Course Schedule


Filme bei der Arbeit (Seminar)

Dozent/in: Gertrud Koch

Einzeltermin | Di, 08.11.2022, 10:15 - Di, 08.11.2022, 13:45 | C 14.102 b Seminarraum | Einführungsvorlesung und Filmscreening
Einzeltermin | Mo, 28.11.2022, 14:15 - Mo, 28.11.2022, 17:45 | C 14.102 a Seminarraum
14-täglich | Montag | 14:15 - 17:45 | 28.11.2022 - 12.12.2022 | C 14.102 a Seminarraum
Einzeltermin | Mo, 28.11.2022, 18:15 - Mo, 28.11.2022, 19:45 | C 14.102 a Seminarraum | Film-Screening
Einzeltermin | Di, 29.11.2022, 10:15 - Di, 29.11.2022, 13:45 | C 14.102 b Seminarraum
14-täglich | Dienstag | 10:15 - 13:45 | 29.11.2022 - 13.12.2022 | C 14.102 b Seminarraum
Einzeltermin | Mo, 12.12.2022, 14:15 - Mo, 12.12.2022, 17:45 | C 14.102 a Seminarraum
Einzeltermin | Mo, 12.12.2022, 18:15 - Mo, 12.12.2022, 19:45 | C 14.102 a Seminarraum | Film-Screening
Einzeltermin | Di, 13.12.2022, 10:15 - Di, 13.12.2022, 13:45 | C 14.102 b Seminarraum
Einzeltermin | Mo, 16.01.2023, 14:15 - Mo, 16.01.2023, 17:45 | C 14.102 a Seminarraum
Einzeltermin | Mo, 16.01.2023, 18:15 - Mo, 16.01.2023, 19:45 | C 14.102 a Seminarraum | Film-Screening
Einzeltermin | Di, 17.01.2023, 10:15 - Di, 17.01.2023, 13:45 | C 14.102 b Seminarraum

Inhalt: Kino und Film beginnen für Publikum und Zuschauer, wenn die Arbeit endet, in der Freizeit. Diese ist definiert über die Zeit, die frei von Arbeit ist: Freizeit und Arbeitszeit sind wechselseitig definiert. Filme selber sind das Ergebnis von Arbeit, von Kopfarbeit, Handarbeit und Maschinenarbeit. Einer der ersten Filme von 1895 heißt: „Arbeiter verlassen die Fabrik.“ Das Verhältnis von Arbeit und Kultur verändert sich ständig, Technik spielt eine entscheidende Rolle dabei ebenso wie die Veränderung der Arbeit vor dem, im und am Film. Im Seminar werden wir anhand von analytischen Texten und einigen ausgewählten Filmen dieses Verhältnis näher zu bestimmen versuchen.

The Dialectics of Restitution (Seminar)

Dozent/in: Lynn Rother

wöchentlich | Donnerstag | 10:15 - 11:45 | 17.10.2022 - 03.02.2023 | C 40.146 Seminarraum | .

Inhalt: What does it mean for an object to be restituted? Why do museums sometimes believe they should return objects to their countries of origin? Who gets to decide? How has restitution discourse changed over time? Who were the people and institutions shaping (or not) restitution practice? Who gets to speak on behalf of who? What does restitution mean for museums in the future? More than 60 years after most of Africa achieved independence from European colonization, museums in Germany, France, the UK, and the United States have now begun returning artifacts to Africa, or at least have announced their intention to do so. A meaningful part of the public conversation has been focused on the return of the so-called Benin Bronzes to Nigeria, a collection of 3,000 to 5,000 bronze, brass, and ivory objects, plundered from the Royal Palace and other ceremonial sites in the Kingdom of Benin (now Edo State, Nigeria) by British troops during its colonial occupation in February 1897. But even if an international consensus for the return of these Benin Bronzes among museums seems to have been reached, it is currently neither clear how long these restitution efforts will last, nor exactly which objects count as legitimate colonial plunder. Neither restitution, nor the debates about it, are a new phenomenon. In the case of Africa, the public, scholarly, and political discussions seem to have had the same intensity in the 1980s, despite a long freeze, as they have in recent years. While the debate fizzled out forty years ago, and was in some corners suppressed or forgotten, today, as the French art historian Bénédicte Savoy has proclaimed, the "Olympic Games of restitution" are afoot. The current public focus on restitution provides a new urgency—and a new set of opportunities—to revisit Africa's long struggle for its art in the context of European “cultural heritage” debates.