The intention here is to invalidate generalizations about African realities and enable cinematic images of concrete places, times and contexts to be talked about instead. The configuration of the three different film narrations spanning the two evenings brings to light geographical and ideological relationships not without a certain critical tension, which becomes tangible in the images of the landscape, the city and its architecture. We are showing the film on October 3 together with Haile Gerima’s radical social satire MIRT SOST SHI AMIT (Harvest, 3,000 Years, Ethiopia 1975), shot in Ethiopia at the end of Haile Selassie’s rule. In her video work NOTES ON PASOLINI’S FORM OF A CITY (Germany 2013), Sandra Schäfer examines Pasolini’s projections of Africa before the backdrop of his critique of modernity. The structure of the cinematic notebook and the cultural ideological charge it carries demand that Pasolini’s film be placed in context with two further films. Narrated in the style of a cinematic notebook, Pasolini’s interest in adapting the ancient tragedy for the screen using African actors is mixed with a stubbornly colonial look at realities in Tanzania, Uganda and Ethiopia. Pier Paolo Pasolini’s APPUNTI PER UN’ORESTIADE AFRICANA (Notes Towards an African Orestes, Italy 1969) will be screened on October 1. Hamza's stellar intervention produces both a surprising historical reappraisal of Althusser as a Christian-Hegelian emancipatory thinker as well as a neo-Althusserianism addressing the most pressing socio-political challenges of the contemporary age.In October, the fourth edition of It all depends takes place as part of the Visionary Archive project. This is exactly what Agon Hamza delivers. However, amidst today's desperately needed reactivations of what Alain Badiou calls 'the idea of communism,' Althusser's concepts and problems must be revisited and put back to work. “As with Marxism generally, so too with Louis Althusser specifically: During roughly the past half-century, both ended up falling into undeserved disrepute and obscurity. They prove that thinking is not yet dead.” (Slavoj Žižek, International Director, Birkbeck Institute for the Humanities) I am grateful to live in a time when such books are written. The common thread of Christianity renders visible a new Althusser and a new Pasolini. It reshuffles the cards so that nothing remains the same. “Agon Hamza’s book can only be described as an explosive mixture of politics and sexuality, of philosophy and art, of Marxism and Christianity.
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