Manifesto (2015)

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Movie
Original title Manifesto
Country of production Germany ,
Australia
original language English
Publishing year 2015
length 130 minutes
Age rating FSK 0
Rod
Director Julian Rosefeldt
script Julian Rosefeldt
production Julian Rosefeldt
music Ben Lukas Boysen ,
Nils Frahm
camera Christoph Krauss
cut Bobby Good
occupation

Manifesto is a German - Australian film installation from 2015 by Julian Rosefeldt . It consists of twelve related individual films, each 10 minutes and 30 seconds long (as well as a prologue of 4 minutes), which are shown synchronized in an endless loop on different projection surfaces in one room.

It shows Cate Blanchett , who presents various manifestos in 13 different roles . Production with a shooting time of twelve days began in December 2014 in Berlin . The first exhibition took place from December 9, 2015 to March 14, 2016 at the Australian Center for the Moving Image .

action

The film combines quotes from various artist manifestos of the most varied kinds from different periods of the 20th century with contemporary scenarios. The individual manifestos, such as B. Fluxus , Dada or Dogma are presented by 13 different characters: a homeless person , a punk , a crane worker from the lower class in a garbage dump , a broker , a theater choreographer , a society lady speaking at her vernissage , a scientist, a widow at the funeral , an upper-class mother with her family at dinner, a television newsreader and at the same time a reporter, a doll maker and a teacher (dogma).

production

Emergence

On the occasion of an exchange meeting between the Sydney Theater Company , whose artistic director is Cate Blanchett , with the Schaubühne am Lehniner Platz , Blanchett was in Berlin and took part in an exhibition opening by Rosefeldt. Blanchett showed interest in his artistic work and offered to participate in a future production. When she was in Berlin again - this time for the filming of Monuments Men - Rosefeldt took the opportunity to discuss the content of a possible joint project with her in more detail.

While working on his work Deep Gold, Rosefeldt had already come across the futurist Valentine de Saint-Point , who had written various manifestos and who ultimately became aware of Alex Danchev's work 100 Artists' Manifestos , which became an important source for Manifesto. He was fascinated by the “artist manifesto, a text full of joie de vivre, energy and absolute conviction that not only wants to change art, but the whole world”, which is written from a youthful, enthusiastic attitude.

He discussed with Blanchett her role as Bob Dylan in Todd Haynes ' I'm Not There , which greatly influenced the conception of the project. Finally, they met a few more times and developed the project together.

Subsequently, Rosefeldt began developing the project through research and analysis of various manifestos, beginning with Karl Marx and Friedrich Engels ' Communist Manifesto from 1848 and Filippo Tommaso Marinetti's Futurist Manifesto from 1909, the oldest art manifesto used in the installation. The most recent text is from the Golden Rules of Filmmaking by director Jim Jarmusch from 2004.

Rosefeldt selected around 60 manifestos that he found “most fascinating and worth reproducing” or which, in his opinion, “went together best”. The merging and shortening of the diverse texts ultimately resulted in twelve collages that were used in the installation.

Rosefeldt emphasized that the main concept was to have the manifestos embodied by a woman. He wanted to “create a work in which a woman embodies a wide variety of roles in an artistic context”.

“In parallel, I began to sketch different scenes in which a woman talks, ending up with sixty short scenes, situations right across various educational levels and professional milieus. The only thing these draft scenes had in common was that they are being performed today, and that a woman is holding a monologue […] Sometimes we listen to the woman's inner voice; in other instances she addresses an audience; once she even interviews herself, etc. I finally edited everything down to twelve scenes and twelve corresponding text collages. "

Rosefeldt described the development process as “very organic”: “I began to play with texts, to convert them into new texts through new versions, combinations and rearrangements […], they complement each other in a playful way.” He was from the idea fascinated, "to create a collection of voices, a conversation [...] in which these diverse voices are converted into new monologues: again by rotating these texts around themselves." The project "asks about the role of the artist in of today's society ”by building on the writings of the Futurists , the Dadaists , the Fluxus artists, the Situationists and the Dogma 95 grouping as well as the contributions of individual artists, architects and filmmakers. Rosefeldt sees the work as a "homage to the beauty of artist manifestos - a manifesto of manifestos". He named it Manifesto because “the focus of this work is primarily on the texts, be it by visual artists, filmmakers, writers, actors or architects - and on the poetry of these texts.” The project was sponsored by the Australian Center for the Moving Image , in partnership with the Art Gallery of New South Wales , the Hamburger Bahnhof - Museum für Gegenwart , the Sprengel Museum Hanover , and the Ruhrtriennale . The project was funded by the Medienboard Berlin-Brandenburg with 90,000 euros. The budget was 500,000 euros.

