[Frameworks] Official_Programme_of_The_First_Ever_Experimental_Film_Festival_and_Conference_in_Hungary_I._Celluloidra_Revolverrel

Tue Aug 13 13:58:19 CDT 2024

hi Eric Theisse and Jeanne Cousseau,

Thank you for your interest. Unfortunately the conference is going to be
held in Hungarian and we do not have the budget yet to afford translators
on our first season. The only presentation that is going to be held in
English this season, is "Fashionable Fetish - Guy Debord and Situationist
Film by Zhuoran Zhang. Hopefully next year, we will have the opportunity to
work with professional translators on site. Nevertheless we do have English
translations of the brilliant presentation abstracts - I have copied them
below.

Márió Z. Nemes

Post-digital aesthetics and technocosmic horror

In my presentation, I examine the post-digital aspects of found footage
filmmaking with the help of Aristotelis Maragkos' film The Timekeepers of
Eternity (2021). Maragkos's film is an appropriation of the 1995 Stephen
King adaptation, The Langoliers - Prisoners of Time. The director reworked
the three hours long original TV movie into sixty-three minutes, but the
central strategy here is not the recontextualizing, but the material
transformation of the film-image. Maragkos printed out the frames of the
original film, then re-animated the sheets of paper while crumpling and
deforming the paper. This solution embodies a post-digital way of thinking
in which virtuality and materiality interpenetrate each other inseparably,
while the aesthetic effects are created by the tension of these dimensions.
All of this is particularly interesting from the point of view of the
legendarily "trashy" CGI monsters of the 1995 adaptation, since Maragkos
"covers up" the titular entities with the help of paper deformations. In
this case, it is as if the digital withdraws from the representation to
permeate and invade the materiality of the film, as a kind of technocosmic
horror that is unrepresentable but enables all representations, which also
expands the visual possibilities of horror aesthetics.

Keywords: found footage, post-digital, material transformation,
appropriation.

Márió Z. Nemes (1982) is an assistant professor at the ELTE MMI Department
of Aesthetics. Poet, critic, esthete. He is a member of the artcollective
Technologie und das Unheimliche (
http://www.technologieunddasunheimliche.com/
<http://www.technologieunddasunheimliche.com/?fbclid=IwZXh0bgNhZW0CMTAAAR1d_c-hcD-VhdKvbjNXzUoQrpOwZaIM1LmAia_fVPAfOl82POSstztWXqY_aem_Iud5cFfjVw8KkMDttra3lw>).
His most recent book: Ectoplasm (art essays, Symposion 2020)

Zsolt Gyenge

The Gallery as an Experimental Space for Moving Images: A Phenomenology of
Video Art

Since the 1960s, video art has innovatively integrated moving images into
visual art practices and museum spaces. However, for me, the true
experimental nature of video art is not in the projected moving image
material but rather in the continuous re-creation of the apparatus. The
always different spectatorial position in each installation requests the
viewer’s constant re-positioning, and results in a self-reflexive bodily
experience of the medium’s possibilities. This departure from the
traditional cinema setting in projection methods results in unusual
perspectives, time experiences, and affective presence that crucially
defines the reception and interpretation of these works of art.

In this presentation, I aim to explore the experimental nature of video art
as it manifests in the creation and design of its apparatus through the
phenomenological examination of moving image installations. I will
investigate the altered dynamics of attention, the phenomenon of bodily
self-reflexivity realized through physical presence in the installation
space, the reinterpretation of the film frame in multi-channel
installations, and the emergence of affective effects in large-scale
"gallery cinema" involving entire gallery spaces.

During the presentation I will primarily illustrate the theoretical
insights with contemporary or relatively recent examples that I have
personally seen in exhibited form, thus having physically experienced the
nature of the viewer's experience influenced by the given installation
setup. Thus works by Chantal Akerman, Jesper Just, Julian Rosefeldt and
Ragnar Kjartansson will be presented.

Keywords: video art; installation; phenomenology; spectatorship

Zsolt Gyenge is Associate Professor at the Moholy-Nagy University of Art
and Design (Budapest, Hungary), where he teaches courses in avant-garde
cinema, film history and visual communication theory. His research interest
include interpretation theories (phenomenology, hermeneutics), moving image
installations and Romanian Cinema. He is the author of the book Image,
Moving Image, Interpretation: A Theory of Phenomenological Film Analysis
(published in Hungarian). He is currently working on a research on the
phenomenology of moving image installations. He is the editor of the
scholarly journal on design and visual culture Disegno, and is also active
as a freelance film critic.

