PROGRAMME
(Please note that the programme may be subject to changes)
29 May 2018
10:00-10:30: Welcome, Opening remarks
10:30-11:30: Greg Bird (Wilfrid Laurier University) – Disrupting the dispositif of the proper: work, identity, and life;
Jun Fujita Hirose (Ryukoku University) – May 68 in Deleuze and Guattari: Feeling the ‘Shame of being a man’ before the animal.
11:45-12:45: Sven Seibel (Carl von Ossietzky Universität Oldenburg ) – Collaborative filmmaking between political form and socio-technical practice;
Michael Portal (IAU College) – Re-reading Drott on the Sound of May 1968: Noise Beyond Music in Two Films by Nilsson and Simonsson.
12:45 – 14:30: Lunch
14:30 -16:30: Fernanda Bernardo (Univ. Coimbra) – Melancolia’s da Revolução;
Diogo Nóbrega (FCSH/UNL) – Que fazer – da questão «Que fazer?» Algumas notas sobre o cinema de Jean-Luc Godard.
Leonardo Esteves (Univ. Federal Mato Grosso)- Transformações estéticas, desconstruções dialéticas: as nuances de 1968 a partir da obra de um cineasta.
16.30 – 16:45: Coffee-Break
16:45 – 19.00: Roundtable- “Colectivos e Cinema Político em Portugal” – with Fernando Matos Silva, João Matos Silva, José Nascimento, Luís Galvão Teles, Rui Simões. Presented and moderated by Joana Ascensão. *
30 May 2018
9.45 – 11:45: Sérgio Dias Branco (Univ. Coimbra) – As narrativas que faltam: O Maio de 68 e o Cinema Crítico;
Maria Irene Aparício (FCSH/UNL) – Resistência(s) do Cinema: Maio 68, o tempo das imagens e a política nos filmes;
Margarida Medeiros (FCSH/UNL) – A fotografia e a sua função diegética: o fim das ilusões e o seu resíduo em ‘Les Carabiniers’ de Jean-Luc Godard.
12:00 – 13.30: Ute Holl (Basel University)- Aesthetics and Practices of cine-tracts, May 68 and beyond;
Susana Mouzinho (FCSH/UNL) – Experiments in cinema and militant video: the beginnings of a theory;
13.30-15:00: Lunch
15.00- 16.30: Jean-Luc Nancy – de 1668 à 1968 (videoconference);
Giovanbattista Tusa (FCSH/UNL)- Qu’est-ce que une date?
16:30 – 16.45: coffee-break
16.45 – 18.15: Christina Gerhardt (University of California at Berkeley) – Early dffb Workers’ Cinema;
Stefanie Baumann (FCSH/UNL) – Variations of left-wing realism
18.15: Closing remarks
*Joana Ascensão é programadora na Cinemateca Portuguesa-Museu do Cinema desde 2009, onde tem sido responsável pela concepção e organização de ciclos temáticos e retrospectivas de autor como: “Filmes das Cooperativas”, “25 de Abril, Sempre – O Movimento das Coisas”, “Guy Debord ou o Cinema Criticado por Si Próprio”, “Stan Brakhage: A Arte da Visão”. Recentemente co-programou o encontro “O que é o Arquivo? Cinema/Arquivo” e os ciclos “O Cinema e a Cidade” e “24 Imagens – Cinema e Fotografia”. Realizou o filme Pintura Habitada (Grande Prémio para o Melhor Documentário Português de Longa-Metragem do Festival DocLisboa 2006).
*Joana Ascensão is a programmer at the Cinemateca Portuguesa-Museu do Cinema since 2009, where she has been responsible for the conception and organization of thematic cycles and authored retrospectives such as: “Filmes das Cooperativas”, “25 de Abril, Sempre – O Movimento das Coisas”, “Guy Debord ou o Cinema Criticado por Si Próprio”, “Stan Brakhage: A Arte da Visão”. Recently she co-programmed the meeting “O que é o Arquivo? Cinema / Arquivo” and the cycles” O Cinema e Cidade “and” 24 Imagens – Cinema e Fotografia”. She directed the film Pintura Habitada (Inhabited Painting) (Grand Prize for the Best Portuguese Documentary Feature of the Festival DocLisboa 2006).
Chairs:
Filipa Rosário is a Postdoctoral Researcher at the Centre for Comparative Studies, University of Lisbon, Portugal, where she coordinates the project ‘Cinema and the World – Studies in Space and Cinema’. She studies landscape in Portuguese cinema and co-coordinates the work group ‘Landscape and Cinema’ at AIM – The Association of the Moving Image Researchers (Portugal), whose Directive Board she integrates. Rosário is the author of O Trabalho do Actor no Cinema de John Cassavetes (The Actor’s Craft in the Cinema of John Cassavetes, Sistema Solar, 2017) and holds a PhD in Art Studies – Studies of Cinema and Audiovisual (University of Lisbon), with a thesis entitled In a Lonely Place. The reading of space in the road movie through the representation of the American city. She is also co-editing the forthcoming book New Approaches to Cinematic Spaces (Routledge).
Madalena Miranda is a Portuguese documentary filmmaker, she lives and works in Lisbon. She holds a degree in Communication Sciences, a Masters in Anthropology and is currently a PhD candidate in Digital Media, Audiovisual and Interactive Content in Nova University of Lisbon, Social Sciences and Humanities Faculty, with a fellowship from FCT / UT Austin Portugal, under the supervision of Professor João Mário Grilo. She has directed several films, fiction and documentary that have won prizes and awards. Her films were screened in various film festivals among them in Les Screens Documentaires, IndieLisboa, DocLisboa or Oberhausen Film Festival.
