The exchanges between African American, German, and Turkish perspectives on the set of Frau Kutzer would have been exciting to eavesdrop on.
Tag: Skip Norman
“The starting point is the relationship between Europe’s prosperity and Africa’s poverty; Europe’s destruction of societies and cultures, and the simultaneous use of Christianity and racial theories as justification for a massive exploitation of the colonized.” (SN)
Das Arsenal organizes the first edition of the "Archival Assembly" festival, which brings together film archives and film archival projects, including HaFI, for an exchange with the public.
These photographs were enclosed with a letter sent by Skip Norman to Carlos Bustamante in August 1982.
see German post.
February 28th, 2021 — Archive / Showcase
On December 22, 1933, I was born in Baltimore, Maryland, U.S.A., as a first son. I spent my childhood in Washington, D.C. […]
Gerd Conradt went to see Skip Norman in North Cyprus in 2002. Their conversation focuses on Holger Meins, who, like Conradt and Skip Norman, but also Harun Farocki, Helke Sander or Hartmut Bitomsky, started to study film at DFFB in 1966.
From time to time, DFFB conducted surveys among their alumni. This one, entitled “DFFB ‘volljährig’” (DFFB “adult”) was published in 1984 at the occasion of the institution’s 18th birthday.
A letter sent by Skip Norman to Helene Schwarz, the secretary who had been at DFFB since the school's beginnings and was an important confidante for many of the students.
Skip Norman submitted this CV as part of his interdisciplinary PhD dissertation in Anthropology, Sociology, Photography and Cinema in 1984. It is entitled “An Examination of Centenary United Methodist Church using the Photograph as Artifact.”
January 2021 — Rosa Mercedes / 03 / A
Zora Neale Hurston emphasized the dynamics of the homogenous black community. Her creativity was rooted in the folklore of black people. As a result, there was little need to portray the white world.
Culture is the acquired knowledge that people use to interpret experience and to generate behavior. This cultural knowledge is like a recipe for organizing the necessary ingredients for a viable social life.
The titles of Norman's films all hint at the struggle to assert an Afro-American identity in a world shaped by whites.