Zsolt Gyenes
Hybrid Techniques in Contemporary Experimental Video Art

The lecture will explore the main characteristics of contemporary,
electronic, analog and hybrid, experimental, abstract audiovisual works of
art. It will be an artistic statement, illustrated by the author's own
examples, and will focus on his recent opuses, such as ElectroLandscape,
Vortex and Mashed Wall, which have been presented at international
festivals in the USA and Europe over the last two years. Perhaps the most
original part of the lecture is a presentation of the author's ongoing
experiments with a 'prepared television'.

Keywords: 'analog feeling'; prepared television/wobbulator; combinations of
different techniques; hybrid forms

Dr. habil. Zsolt Gyenes DLA, media artist, associate professor (MATE
Rippl-Rónai Institute of Arts and Theatre)

Peter Lichter
The found footage film and the "uncanny": the possibilities of the
avant-garde horror

My presentation will focus on the a brief historical overview of the found
footage film form (or genre) and how these films use a certain kind of
"uncanny" aesthetic. The Freudian concept offers exciting possibilities for
the study of found footage films: it suggests that the recycled material,
because of the "decontextualisation" and abstraction, can use the
aesthetics or the effects that may be similar to the horror horror genres. In
my presentation I will use my own filmic examples from my film practice.

Keywords: unheimlich; found footage film; horror

Péter Lichter (1984) is an assistant professor at the Department of Film
Studies, PTE BTK, author of several books on film history and director of
numerous experimental films.

Botond Biró
Montage and Historicity in the films of Radu Jude

In dialogue with studies about montage in contemporary Romanian cinema, I
argue that the montage technique in the films such as Bad Luck Banging and
Looney Porn (Babardeală cu bucluc sau porno balamuc, 2021) and Do not
Expect Too Much from the End of the World (Nu aștepta prea mult de la
sfârșitul lumii, 2023) is structurally different from intermedial collage
(Pethő, 2022). In these two films by Radu Jude, the juxtaposition of
archival images of late stalinism and contemporary neoliberalism is a means
of producing a historicized interpretation of our present-day reality,
which invites the viewer to reflect on the abstract nature of history. I
argue that the new montage – implementing the ideas of Walter Benjamin –
places the production and reproduction of History in the centre of
political critique.

In order to support my claims, I use George Didi-Huberman’s book, The Eye
of History, in which the author interprets and contextualizes the
photomontages of Bertolt Brecht in the light of the philosophy of history
of Walter Benjamin. In Didi-Huberman’s interpretation, Brechtian montage
was able to redistribute the aesthetic regime of his time through the
concept of alienation (Didi-Huberman, 2018). In this respect, montage aims
to decontextualize images in order to reassemble them, revealing the
complexity of the representation, instead of its apparent simplicity.
Discussing the selected films within the framework of the theoretical
avant-garde montage tradition, I argue that it renders visible the specific
aspect of contemporary Romanian cinema, which reflects on the
reconstructibility of the historical past with cinematic tools and aims to
search for aesthetic solutions to social problems.

Keywords: theory of montage, philosophy of history, Walter Benjamin,
political aesthetics

Advisor: Strausz László PhD
Affiliation: Eötvös Lóránd University, Faculty of Humanities, Institute for
Art Theory and Media Research, Film Studies Department, Budapest

Bori Máté
The Sensuality of the Cosmos: The Intertwining of the Human and Planetary
Planes in Daïchi Saïto's film earthearthearth

This presentation will focus on Japanese-born Daïchi Saïto’s experimental
short film earthearthearth (Canada, 2021). He shot the film on 16mm film in
the Andes, in the heart of a natural ecosystem threatened by centuries of
nitrate mining and geothermal extraction. Saito goes beyond the intention
to create a mere reconstruction of ecologically traumatic events. Instead,
he “tunes” the viewer into the so-called “eco-trauma experience” through
the film’s soundtrack, which features the breathing and heartbeats of
saxophonist Jason Sharp, and the almost abstract, sensual images
manipulated by hand in post-production. In the course of this presentation,
I will discuss how the film, through its radical formal strategies,
questions the notion of ‘reflection’ (Haraway 1992, 2016; Barad 2007, 2014)
as a mode of knowledge production and how it seeks to connect the human and
planetary planes by activating the memory of the senses.

