{"id":18650,"date":"2016-01-12T10:24:09","date_gmt":"2016-01-12T15:24:09","guid":{"rendered":"https:\/\/carleton.ca\/fass\/?p=18650"},"modified":"2024-08-09T07:42:30","modified_gmt":"2024-08-09T11:42:30","slug":"homage-rene-vautier","status":"publish","type":"post","link":"https:\/\/carleton.ca\/fass\/2016\/homage-rene-vautier\/","title":{"rendered":"Cinema in the Age of Decolonization: Activism and Aesthetics – An Homage to Ren\u00e9 Vautier w\/ Dr. Nicole Brenez"},"content":{"rendered":"\n
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\n Cinema in the Age of Decolonization: Activism and Aesthetics – An Homage to Ren\u00e9 Vautier w\/ Dr. Nicole Brenez\n <\/h1>\n \n \n <\/header>\n\n <\/div>\n\n <\/div>\n\n <\/div>\n<\/section>\n\n

The School for Studies in Art and Culture Presents<\/h3>\n\n\n\n

  \u201cCinema in the Age of Decolonization: Activism and Aesthetics\u201d
\n<\/strong>An Homage to Ren\u00e9 Vautier (1928-2015)
\n<\/em>with
\n<\/strong>Dr. Nicole Brenez
\n<\/strong>Professor of Film Studies, University of Paris III-Sorbonne Nouvelle and Programmer, Cin\u00e9math\u00e8que Fran\u00e7aise<\/strong><\/p>\n\n\n\n

\"Dr.
Professor Nicole Brenez<\/figcaption><\/figure><\/div>\n\n\n\n

The School for Studies in Art and Culture invites you to a weeklong (January 18-22, 2016<\/strong>) meditation on the theme \u201cCinema in the Age of Decolonization: Activism and Aesthetics\u201d to commemorate the one-year anniversary of the passing of Ren\u00e9 Vautier (January 4, 2015), France\u2019s first and most important anti-colonialist filmmaker who was also arguably one of the most censored film directors in the history of cinema. This series of events will involve the very first Canadian retrospective of the cinema of Ren\u00e9 Vautier, featuring four of his most important films, Afrique 50<\/em> (1950), Le Glas<\/em> (1969\/70), Frontline <\/em>(1976) and Avoir Vingt Ans dans les Aur\u00e8s <\/em>(1972), along with Salut et Fraternit\u00e9<\/em> (2015), a recent documentary exploring the significance and resonance of his work. The retrospective will be opened by a public lecture on \u201cThe Cinema of Ren\u00e9 Vautier<\/a>,\u201d by FASS Visiting Scholar Dr. Nicole Brenez, Professor of Film Studies at Universit\u00e9 de Paris III-Sorbonne Nouvelle and Programmer at the Cin\u00e9math\u00e8que Fran\u00e7aise. Dr. Brenez will also introduce the screenings throughout the week.<\/p>\n\n\n\n

During her weeklong stay at Carleton, Professor Brenez will also lead an interdisciplinary workshop entitled \u201cInternationalism or Transnationalism? Questions and Directions for Contemporary Political Cinema<\/a>\u201d and offer two master classes entitled \u201cA Formal Love Story: Henri Langlois and Jean-Luc Godard<\/a>\u201d and \u201cAvant-Gardes and Documentary Forms.<\/a>\u201d You are all cordially invited to attend. Please find details below.<\/p>\n\n\n\n

Tuesday, January 19, 6:00<\/strong> pm – River Building 2200<\/strong>
\nCitizen Vautier! A Retrospective of the Cinema of Ren\u00e9 Vautier
\n<\/strong>Public Lecture: The Cinema of Ren\u00e9 Vautier<\/strong><\/a><\/p>\n\n\n\n

\"Ren\u00e9
Jean-Luc Godard and Ren\u00e9 Vautier<\/figcaption><\/figure><\/div>\n\n\n\n

Each of Ren\u00e9 Vautier\u2019s films is a pamphlet, a shield for the oppressed and the victims of history, a little war machine in the service of justice. And like weapons in a resistance movement, they are used, exchanged, lent, discarded, destroyed, lost or hidden away and sometimes long forgotten. In that respect, each of Vautier\u2019s films is an individual case, an episode in what is probably the noblest and most romantic story in the history of cinema. We will consider how Ren\u00e9 Vautier\u2019s images are arguments in an endless visual debate whose ultimate horizon is a more just state of the world. (Nicole Brenez)<\/p>\n\n\n\n

 <\/em>Afrique 50<\/em> (1950) (Documentary, black and white, 17 min)<\/strong><\/p>\n\n\n\n

