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Leder
Vitenskapelig publikasjon
(side 5-14)
av Christine Hansen
Using the Norwegian antiwar film Tears of Gaza (2010) as a point of departure, this essay addresses the issue of truth in documentary. The film chronicles both the attack and the ...
SammendragEngelsk sammendragTears of Gaza, a nonpolitical film? Questions of truth and reality in documentaries
Using the Norwegian antiwar film Tears of Gaza (2010) as a point of departure, this essay addresses the issue of truth in documentary. The film chronicles both the attack and the aftermath of the Israeli bombing of the Gaza strip in 2008/09. In interviews, the filmmaker Vibeke Løkkeberg stated, «Tears of Gaza is not a contribution to the Palestine debate» and it is «a nonpolitical film that is solely on the children’s, the victims’ side.» This article will concentrate on the debate that followed in the wake of the screening of the film, where the filmmaker was accused of fabricating some of the shots. The debate in Norway will be compared with a similar discussion in the 30s in the US about Arthur Rothstein’s photography Steer Skull (1936), photographed for the Farm Security Administration documentary project. Furthermore, I will take issue with the new tendency to use amateur footage and the implications of its use. The article concludes that the filmmaker’s aspiration to produce a nonpolitical film is problematic. This involves the selection of the subject, the choice to view the conflict from the children’s perspective, and the decision to show graphic footage from the conflict. In conclusion, the article claims that an important challenge, evident in the debate about Tears of Gaza, is the gap between how issues about truth in documentary film are discussed in the public realm and in documentary theory literature. While discussions in the literature are complex and nuanced, debates in the public realm are often biased and polarized. Another aspect lacking from the debate about Tears of Gaza was the question concerning the filmic and photographic depiction of reality. I will claim that this feature is perhaps the most difficult one to relate to in an analytic and critical way. This concerns especially the footage filmed by amateurs in Tears of Gaza.Keywords: Documentary, truth, political film, amateur footage, graphic imagery
Vitenskapelig publikasjon
(side 18-32)
av Siemke Böhnisch
This article discusses theatre after the 22 July 2011 terror attacks, the challenges it faces, and contributions it makes to the ongoing «battle of the narratives» following the attack. After a short ...
SammendragEngelsk sammendragSammendrag
Denne artikkelen drøfter scenekunst etter 22. juli, utfordringer den møter og bidrag den gir til den vedvarende «kampen om fortellingen» etter terrorangrepet. Etter et kort overblikk over første reaksjoner fra scenekunstfeltet i Norge, drøftes de etiske og estetiske problemstillingene som har blitt aktualisert i mediedebatten rundt noen av de første utenlandske scenekunstproduksjonene på feltet. De konkrete teatereksemplene åpner opp for en generell diskusjon av (scene)kunstens omgang med terrorisme og samfunnsmessige traumer i relasjon til massemedienes behandling av tematikken. Problemstillingen belyses i artikkelens andre del gjennom en næranalyse av en av de scenekunstproduksjonene som havnet i mediestormen: Breiviks Erklärung av Milo Raus (IIPM, premiere 19.10.12 i Weimar, Tyskland). Forestillings-analysen tjener som et korrektiv til mediedebattens mange angstforestillinger om estetisering, fiksjonalisering og kommersiell eller politisk utnyttelse. Det analyseres frem hvordan forestillingen tvert i mot skaper et nødvendig og kritisk refleksjonsrom, fjernt fra enhver form for populistisk sensasjonsdyrkelse. Analysen inndrar scenekunstproduksjonens rammesetting og konkrete kontekst før den går inn i en nærlesning av de tilsynelatende enkle, men i virkeligheten svært komplekse og finjustere estetiske strategiene. Det undersøkes hvordan autentisitetsstrategier virker sammen med en rekke distanseskapende grep, og det vises hvordan nøye konstruerte ubestemthetsrom og skuespillerens spesifikke kroppsliggjøringspraksis legger til rette for tilskuerens lytting. Avslutningsvis blir den personlige tilskuererfaringen drøftet med hensyn til dens samfunnsmessige bakgrunn og relevans.Giving Breivik a stage? Theatre after the terror attacks of 22 July 2011, with a close analysis of Breiviks Erklärung (Milo Rau/IIPM)
This article discusses theatre after the 22 July 2011 terror attacks, the challenges it faces, and contributions it makes to the ongoing «battle of the narratives» following the attack. After a short overview of the first reactions from theatres and theatre artists in Norway, the ethical and aesthetic issues, which have been addressed through media for some of the most prominent foreign theatre productions on the subject, are discussed. The specific theatre performances render possible a more general debate of the art form’s ways of relating to terrorism and national trauma in relation to the mass media handling and presentation of the same issues. In the second part of the article, these questions are further examined by a close analysis of one of the theatre performances that caused media debate, Breiviks Erklärung by Milo Rau (IIPM, premiere on 19 October 2012 in Weimar, Germany). The performance analysis serves as a corrective to the many anxious responses from the media concerning aestheticization, fictionalizing and commercial or political exploitation of the issue. The analysis leads to how the performance, contrary to what is expected, creates a space for necessary and critical reflection on the issue, remote from any form of populistic sensationalism. The analysis includes the framing and the specific context of the theatre performance, prior to a close reading of the apparently simple, but in truth, very complex and finely tuned aesthetic strategies. These strategies combine authenticity effects with techniques for creating distance to the subject, and it is shown how carefully constructed places of indetermination and the actor’s embodiment techniques enable the audience’s listening. Finally, the spectator’s personal experience is examined with regards to its social background and relevance.Keywords: Theatre, terror, 22 July, the Utøya massacre, Breiviks Erklärung, Milo Rau, reenactment
Forum
Anmeldelser
(side 45-50)
av Frode Helmich Pedersen