Keywords: eco-trauma experience; haptics; experimental cinema; entanglement

Bori Máté is an experimental filmmaker and currently a Doctoral Student at
the University of Applied Arts Vienna. Her articles and essays have been
published both in Hungarian and English in such journals as the Quarterly
Review of Film and Video, Millennium Film Journal, ACTA, and Metropolis. In
2023, she was the guest editor of the international journal, Iluminace’s
special issue, “(Eco) Traumatic Landscapes in Contemporary Audiovisual
Culture.” Máté’s films were screened at festivals like Berlin Critics’
Week, Rotterdam International Film Festival, Jihlava IDFF, and Oberhausen
Short Film Festival.

Beja Margitházi

Experimental Radioactive Documents
Visual and Aural Techniques in Photofilmic Traces of Chernobyl

The proposed presentation explores the performative photofilmic and aural
practices used in the artistic works of Alice Miceli (Projeto Chernobyl
(2007/2011), Lina Selander (Lenin’s Lamp Glows in the Peasant’s Hut, 2011),
Daniel McIntyre (Lion Series, 2011–2014) and Clara Casian (Birdsongs:
Stories from Pripyat, 2016) extending beyond journalistic representations
of the contaminated environment of Chernobyl. Instead of focusing on the
‘spectacular’ decompositions of the objects and buildings in the area,
these artists seek experimental modes of collecting ecomaterial evidences
and ‘documenting’ the impalpable materiality of gamma rays, still present
in Chernobyl Exclusion Zone. The presentation investigates the performative
strategies of these ‘experimental documents’ which move beyond the
aestheticism of simply being a ‘material witness’ (Susan Schuppli, 2020):
either by introducing human agency to trap radiation through non-human
technology (see Miceli’s X-ray images), or embedding the indexical
materiality of radiation in cultural references and cinematic remediations
(like in Selander’s film installation), or converting personal narratives
and diary-like meditations on radioactivity to damaged celluloid montages
(McIntyre), or mixing archival and new footages, recordings and soundscapes
(Casian) – simultaneously pointing to the consequences of nuclear trauma
and environmental pollution in the Zone.

Keywords: radioactivity, (eco)trauma, experimental film, performativity

Beja Margitházi is assistant professor at the Department of Film Studies at
Eötvös Loránd University in Budapest, Hungary. She was the founding editor
of Filmtett monthly film magazine, then website (2000–2008), and is
co-editor of Metropolis Hungarian journal of film theory and film history
(2019–). She is the author of the book Az arc mozija. Közelkép és
filmstílus [The Cinema of the Face. Close-up and Film Style] (2008) and
co-editor of the anthology Vizuális kommunikáció [Visual Communication]
(2010). Her research interests include classic and cognitive film theory,
visual studies, theories of trauma, documentary film.

Ervin Török

The Place of Experimental Filmmaking in Film Education - Keynote Lecture

Rosalind Krauss's seminal text "Sculpture in the Expanded Field ",
published in Hungarian in the ’90s, describes the medium as a cultural
"expansion" of the medium. The conclusions of Krauss's text apply not only
to sculpture, photography or film, as her interpreters have 'expanded' her
conclusions, but to all media, and her text is relevant not only in the
context of neo-avantgarde art practices, but also in relation to current
media practices. In my lecture, I would like to attempt such an
'expansion', namely to link Krauss's conclusions to the issue of Studies in
Hungarian Film.
The Hungarian film discourse and education system has less regard for film
as historically changing media techniques and as social and economic
practices. Compared to the dominant feature film practices, not hegemonic
(Gramsci) filmmaking (from documentary to ethnographic film, from private
filmmaking to experimental film practices) have received less attention in
Hungarian film education. However, in the accelerating media reorientation
(further catalyzed by the latest media platforms), Hungarian film education
is spectacularly losing its discursive legitimacy and methodological base.
Digital culture is beginning to challenge the unquestioned foundations of
Studies in Hungarian Film,

If it does not want to lose all its cultural relevance, film education has
little choice but to run ahead and focus on free experimentation, on
possible cultural "expansions" of what is called: film.

