Graphic design © Ta-Trung, Berlin

Film is memory work


For Edgar Reitz, memory is always subjective, selective and incomplete. In his film chronicle Heimat (1984), he made this a design principle using leaps in time and ellipses: “When we assemble film material, we do memory work.” Bettina Böhler felt a great responsibility to help decide how Christoph Schlingensief will be remembered through the design of her documentary Schlingensief – In das Schweigen hineinschreien (2020). Both will discuss associative and cinematic remembering, among other things.

With Edgar Reitz (film maker and author) and Bettina Böhler (film editor and director)

Bettina Böhler, film editor and director. From 1980, initially dubbing assistant at the Berlin company Interopa and at Sender Freies Berlin (SFB), including productions by Helma Sanders-Brahms, Rudolf Thome and Ulrike Ottinger. Since 1985 film editor for over 80 films, including several times with Michael Klier, Angelina Maccarone, Christian Petzold, Oskar Roehler, Angela Schanelec, Christoph Schlingensief, and Margarethe von Trotta. 1991 to 2015 lecturer at the German Film and Television Academy Berlin (DFFB). Since 2016 member of the Akademie der Künste, Berlin, section Film and Media Art. In 2020 she realised her first directorial work with the documentary Schlingensief - In das Schweigen hineinschreien.

Edgar Reitz is a film maker and author. He was a co-signer of the Ober­hausen Manifesto of 1962. In 1963, he co-founded the Institute for Film Design at the Ulm School of Design, where he taught until 1968. In 1966, he had his film debut with Mahlzeiten. Since the mid-1970s, he has pub­lished numerous books and articles on film theory and aesthetics. In 1995, he founded the Europäisches Institut des Kinofilms Karlsruhe (EIKK), which he headed until 1998. From 1984 to 1993, he was a member of the Akademie der Künste in West Berlin; and from 1993 of the Akademie der Künste, Berlin, Film and Media Arts Section. His most important films include Cardillac (1969), Die Reise nach Wien (1973), The Tailor from Ulm (1977), Zero Hour (1978) and the Heimat trilogy, consisting of 31 indi­vidual films with a total runtime of over 54 hours. Most recently he filmed Heimat Fragments (2006) and the four-hour cinema release Home from Home (2013).

Artist talk with Edgar Reitz and Bettina Böhler

In German

Live stream from 3 Aug 2021

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