Afrique 50<\/em> is Ren\u00e9 Vautier\u2019s first masterpiece and is considered by Nicole Brenez as the \u201cmost important film in the history of cinema.\u201d It marks one of the first cinematic instantiations of the director\u2019s motto, which he adapted from Paul Eluard (co-founder of the Surrealist movement) and which underpins the entirety of his work: \u201cI film what I see, what I know, what is true.\u201d Shot in colonial French West Africa, Afrique 50<\/em> was a film commissioned by the Ligue de l\u2019Enseignement, which hoped it would demonstrate the greatness of colonialism to French students. Instead, Vautier offers a very trenchant critique of French colonialism by revealing the mechanisms through which it maintains its dominance in Africa, that is, through massacres, labour exploitation and resource extraction. A tour de force of montage cinema, the film was censored for over forty years and cost Ren\u00e9 Vautier a thirteen-count indictment and a one-year prison sentence along with the confiscation of half of his exposed film stock. The story of the making of Afrique 50<\/em> is itself a film waiting to be made.<\/p>\n\n\n\n

Introduced and discussed by Dr. Nicole Brenez<\/p>\n\n\n\n

Wednesday, Jan 20, 7:00 pm – SP435<\/strong><\/a>
\n Le glas<\/em> (1969) (A documentary poem, black and white, 5 min)<\/strong><\/a><\/p>\n\n\n\n

In this five-minute black and white documentary poem made in collaboration with the Zimbabwean African Party for Unity (ZAPU), Ren\u00e9 Vautier pays homage to three African revolutionaries hanged in Salisbury (contemporary Harare) by the notorious Ian Smith government of Southern Rhodesia (colonial Zimbabwe). Initially censored in France, the film was later released in the director\u2019s country of origin, following its release in England. In his book entitled Cam\u00e9ra Citoyenne<\/em>(<\/u>The Citizen Camera<\/em>), Ren\u00e9 Vautier recounts receiving the music he would later use as the film\u2019s soundtrack from the Black Panthers during the 1969 Pan-African Festival of Algiers. The film\u2019s voice-over is that of legendary Senegalese film director Djibril Diop Mambety.<\/p>\n\n\n\n

English subtitles by Peter and Fran\u00e7oise Kirkpatrick.<\/p>\n\n\n\n

 Frontline (1976) (Documentary, color, 73 min)<\/strong><\/p>\n\n\n\n

Co-directed with Brigitte Criton and Buana Kabue and with assistance from Oliver Tambo, then-President of the African National Congress (ANC), Frontline <\/em>was shot during the heyday of the anti-apartheid struggle. The film deconstructs the mechanisms of the apartheid system on the eve of the Soweto uprising through a masterful examination of the repressive system\u2019s strategies of confinement, mobility control, and its relentless extractive economy, which frame the lives of the majority Black population. Deconstructing the codes of the travelogue, the film includes a soundtrack from the late Miriam Makeba.<\/p>\n\n\n\n

English subtitles by Peter and Fran\u00e7oise Kirkpatrick.<\/p>\n\n\n\n

Both films will be introduced and discussed by Dr. Nicole Brenez<\/p>\n\n\n\n

Thursday, Jan 21, 7:00 pm – SP 100<\/strong><\/a>
\n Avoir vingt ans dans les Aur\u00e8s<\/em> (1972) (Fiction, colour, 100 min)<\/strong><\/a><\/p>\n\n\n\n

Alongside Mohammed Lakhdar-Hamina\u2019s Le Vent des Aur\u00e8s <\/em>(1966) and Chronique des ann\u00e9es de braise<\/em> (1975) and Gillo Pontecorvo\u2019s The Battle of Algiers<\/em> (1966), Ren\u00e9 Vautier\u2019s Avoir vingt ans dans les Aur\u00e8s<\/em> is among the most important films on the Algerian independence war. Shot on the Tunisian-Algerian border and based on 800 hours of interviews with former French conscripts involved in the war, the film focuses on a group of young pacifist Bretons who are turned into killing machines by the colonial military apparatus. The film marks the culmination of Vautier\u2019s longstanding involvement with the Algerian liberation project, which also included playing a pioneering role in the emergence of Algerian national cinema. French author and film critic Michel Capdenac wrote of this film: \u201cI would trade ten films by Chabrol and ten films by Truffaut for this film by Vautier.\u201d<\/p>\n\n\n\n

Introduced and discussed by Dr. Nicole Brenez<\/p>\n\n\n\n

Friday, January 22, 7:00 pm – SP 100<\/strong><\/a>
\n Salut et fraternit\u00e9: les images selon Ren\u00e9 Vautier<\/em> (2015) by Oriane Brun-Moschetti (HD-Colour and black and white, 67 min, France)<\/strong><\/a><\/p>\n\n\n\n

How to bring into existence a cinema that counters power? How can cinema be made by the people for the people? This documentary portrait of Ren\u00e9 Vautier explores the filmmaker\u2019s impact on society using interviews by Nicole Brenez and Oriane Brun-Moschetti and featuring such major directors as Jean-Luc Godard, Yann Le Masson and Bruno Muel. The film also includes rare images of Vautier, in particular the two opening scenes, the second of which gives the director a quasi-prophetic stature, aptly illustrating both his vanguardist lucidity and his primarily lonesome itinerary which was paradoxically also one of relentless solidarity.<\/p>\n\n\n\n

