence in the practice of the Swiss theater company Rimini Protokoll.

Date
Friday, May 7
Time
19:30–21:30

Art cinema: reloading genres

Rethinking genre canons in the works of Jim Jarmusch, Yorgos Lanthimos, Aki Kaurismaki, and other directors.

Date
Saturday, May 15
Time
18:00–20:00

Tsai Ming-liang: beyond cinema

The Taiwanese filmmaker as a representative and/or agent of contemporary art. The happening and new technology.

Date
Saturday, May 22
Time
18:00–20:00

Sergei Loznitsa’s cinematic anthropology

The transhistorical approach to comprehending Russian society. Distance of gaze and grotesque tropes.

Date
Saturday, May 29
Time
18:00–20:00

Dau and the end of a beautiful era

The story and perception of this unique project. The specificity of its structural, ideological, and intermedial implementation.

Date
Monday, May 31
Time
19:30–21:30

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