Filming

Filming began in December 2014. The conditions under which the crew and actress worked in the Berlin winter, as well as the tight time frame, left little room for improvisation. The shooting team had to plan the recordings very precisely, and on some days even two of the 13 roles were recorded. The locations were among others the Friedrichstadt-Palast , the Helmholtz-Zentrum Berlin , Rüdersdorf , the Teufelsberg , the Humboldt University , the Technical University , the Brandenburg Technical University and the Stahnsdorf cemetery . In total, the film was shot for a total length of 130 minutes. Rosefeldt framed Manifesto as a series of episodes that can be seen both separately from one another and together in their entirety, as a chorus of different voices.

The cameraman Christoph Krauss used an Arri Alexa XT Plus digital cinema camera as the main camera. Visual effects were created in the ArriRaw format. Sequences that were shot with the Alexa XT Plus and the Alexa Plus secondary camera were recorded in the ProRes 4444 format. Krauss also used a phantom flex camera for two high-speed shots. Krauss said he used Cooke S4 lenses for the shoot because they produced "slightly softer skin tones." The Cooke S4 lenses were combined with two Angenieux Optimo zooms, which were used for larger focus and flexible shots of the second unit . Krauss wanted to create the most natural look possible. "As in almost all of Julian's works, there is already sufficient abstraction, either through slowing down in long shots and slow motion or unnatural perspectives such as shots from above."

publication

The first images of the film were released in April 2015. Manifesto then had its world premiere and first exhibition at the Australian Center for the Moving Image from December 9, 2015 to March 14, 2016.

Further exhibitions:

Linear Version
A 94-minute linear film version of the material premiered on January 26, 2017 at the 2017 Sundance Film Festival . A version of the film with a length of 90 minutes was shown in the Munich Film Museum on June 14, 2017. On November 23, 2017, the film started in German cinemas with a length of 98 minutes. The film was announced for broadcast in 2018 on Bayerischer Rundfunk (BR), but this was not done. A BR press release from April 2018 then spoke of a broadcast “probably 2019”. In fact, it was broadcast on July 4, 2019 (0.45-2.15 a.m.) on Bavarian television.

reception

Dan Rule of The Sydney Morning Herald explains , "The work, and Blanchett's role in it, is a remarkable exploration of cultural and cinematic realms and expectations, as is the vibrating effect with which the content is separated from its frame." Blanchett takes takes on the various roles as she delivers “artist manifestos [...] ranging from Fluxus, Futurism, Dada and more in the episode as if they were natural dialogues [...], both of which are an affirmation of Blanchett's presence and skill as an actress as well Rosefeldt's acumen and intellect as an artist. Manifesto is worth every minute. ”- wrote Rule. Jane Howard of The Daily Review said that Rosefeldt “plays with the tension of bringing different mindsets together.” “When you step into the room,” observes Howard, “the canvases seem to invite you to look at them one by one first, that's that best time to spend with the characters that Blanchett embodies. But the further one penetrates the room, the more the arrangement of the canvases changes and manifesto increasingly develops into a tone-bleeding and unspoken confrontation between the characters [...] But Rosefeldt always gives us moments of calm, apart from the manifestos. Howard noted that Manifesto also shows Blanchett's adaptability as an actress, her metamorphoses that "transcend classes, countries and gender." The installation “really represents the highlight of the exhibition: a jumble of words, worlds, contradictions and simultaneities. Surrendering to it means nothing less than letting yourself be overwhelmed. "

Siobhan Calafiore of The Weekly Review appears to enter Manifesto “like visiting a strange world in which you get lost and are found. The viewer feels as if he has got into every single situation as an unnoticed and uninvolved random guest, which is due to the movement of the camera and the surrounding sound ”. The situations are "strangely familiar, whether it is a situation that one recognizes, has already experienced, or has seen in a film." Calafiorie notes a "beautiful unity" between the scenes but "one of the most piercing aspects" is Blanchett's “Convincing transformation into completely different characters.” Each context “explores a different idea of ​​art and originality to the subconscious and society. And yet everything vibrates with each other and moves the viewer in a surprising way. "

Awards

swell

  • Alex Denchey (Ed.): 100 Artists' Manifestos. From the Futurists to the Stuckisto . London: Penguin Classics 2011, ISBN 978-0-14-119179-9 .