Keywords: experimental film, film education, Rosalind E. Krauss, media
technology

Ervin Török is a lecturer at the Department of Visual Culture and Literary
Theory at the University of Szeged, and editor of the online journal
Apertúra.

Gábor Gelencsér

Centaurs

The linguistic and political radicalism of the BBS experimental films

Thanks to Gábor Bódy, experimental filmmaking at the Balázs Béla Studio
took on the character of a series or a group in the 1970s, and thus –
together with a few other works – "institutionalised" experimentalism
within the institution. The Linguistic Series, the K/3 group pieces and the
other experimental works represent two different versions: while all
explore the new linguistic possibilities of the medium, in one the search
for language and the medium itself becomes the subject, in the other
linguistic radicalism is associated with socio-political meaning. In my
presentation, I will put the experimental films of the decade in groups
according to the aspects above, then examine the films of the latter
variety in detail, and through three case studies, seek to answer the
question of how socio-political meaning is linked to the mainstream of
feature films.

Keywords: Hungarian Film History, Balázs Béla Studio, Experimental film,
Linguistic Series, K/3 group

Gelencsér Gábor (1961), is Associate Professor at Eötvös Loránd University,
Film Studies Department (Budapest, Hungary). His research interests are
related to Hungarian cinema after WWII and Hungarian film adaptation.
Recent works: Közelkép. Porték, témák, formák a Magyar film történetéből
[Close-up. Portraits, Themes, Forms from the Hungarian Cinema] (2022);
Lopott boldogságok. Premodern Magyar melodrámák (1957–1962) [Stolen
Happiness. Premodern Hungarian Melodramas (1957–1962)] (2022); A Titanic
zenekara. Stílusok és irányzatok a hetvenes évek magyar filmművészetében
[The Orchestra of the Titanic. Styles and Trends in the Hungarian Cinema of
the Seventies] (2002, 22023).

Dorottya Szalay

The (Socio)Critical Potential of Confronting the Female Body
– Interpretations of Teresa Tyszkiewicz's Experimental Films

Teresa Tyszkiewicz is a leading figure in Polish (feminist) avant-garde
art, whose cinematic works from the 1980s, focusing on the representation
of the sexualized female body, have been consistently underrated in art
history. Even when texts dealing with these works go beyond a stubborn
examination of the films in relation to the erotic visuality of
Tyszkiewicz's former collaborator Zdzisław Sosnowski, they rarely escape
the schematising interpretations of Anglo-Saxon feminism. Yet Tyszkiewicz's
non-narrative experimental films go considerably further: pursuing an
individual strategy and constructing a uniquely subversive system of
symbols, they engage in an active dialogue with the reality of Polish state
socialism in the 1980s, with messages hidden in creative formal language.

The presentation attempts to categorically distance itself from the
analytical attitude that legitimizes Tyszkiewicz's work based on Western
references, and instead makes room for readings that support a critical
mapping of Polish social conditions. In doing so, it becomes apparent that
Tyszkiewicz's cinematic works also serve as a means of reporting
indirectly, and sometimes directly, on the local context and the realities
of Polish women under the communist dictatorship. They expose the (central)
appropriation of the body and the socio-political dimensions of the
claustrophobic experience of the domesticated space, while highlighting the
inherent patriarchal functioning of state socialism, the anti-woman agenda
of the anti-communist resistance, and of the Polish Catholic Church.

Keywords: feminism, Polish avant-garde, socially critical art, sexuality

Dorottya Szalay is a women's rights expert and activist. She holds a PhD
from the University of Theatre and Film Arts. She has been a visiting
researcher at the VŠMU in Bratislava, the AVU in Prague, and the CFMDC in
Toronto. She is a staff member of NANE Association and the Hungarian
delegate of the WAVE (Women Against Violence Europe) Advisory Board.

