Figures of Dissent: Cinema of Politics / Politics of Cinema

The so-called “political turn” that has been taking place in the visual arts in recent years has certainly caused a flurry of interest in the notion of “political” art, but all too rarely is the history and discourse of cinema considered. This while there is a wealth of critical insights and historical inspirations, which in light of contemporary evolutions in arts, society and visual culture, can acquire new, valuable allure. 

From Jean Vigo’s “documentary social” to Edouard de Laurot’s “cinéma engage,” from Octavio Getino’s “cine militante” to Santiago Alvarez’s “cinema-urgente,” from Gilles Deleuze’s ideas on a “cinéma politique moderne” to Serge Daney’s reflections on “l’espace politique”: the annals of the past century are full of combative and critical perspectives on the political potential of cinema. To what extent do these conceptions still resonate in the dawn of the 21st century? This research project probes for answers by following in the footsteps of three leading figures from the cine-philosophical milieu: Jean-Luc Godard, Serge Daney and Jacques Rancière, not coincidentally a trio with strong ties to the “cinephile” ideology that made school in the lap of the magazine 'Cahiers du Cinéma'. Each of them has left their mark on politico-cinematographic thought from their own backgrounds over the course of the past fifty years. 

In this research, their notions will serve not only as a base for a historical exploration, but also as a foundation and touchstone for a reflection on contemporary developments. The artistic practice in this research project is constituted by the curation of various programs. By this practice we understand the search and testing of the fields of tension between then and now, discourse and practice, thinking and making. 

Through the creation of cross connections between different times, visions, themes and oeuvres, the potential of a contemporary “political” cinema is sought. The central question is how a the political subject of a cinematic work - related to issues of injustice, oppression and conflict - can relate today to the politics of its making, in image and sound, in terms of aesthetics and ethics.