Sounds of Silence Festival | The Seashell and the Clergyman (1928) & Reclaiming vision (2018) | CANCELLED

Music by Hypochondriac Resonators / Henry Vega and Jan Willem Troost

Zo 15 mrt | 16.30 uur GROTE ZAAL | Online €12,50 | Kassa €14,50 | Studenten €10,- | Ooievaarspas 50% | We Are Public gratis

With the lecture: Women directors of silent cinema by Dr. Asli Ozgen-Tuncer (University of Amsterdam)

12/3/2020
Due to the Corona virus and government regulations aimed at stopping the virus we are unfortunately forced to cancel the Sounds of Silence Festival 2020. We will try to reschedule the fesival to a later date. Ticket buyers will be informed about the options regarding ticket refunds. 

 

Bring your own food!
The first film this Sunday ends at 18.00 and the second and final film starts at 19.00. Not a lot of time in between if you want to see both films, and want to eat something! So we've decide to open our foyer to bring (and eat) your own food, something that normally isn't allowed.

So bring your own food or buy something from the many nice diners at the Weimarstraat and enjoy your dinner in our foyer before you see the final film and performance of the festival!

Tickets
Single ticket  
Online €12,50 | Kassa €14,50 | Studenten €10 | Ooievaarspas 50%| Tickets
Festival Passepartout Online €50 | Kassa  €52 | Studenten €36,- | Ooievaarspas 50% | Tickets
Student and Ooievaarspas only available at the theater

Lecture: Women directors of silent cinema - Dr. Asli Ozgen-Tuncer (University of Amsterdam)

Film:The Seashell and the Clergyman (Germaine Dulac, France, 1928, 44m)

La coquille et le clergyman (better known as The Seashell and the Clergyman) was Germaine Dulac’s expression of what she termed a new “art of vision”. Here, she coincides with the tenets of Surrealism and with Antonin Artaud, who was temporarily associated with the movement. While Dulac’s symbolism-influenced cinematic aesthetic approached the film as a series of metaphors with their own internal logic, Artaud saw it as a juxtaposition of images invoking displacement and dissociation, a search for the incongruous, to challenge the established value system. The radicality of the script – and indeed his other writings – showed that Artaud was perhaps the first person to realise film’s ability to plug directly into the audience’s psyche. The final version of the film created a new breakaway language through the unconscious.

Music: Hypochondriac Resonators (Dan Gibson on modified cello/electronics, and Vladimir Vlaev on modified guitar/electronics)

The soundtrack of The Seashell and the Clergyman by the electro - instrumental duo Hypochondriac Resonators aims not only to explore and underline the “unstable landscape” created by the image, but also to trigger the viewer’s own contemplation as an “act upon the subconscious”. With the palette of their setup of modified acoustic instruments and electronics the two follow the dynamic of the images both with precise synchronicity and rhythmic freedom. The duo carefully choses sound material which breaths together with the image as a single audio-visual composition.

 

Reclaiming vision(Marjolijn Dijkman & Toril Johannessen, Norway, 2018, 27m)

Captured through a light microscope, ‘Reclaiming Vision’ features a diverse cast of microorganisms, sampled from brackish water, alongside algae, cultivated in a lab. The film reveals various processes in the water that are hidden to the naked human eye. By investigating the brackish water, its inhabitants, its properties, and the traces left by human activities, the film is a reflection upon the relationship we humans have with our surroundings, especially through what we cannot see.

The music for the film is a composition for electronics, cello and voice, composed by Henry Vega, with Vega on electronics and Jan Willem Troost on cello.