Invisible Landscapes — Film Screening & Q&A, Nov. 13, 2023

The Department of Art & Art History presents a special screening of the documentary film Invisible Landscapes. This event is free & open to the public. A Q&A with Ivo Bystřičan (Director) and Tereza Swadoschova (Producer) will be held after the screening. 

It sounds like a bird’s song, and you can’t take your ears off it. But it’s not – it’s just the popping bubbles of a melting glacier. A group of musicians equipped with sensitive microphones and headphones set out on an exploration. They head to places in the Czech and Icelandic countryside both marred by industry and untouched by man to discover and understand the sound of catastrophe – the sound of ongoing climate change, which in itself can be far more beautiful, and more imaginative, than what it heralds. While sight allows phenomena and things to be encompassed in a static state and in a certain entirety, hearing allows us to understand how they affect and clash with their surroundings. Sound is the consequence of an event that happened in the past and points towards a future now being decided, one that may potentially be inevitable and destructive for us. It cannot yet be seen in the invisible landscapes, but – if we listen carefully – it is already there. 

Czech Republic, 2022, 48 minutes.

Ivo Bystřičan is Czech documentary director, dramaturg, screenwriter and producer. His work focuses on social and environmental topics with a sociological accent. His feature documentary debut Byeway (2014) focuses on the controversial role of the state in the construction of the highway as a public good. In his films, he dives into the tobacco industry, industrial agriculture, resource extraction, refugee crisis or the evolution of industrial capitalism. He focuses on uncovering the latent functions of institutions and the unintended consequences of an action. Invisible Landscapes is his latest film as a part of the multidisciplinary project Future Landscapes. He also works as a dramaturg of documentary films and audio podcasts, and lecturer of film workshops. He is the author of several documentary podcast series. He graduated from sociology at Masaryk University, Brno and documentary filmmaking at FAMU, Prague.

Tereza Swadoschová is a Czech producer and programmer. Her work engages with science, using art as a primary tool, and emphasizes social and environmental themes. “Future Landscapes,” her latest project, delves into the insights that sound can provide about our future. This is represented through documentaries, a podcast series, a music album, and artistic interpretations of rituals. Tereza is the head of the Inspiration Forum at the Jihlava IDFF. This platform annually hosts discussions on a range of topics from social, political, cultural to environmental issues. She co-founded the first platform in the Czech Republic dedicated to the ethics of documentary filmmaking. A graduate of Masaryk University, Tereza is currently collaborating with artist Kateřina Šedá on a project that focuses on the role of industry in marginalized areas.

VISITOR INFORMATION: Oshman Hall is located in the McMurtry Building on Stanford campus at 355 Roth Way. Visitor parking is free all day on weekends and after 4 pm on weekdays, except by the Oval. Alternatively, take the Caltrain to Palo Alto Transit Center and hop on the free Stanford Marguerite Shuttle. If you need a disability-related accommodation or wheelchair access information, please contact Julianne Garcia at juggarci@stanford.edu

This event is made possible with the generous support of:

CREEES Center for Russian, East European & Eurasian Studies
Department of Art & Art History
Department of English
Department of Slavic Languages and Literatures
Film and Media Studies

Documenting the Post-Cinematic Real — Fórum Internacional Cinemática III, April 13-15, 2021

The Fórum Internacional Cinemática III, organized by Giselle Gubernikoff, Edson Luiz Oliveira, and Daniel Perseguim of the Universidade de São Paulo, is taking place online from April 13-15, 2021. Dedicated this year to forms of documentary and “the real,” the conference will feature three plenary talks by Steven Shaviro (April 13), me (April 14), and Selmin Kara (April 15).

My talk, titled “Documenting the Post-Cinematic Real,” draws on a line of questioning about computational media and realism that I explore in the latter half of chapter 5 in Discorrelated Images:

“In its classical formulation, cinematic realism is based in the photographic ontology of film, or in the photograph’s indexical relation to the world, which allegedly grants to film its unique purchase on reality; upon this relation also hinged, for many realist filmmakers and theorists, the political promise of realism. Digital media, meanwhile, are widely credited with disrupting indexicality and instituting an alternative ontology of the image, but does that mean that realism as a potentially political power of connection with the world is dead? If we consider the extent to which reality itself is shaped and mediated through digital media today, the question begins to seem strange. As I will demonstrate with reference to a variety of moving-image texts dealing with drone warfare, online terrorism recruitment, and computationally mediated affects, post-cinematic media might in fact be credited with a newly intensified political relevance through their institution of a new, post-cinematic realism. As a result, the question of “documenting the post-cinematic real,” which any contemporary theory of documentary must raise, will necessarily take us beyond the documentary as it is traditionally understood; it will take us into spaces of the computer desktop, of online and offline subjectivities and collectives, and of post-indexical technologies and environments. How can these spaces, which resist traditional coordinates of cinematic realism, be documented?”

Here are the links to view the plenary talks:

Steve Shaviro, “The Ontology of Post-cinematic Images, and Examples from Music Videos,” April 13 (5pm Brazil, 4pm Eastern, 1pm Pacific) — https://youtu.be/7t6GEB6a-tI

Shane Denson, “Documenting the Post-Cinematic Real,” April 14 (5pm Brazil, 4pm Eastern, 1pm Pacific) — https://www.youtube.com/watch?v=zNAvmFST83A

Selmin Kara, “Documentary Films in the Age of the Anthropocene,” April 15 (5pm Brazil, 4pm Eastern, 1pm Pacific) — https://youtu.be/-79SNzWtulY

Fembots: From Representation to Reality

deFren-Poster

On Monday, November 13, 2017 (5:30pm in Oshman Hall, McMurtry Building), media maker/scholar Allison de Fren (Occidental College) will be on hand for a screening of her 2010 documentary The Mechanical Bride and her 2015 video essay Fembot in a Red Dress. The screening, which is free and open to the public, will be followed by a Q&A.

Sponsored by the Stanford Department of Art & Art History, the Documentary Film Program, and Stanford’s Frankenstein@200 Initiative.