Tamás Vida
A Girl and a Gun: The New Wave, Art Film and Film as Art

Though, like obscenity in the words of former US Supreme Court Justice
Potter Stewart, one may "know it when one sees it", one needs only a
cursory review of the literature on art to see that its precise nature is
notoriously hard to define. As a consequence the inclusion or exclusion of
any given discipline under that umbrella is similarly problematic. My
presentation will trace the development of the concept of the „art film”,
arguing that it should be viewed not as a genre of film which deviates from
standard Hollywood aesthetics, as film journalism frequently uses the term.
In the midst of American domination of the international film market on the
one hand, and the destruction of much of European film history on the
other, European filmmakers and critics of the post-war era were keenly
interested in the perception of film as art, not simply as a matter of
prestige, but out of commitment to a philosophy of art in general and
cinema in particular, which continues to influence our understanding of the
discipline. I will show the outlines of this artistic programme in the
context of its antecedents and consequences.

Keywords: New Wave, art film, philosophy of art

Vida Tamás is a doctoral student of philosophy at the University of Pécs.
He was a member of Kerényi Károly College for Advanced Studies and the
founder of its workshop for film theory and -history, Dissecting Table
Cinema.

Róbert Fekete
Transgressive underground - The cultural image of the Cinema of
Transgression of New York

The cinema of transgression of New York was a loose-knit underground art
collective associated with the Lower East Side and surroundings, announced
in a 1985 movement-forming manifesto by Nick Zedd. The central ambition of
the manifesto was to revitalize the East Side underground film scene, which
was blossomed in the 1960s, and to put into practice a radically
subversive, politically motivated aesthetic, which in the works of the six
artists who formed the group's core, Richard Kern, Tessa Hughes-Freeland,
Casandra Stark, Tommy Turner, David Wojnarowicz, and Nick Zedd, was
inextricably intertwined with the question of underground autonomy and the
critique of hegemonic cultural production.

The focus of my presentation will be to expand on these latter connections.
My aim will be to present transgressive cinema's understanding of
underground culture, including underground cinema, concentrating my
reflections upon the relationship between alternative modes of filmmaking
and cultural emancipation. In doing so, I aim to understand underground
culture through the concepts of affirmation and carnival, and to highlight
the aspect of transgressive cinema where visceral transgressions and moral
subversions turn works into active socio-political agents.

Keywords: underground film, affirmation, carnival, transgression, cultural
emancipation

Róbert Fekete, doctoral student at the ELTE Doctoral School of Philosophy,
holds a Master's degree in Aesthetics from the University of Pécs.

Gergő V. Nagy
Autofellation as a metaphor for found footage film practice in Luther
Price's Sodom

Sad but true: only 1% of men alive today can give themselves a blow job.
This privileged 1% is at the centre of Luther Price's Sodom: it’s
particular loneliness and sublime joy, its isolation and its confinement
are the main themes of the work. This presentation argues that this special
bodily arrangement and sexual activity in Price's film can be interpreted
as a visual metaphor for the treatment of the film material and the found
footage, and from this perspective both Luther Price's activity and the
radically and erotically introverted, material-centric avant-garde, the
„avantgarde existing in sign", as András Petőcz puts it, can be put into a
critical perspective. Price's metaphor of self-interpretation is both
laudatory and condemnatory: on the one hand, it posits the discovery of
one's own material as a sacral possibility, and on the other, it represents
erotic self-consumption as self-enclosure. In this way, Sodom presents a
particular critical theory of radical avantgardism - one that evokes the
theories of Renato Poggioli as well as certain transgressive efforts of the
contemporary American avant-garde (AIDS-art; Cinema of Transgression).

Nagy V. Gergő is a Hungarian film critic, screenwriter and dramaturge. He
has published articles and papers in major and minor cultural publications.
The last film he co-wrote is called Larry (2022).

Zhuoran Zhang

Fashionable Fetish - Guy Debord and Situationist Film

Does film carry concept, or is film structured by concept? Is film an
object of worship for fetishists, or a tool for fetishists to play with?
Guy Debord's emphasis on the notion of alienation in his Situationist Films
highlights, to a certain extent, the character of the image as "primitive
violence". In the formation of subjectivity within the symbolic order,
"being" in the image is in a state of confusion and dispersion, governed by
the forces of dispersed, heterogeneous stress impulses and natural rhythms.
Guy Debord therefore opposes any subsequent re-screening and boldly exposes
the film's "capitalist fetish" nature to the public, highlighting
Situationist Film's critique of the social totem of capitalism and
"intellectual relativism", which is rare in the history of experimental
film. To a certain extent, Situationist Film puts more emphasis on
separating and deconstructing than on matching language, cinema and real
power, and by examining each of these elements in a more microcosmic way,
it critiques our passive acceptance of the mechanical images of daily life.
At the same time Guy Debord criticises the social relations established
through the mediation of images. The "detournement" of images and language
in Situationist Film shows the public the reality of capitalist society: it
has become a Spectacle. This lecture extends the theory of detournement in
Situationist Film to the fetishistic nature of the modern image, and
rethinks whether cinema can serve as a substitute for communication and
action where the subject is not yet present.