literature

Web links

Individual evidence

  1. ↑ Release certificate for Manifesto . Voluntary self-regulation of the film industry (PDF). Template: FSK / maintenance / type not set and Par. 1 longer than 4 characters
  2. ↑ Julian Rosefeldt: Manifesto, 2015, accessed on March 16, 2017.
  3. ↑ ACMI presents Julian Rosefeldt: Manifesto ( Memento of the original from July 18, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . From: ACMI , accessed August 18, 2016. @1@ 2Template: Webachiv / IABot / www.acmi.net.au
  4. ^ BR interview with Julian Rosefeldt on December 22, 2014 . In: Bayerischer Rundfunk , ARD-Mediathek, accessed on July 18, 2016.
  5. ↑ a b c d e f g h i j k l Julian Rosefeldt Interview . In: Australian Center for the Moving Image , November 20, 2015.
  6. ↑ a b c Stephanie Bunbury: Cate Blanchett as you've never seen her before . In: The Sydney Morning Herald , November 13, 2015.
  7. ^ Julian Rosefeldt's modern-day artist's 'Manifesto' . In: Deutsche Welle , February 22, 2016.
  8. ↑ a b Julian Rosefeldt: Manifesto . In: Australian Center for the Moving Image , accessed November 21, 2015 Web archive , archived March 3, 2016.
  9. ↑ Ruhrtriennale 2016 shows the film installation “Manifesto” by Julian Rosefeldt with Cate Blanchett , accessed on February 17, 2016.
  10. ^ A b BR art project with Cate Blanchett: Manifesto by Julian Rosefeldt . In: Bayerischer Rundfunk , February 16, 2016.
  11. ↑ Funding decisions 4th quarter: October to December 2013 . In: Medienboard Berlin-Brandenburg , accessed on December 28, 2014 Web archive , archived on April 2, 2015.
  12. ↑ press reader, accessed July 11, 2016.
  13. ↑ Video art project with Cate Blanchett . In: Bayerischer Rundfunk , December 22, 2014 Web archive , archived on July 3, 2015, accessed on November 21, 2015.
  14. ↑ Dewi Cooke: Cate Blanchett performs as 12 characters in Julian Rosefeldt's Manifesto at ACMI . In: The Sydney Morning Herald , December 8, 2015.
  15. ↑ Cate Blanchett turns with many-legged reinforcements . In: RBB Fernsehen , December 21, 2014 Web archive accessed on November 21, 2015.
  16. ↑ a b Pauline Bugler: ALEXA on MANIFESTO video installation . In: Arri News , accessed February 15, 2016.
  17. ↑ ALEXA on MANIFESTO video installation. In: ARRI-News , accessed July 18, 2016.
  18. ↑ Four times CATE BLANCHETT : On Thursday there will be… MONOPOL magazine for art and life . In: Monopol Magazine via Facebook, April 21, 2015, accessed November 21, 2015.
  19. ↑ ACMI presents Julian Rosefeldt: Manifesto , ( Memento of the original from July 18, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. ed. from the Australian Center for the Moving Image, accessed November 21, 2015. @1@ 2Template: Webachiv / IABot / www.acmi.net.au
  20. ↑ Julian Rosefeldt: Manifesto , ed. from Berlin State Museums, accessed on August 18, 2016.
  21. ↑ exhibitions. 130% Sprengel 2017 ( Memento of the original from March 17, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , ed. from Sprengel-Museum Hannover, accessed on March 16, 2017. @1@ 2Template: Webachiv / IABot / www.sprengel-museum.de
  22. ↑ Installation / New Work: Manifesto. Julian Rosefeldt, Cate Blanchett ,  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. ed. von Ruhrtriennale, accessed on March 16, 2017.@1@ 2Template: Toter Link / www.ruhrtriennale.de  
  23. ↑ Manifesto , ed. by Thompson Arts Center at Park Avenue Armory, accessed March 16, 2017.
  24. ↑ Manifesto ,  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. ed. by Staatsgalerie, accessed March 16, 2017.@1@ 2Template: Toter Link / www.staatsgalerie.de  
  25. ↑ Manifesto. Julian Rosefeldt , ed. from Museum Villa Stuck, accessed March 16, 2017.
  26. ↑ Julian Rosefeldt - Manifesto , ed. from the Secretariat of the Aarhus Foundation, accessed on 16 March 2017.
  27. ↑ Tietoa Taidehallista , accessed on 15 March 2018th
  28. ^ Julian Rosefeldt - Manifesto , accessed on March 15, 2018.
  29. ^ Sundance Institute: Manifesto. In: www.sundance.org. Retrieved March 16, 2017 .
  30. ↑ Manifesto on filmstarts.de , accessed on November 25, 2017.
  31. ↑ "Manifesto" with Cate Blanchett wins three LOLAs. In: BR.de. Bayerischer Rundfunk, April 28, 2018, accessed on April 5, 2019 .
  32. ^ Dan Rule: Art: Melbourne gallery shows include Andy Warhol. Ai Weiwei and Julian Rosefeldt . In: "The Sydney Morning Herald", February 12, 2016.
  33. ↑ Jane Howard: Manifesto Review (ACMI Melbourne Then AGNSW Sydney) . In: The Daily Review , Australia, December 11, 2015.
  34. ^ Siobhan Calafiore: Cate Blanchett stars in artist Julian Rosefeldt's Manifesto at ACMI . ( Memento of the original from February 13, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: The Weekly Review , Australia, December 8, 2015. @1@ 2Template: Webachiv / IABot / www.theweeklyreview.com.au