Screened with English subtitles<\/p>\n\n\n\n

Introduced and discussed by Dr. Nicole Brenez<\/p>\n\n\n\n

On-Campus Workshop<\/strong><\/a>
\nWednesday, January 20, 3:00 pm-5:00 pm – Dunton Tower 2017<\/a>
\n\u201cInternationalism or Transnationalism? Questions and Directions for Contemporary Political Cinema.\u201d<\/a><\/p>\n\n\n\n

Master Classes<\/strong><\/a>
\nThursday, January 21, 11:30 am – SP 100<\/a>
\nLecture: \u201cA Formal Love Story: Henri Langlois and Jean-Luc Godard\u201d<\/a><\/p>\n\n\n\n

The relationship of mutual admiration between Henri Langlois, founder of the Cin\u00e9math\u00e8que Fran\u00e7aise, and Jean-Luc Godard was one of the most enduring and creative in the history of cinema. For Henri Langlois, the director of Breathless <\/em>was a \u201cpoetic genius\u201d who marked a caesura in film history: \u201cthere was cinema before and cinema after Godard\u201d (\u201cBG\u201d and \u201cAG\u201d). Langlois organized an \u201cHomage to Godard\u201d as early as 1964 at the Cin\u00e9math\u00e8que, and devoted an episode of his film series Anti Cours<\/em> (1976) (one of his last projects), to a comparison between Andy Warhol and Jean-Luc Godard.<\/p>\n\n\n\n

Conversely, the Godardian \u201cidea\/l\u201d of cinema is inscribed in and continuously nourished by the speculative framework elaborated by Langlois, while also drawing inspiration from the latter\u2019s inventive and joyfully illegal practices. We will examine some of the ways in which Godard\u2019s stylistic choices both in his films and his exhibition entitled \u201cCollage(s) de France\u201d are informed by Henri Langlois. (Nicole Brenez).<\/p>\n\n\n\n

Friday, January 21, 9:30 am-11:00 am – SP 472
\n<\/strong>Seminar: \u201cAvant-Gardes and Documentary Forms\u201d<\/strong><\/a><\/p>\n\n\n\n

Wherever there is a situation of oppression, there is also a forefront to resist it, to counter-attack, to find ways and paths to fight power. This is the concrete or imaginary model for any avant-garde, struggling against political, economic, ideological and symbolic dominance, developing its own tools, its own codes, its own perspectives. What would be the forefronts for contemporary documentary? In this seminar, we will consider some of the challenges faced by contemporary documentary cinema as well as some of the responses to them via three very practical questions:<\/p>\n\n\n\n

  1. With whom and for whom (do we make documentaries)? The deontological situation<\/li>
  2. Why and to what ends? The historical situation<\/li>
  3. With what kinds of images? The aesthetical material<\/li><\/ol>\n\n\n\n

    Admission is Free<\/strong>              No registration required<\/strong>                All are welcome<\/strong><\/p>\n\n\n\n

    *<\/strong>Locations with an asterisk are subject to confirmation by the University\u2019s Scheduling Office. For the latest updates and more details on the events, please see www.carleton.ca\/filmstudies<\/a><\/p>\n\n\n\n

    Organized by:<\/strong>
    \nSchool for Studies in Art and Culture
    \nFilm Studies
    \nWorld Cinema Forum
    \nCentre for Transnational Cultural Analysis<\/p>\n\n\n\n

    Sponsored by:
    \n<\/strong>Faculty of Arts and Social Sciences
    \nSchool for Studies in Arts and Culture
    \nWorld Cinema Forum
    \nCentre for Transnational Cultural Analysis
    \nInstitute for Comparative Studies in Art and Culture
    \nDepartment of History<\/p>\n\n\n\n

    For further information, please contact Dr. Aboubakar Sanogo, Film Studies<\/p>\n\n\n\n

    Office: SP 432   Phone (613) 520-2600, ext. 2346     Email: aboubakar.sanogo@carleton.ca<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

    The School for Studies in Art and Culture Presents   \u201cCinema in the Age of Decolonization: Activism and Aesthetics\u201d An Homage to Ren\u00e9 Vautier (1928-2015) with Dr. Nicole Brenez Professor of Film Studies, University of Paris III-Sorbonne Nouvelle and Programmer, Cin\u00e9math\u00e8que Fran\u00e7aise The School for Studies in Art and Culture invites you to a weeklong […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[52,75,143,35],"tags":[164],"class_list":["post-18650","post","type-post","status-publish","format-standard","hentry","category-events","category-film-studies","category-guest-speakers","category-ssac","tag-rene-vaultier"],"acf":{"cu_post_thumbnail":false},"_links":{"self":[{"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/posts\/18650","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/comments?post=18650"}],"version-history":[{"count":3,"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/posts\/18650\/revisions"}],"predecessor-version":[{"id":34199,"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/posts\/18650\/revisions\/34199"}],"wp:attachment":[{"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/media?parent=18650"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/categories?post=18650"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/carleton.ca\/fass\/wp-json\/wp\/v2\/tags?post=18650"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}