Manu Luksch is filmmaker and artist who interrogates conceptions of progress and scrutinises the effects of network technologies on social relations, urban space, and political structures. Her widely acclaimed speculative fiction film FACELESS (2002-07), narrated by Tilda Swinton and part of the Collection Centre Pompidou, pioneered the notion of ‘legal readymades’ by appropriating data protection legislation into a process for filmmaking.
Martin Reinhart‘s innovative exploration of film as an artistic language is not limited to the making of films – he also develops hardware and processing solutions. His inventions are often made available to other artists, or find a commercial after-life. Reinhart’s short films have been shown widely at media arts festivals. In his position as Curator for Photography at the Museum of Technology in Vienna, Reinhart’s research led to the rediscovery of the soundtrack for Battleship Potemkin (1928, Eisenstein).
Thomas Tode lives and works in Hamburg as a filmmaker and freelance writer. His films include Natur Obskur (1988), Die Hafentreppe (1991), and Im Land der Kinoveteranen – Filmexpedition zu Dziga Vertov (1996). He is the author of articles that have appeared in magazines such as Cinémathèque (Paris) and Cinema (Zürich), and of several books, including Johan van der Keuken: Abenteuer eines Auges (1987), Chris Marker – Filmessayist (with Birgit Kamper, 1997) and Dziga Vertov – Tagebücher / Arbeitshefte (2000). He is teaching at the University of Hamburg and Bochum University and is a curator at the Hamburg Cinematheque.
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