Keywords: situationists; Guy Debord; experimental cinema

Zhuoran Zhang is a student of the Doctoral Program in Philosophy at the
Doctoral School of Human Sciences, University of Debrecen. She holds a
Bachelor's degree from the Beijing Film Academy Modern Creative Media
College and a Master's degree from the University of Sussex, with a thesis
entitled "Salò, or 120 Days of Sodom: Sade and Pasolini on the Intersection
and Contradiction of Sadism". She was a committee member and vice-president
of the Beijing Film Academy Modern Creative Media College Student Union
from 2017 to 2020 and a member of the Qingdao International Young Artists
Committee from 2020 to 2023.

She has won several awards for her experimental films, was nominated by
"China New Talented" in the Experimental Film category of the Berlin
International Short Film Festival and has received third place in the
student category of the "National Youth Cup" National University Art and
Design Exhibition.

Mihaly G. Horvath

"The film enters the hypostasis of the ciselante: the phase of deepening
elements that end in self-destruction" – The dawn of Lettrist experimental
cinema

The title quotation is from the iconic cinematic foreword Esthétique du
cinéma by Isidore Isou. In this writing Isou announced the primer works of
the pioneers of Lettrist cinema in a 1952 single issue journal: ION. The
film scripts, essays and manifestos listed in the journal are not only the
iconic initials of Lettrist experimental cinema, but are also the most
radical documents of the parisian post-war avant-garde.

The Lettrist filmmakers invaded film culture under the banner of extremist
negation and the revolutionary superseding of the cinematic image. This
objective was expressed in their works through a twofold aesthetic praxis;
the fanatic destruction of the constitutive elements of the moving image
and at the same time, the radical transgression of the boundaries of
cinema. In the process of negation, the Lettrists programmatically mowed up
and scribbled over their typically trashed filmstrips, carried out for the
first time in the history of cinema a critical separation and collision of
image and sound, and to top it all, have also targeted to unmask and to
dismantle the mechanisms of representation. But it was the other pillar of
their twofold aesthetic – their creative efforts to transgress the
boundaries of the medium – that proved to be truly epoch-making. Their
expanded séances, which shifted the focus of film culture from the
projected image to the immediate corporal participation of the viewer,
remain to this day an inescapable reference to the contemporary
experimental cinema scene in Paris.

In this presentation, alongside the latest litterature on Lettrist cinema
(see: Bovier, 2023), I will focus on the 1952 debut of the Lettrist pioneer
directors and will attempt to present the radical film practices that were
announced by the journal ION.

Keywords: lettrisme; postwar avant-garde; expanded cinema

Mihály G. Horváth, a dedicated researcher of lettrisme-situationnisme,
decomposes filmstrips as a hobby and is a film restorer by profession. He
graduated from the Faculty of Humanities at the University of Pécs with a
major in philosophy and minor in film theory. He is an alumni member of the
Kerényi Károly College for Advanced Studies, and is currently a student at
the Moholy-Nagy University of Arts and Design.

Memory Archive of the Future - Discussion with Péter Forgács

Péter Forgács is a hungarian independent filmmaker and intermedia artist
from Budapest, whose films and installations have been selected for the
courtesy of Museum of Modern Arts New York, the Pompidou Center in Paris,
and the Berliner Kunstakademie. His work spanning more than forty years
hallmarked by such works as the Private Hungary series (1988-1997), the
interactive installation The Danube Exodus (2000-2002), and the unique
cinematic adaptation of Wittgenstein's Tractatus (1992). Péter Forgács's
art is dominated by the themes and motifs by the interaction of current
media technologies and historical-cultural memory; the aesthetic
possibilities of collective trauma processing across generations; the
medial embeddedness of thinking and, last but not least, what future holds
all of these for us. The very catchword of the discussion is the latter:
the future, various meanings and interpretations of it, but above all, the
role of art, especially the alternative ways of filmmaking, in a world
where the expansion of new media is radically reshaping our understanding
of history, culture and ourselves.

Péter Forgács's partner will be Róbert Fekete, a doctoral student at the
ELTE Doctoral School of Philosophy.

Regarding your request, my presentation is going to be just an introduction
to cinéma lettriste. It happens to be that I am the only scholar in Hungary
that studies lettrisme therefore this presentation will just focus on
introducing the literature on the subject to the Hungarian audience -
mainly based on the studies of Frederique Devaux, François Bovier, Bernard
Girard and Fabrice Flahutez.
So due to it's introductory nature, I don't think this presentation of mine
would be of much interest to you. Nevertheless I have a publication on
Hurlements en faveur de Sade which is avaible on academia.edu, that might
be more interesting. It is written in Hungarian, but academia.edu has a
translator program which should not be so bad. It is called "The Realised
Situation – Hurlements en faveur de Sade (Guy-Ernest Debord, 1952) and the
history of it’s political impact"
<https://www.academia.edu/116180512/A_fiatal_Debord_%C3%A9s_a_megval%C3%B3sult_szitu%C3%A1ci%C3%B3_Az_Hurlements_en_faveur_de_Sade_Guy_Ernest_Debord_1952_c%C3%ADm%C5%B1_film_mozgalomt%C3%B6rt%C3%A9neti_szerep%C3%A9r%C5%91l>
and
it consists of my intellectual journey from situationnisme (which is very
popular in Hungary) to lettrisme (which is basically non-existent within
Hungarian academia). Lettrist Cinema is a subject that fascinates me
infinitely, and which I had the opportunity to study in depth for the past
4 years. Although - and bare this in mind - when I wrote this paper I just
started learning french, and at the time haven't yet had the opportunity
the get in contact with french studies on the subject, so it is mainly
based on english-speaking literature and my interpretations from afar.
Nevertheless I beleive it portrays very valid and innovative insights (and
counterpoints) on Hurlements and the early lettrist scene of the 50's. If
you are interested - and the translator program of academia.edu proves to
be inaccurate - I can prioritize translating my earlier publications to
English, which I would have to do anyways in order to get in touch with
international scholars and my fellow frameworkers:-).

PS: I am a great admirer of Lemaître, but if I had to choose, I would be
team Isou all the way!

Best regards,

Mihály

Jeanne Cousseau <jeanne.cousseau.loridan at gmail.com> ezt írta (időpont:
2024. aug. 13., K, 12:56):

> I would be interested to for the talk on Lettrist Cinema, as I work on
> Maurice Lemaître for several years !
>
> Le mar. 13 août 2024 à 01:29, Eric Theise <erictheise at gmail.com> a écrit :
>
>> Any plans to record & share your talk about Lettrist Cinema, Mihály?
>>
>>
>> On Mon, Aug 12, 2024 at 4:17 PM Mihály Horváth <jnr.horvathm at gmail.com>
>> wrote:
>>
>>>
>>> Dear Frameworkers,
>>>
>>> I thought you might appreciate our official programme: I have attached
>>> it below. We are very happy to announce the list of the lectures and
>>> workshops that are going to be held at our main event between August 29-30,
>>> in Esztergom, at the Kaleidoscope House.
>>> We will announce the screening line-up in the coming days aswell.
>>>
>>> Thank you all for the support.
>>> Smiles from Hungary,
>>>
>>> G. Horváth Mihály
>>> https://filmfreeway.com/celluloidrarevolverrel_experimentalfilm
>>> Celluloidra Revolverrel Facebook Event
>>> <https://www.facebook.com/share/5L3adBJPLeDJaUK6/>
>>> Celluloidra Revolverrel Facebook Page
>>> <https://www.facebook.com/profile.php?id=61555829357809>
>>> http://www.celluloidrarevolverrel.hu/
>>>
>>> [image: buta.jpg]
>>>
>>> --
>>> Frameworks mailing list
>>> Frameworks at film-gallery.org
>>>
>>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>>
>> --
>> Frameworks mailing list
>> Frameworks at film-gallery.org
>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>
>
>
> --
> Jeanne Cousseau
> +33 6 51 54 50 18
> Semer-Cueillir-Manger-Devenir (le monde), un spectacle végétal vivant
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