Synopsis(borrowed from Sixpackfilm)
Resistance to the political change which took place in Austria in the year 2000, even when coming from members of the alleged opposition, is repeatedly dismissed as a hysterical reaction. The claim is made that this was a “normal democratic change.”
This characterization obscures the fact that the protest was directed primarily at a party whose populist program is intended to mobilize authoritarian and misanthropic prejudices. Furthermore, these protests were and are intended to stop the “integration of popular racism” (Steyerl) into the social and political mainstream, which is also on the rise in countries other than Austria.

What is declared normal by some and accepted as such by the majority sometimes represents a concrete threat to others. Normality 1-10, a series of short video essays, registers everyday neo-fascist violence as being
an instrument of such “normalization.” In a matter-of-fact and at the same time insistent manner, Hito Steyerl offers a richly detailed report on the growing number of anti-Semitic and racist attacks – on cemeteries, monuments and human beings – in both Austria and Germany. In a sober visual language, she develops a number of forms and styles of commentary to pose questions concerning the social structures inherent to this variety of violence and their representation.

At the same time, Steyerl assumes an unequivocal political position: The important thing is to penetrate the silent acceptance and opportunistic racist consent. Normality also shows how immigrants – many of whom left their homes because of Europe´s commitment to global capitalism – demand their rights and remind us: “Your silence is encouraging fascism, telling the fascists that it´s okay what they are doing.” (Thomas Korschil)

Normality 1-10.mkv

General
Container:  	Matroska
Runtime: 	1 h 1 min
Size: 	776 MiB
Video
Codec: 	
Resolution: 	640x480 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	1 625 kb/s
BPP: 	0.212
Audio
#1:  	2.0ch MP3 @ 136 kb/s

https://nitro.download/view/B312593B31A3BAD/Normality_1-10.mkv

Language(s):German
Subtitles:English

The post Hito Steyerl – Normality 1-10 (1998/2001) first appeared on Cinema of the World.

In this immersive work, which debuted at the 2015 German Pavilion at the Venice Biennale, Steyerl probes the pleasures and perils of image circulation in a moment defined by the unprecedented global flow of data. Ricocheting between genres—news reportage, documentary film, video games, and internet dance videos—Factory of the Sun uses the motifs of light and acceleration to explore what possibilities are still available for collective resistance when surveillance has become a mundane part of an increasingly virtual world. Factory of the Sun tells the surreal story of workers whose forced moves in a motion capture studio are turned into artificial sunshine.

725MB | 22m 54s | 1920×1080 | mkv

https://nitro.download/view/26BA5C4B01A74A5/Factory_of_the_Sun_(Hito_Steyerl,_2015).mkv

Language(s):English, German, Russian, Chinese
Subtitles:None

The post Hito Steyerl – Factory of the Sun (2015) first appeared on Cinema of the World.

“Falling is a transition. It is a movement from one position to another. In as much as it suggests failure or ruin, to love is also to fall. It is corruption, revolution and abandonment. It implies a relationship. Hito Steyerl’s In Free Fall charts a singular object, the Boeing 707-700 4X-JYI airplane, in this process of falling. Less the story of an object’s production and eventual obsolescence, In Free Fall documents a life made visible through consecutive moments of destruction.”
— Gil Leung

In Free Fall incorporates a trio of works: Before the Crash, After the Crash and Crash, which tell the story of the current global economic crisis through the example of an aeroplane junkyard in the Californian desert. The aeroplane junkyard reveals the anatomy of all sorts of crashes: both fictional and real. This is an investigation of planes as they are parked during the economic downturn, stored and recycled, revealing unexpected connections between economy, violence and spectacle. An example of this is the Boeing 4X-JYI, first acquired by film director Howard Hughes for TWA, which then flew for the Israeli Airforce before it was blown up for the Hollywood blockbuster, Speed. But the economic crisis doesn’t stop short of affecting the film industry either.

Through intertwined narratives of people, planes and places Steyerl reveals cycles of capitalism incorporating and adapting to the changing status of the commodity, but also points at a horizon beyond this endless repetition.

DVD Source: DVD region 0, DVD5
DVD Format: PAL
Menus: no menu
Video: Untouched
Audio: Untouched
DVD extras: no extras

https://nitro.download/view/DF888FC268CF81B/523_IN_FREE_FALL.part1.rar https://nitro.download/view/6B8178487AB3232/523_IN_FREE_FALL.part2.rar

Language:English
Subtitles:English

The post Hito Steyerl – In Free Fall (2010) first appeared on Cinema of the World.

Quote:
My best friend when I was 17, was a girl called Andrea Wolf. She died in 1998, when she was shot as a Kurdish terrorist in Eastern Anatolia. There was a warrant out for her in Germany, as she was suspected of having participated in terrorist activities, for example the complete destruction of the deportation prison in Weiterstadt. She was also suspected of having been an associate to the Red Army Faction.
In 1996, she chose to go to Kurdistan in order to join the womens army of the PKK, the Workers Party Kurdistan. She took on the name “Ronahi”, trained and lived with the womens army for a few months, mostly in camps in Northern Iraq. Then in October 1998, her unit was tracked by the Turkish army close to the border. A heavy firefight took place. Only a few of the units members remained alive. They were under heavy fire by Army helicopters. Most of the survivors took refuge in what is being described as an earth hole. As surviving earwitnesses who remained in the hole say, she was shot by either army members or Kurdish village keepers after having been dragged out as a prisoner. Her case is only one of the many extralegal executions which structure this war.

This project tackles the question of what is nowadays called terrorism and used to be called internationalism once. It deals with the gestures and postures it can create, and their relationship to figures of popular culture, namely cinema. It´s point of departure is a feminist martial arts film Andrea Wolf and I made together when we were 17 years old. Now this fictional martial arts flic has suddenly become a document. November is not a documentary about Andrea Wolf. It is not a film about the situation in Kurdistan. It deals with the gestures of liberation after the end of history, as reflected through popular culture and travelling images. This project is a film about the era of November, when revolution seems to be over and only it´s gestures keep circulating.

In the eighties Hito Steyerl shot a feminist martial arts film on Super-8 stock. Her best friend Andrea Wolf played the lead role, that of a woman warrior dressed in leather and mounted on a motorcycle. The engagement expressed in the formal grammar of exploitation films later became Wolf’s political praxis: She went to fight alongside the PKK in the Kurdish regions between Turkey and northern Iraq, where she was killed in 1998. Now honored by Kurds as an “immortal revolutionary,” her portrait is carried at demonstrations.

In november Hito Steyerl examines the spectrum of interrelationships between territorial power politics (as practiced by Turkey in Kurdistan with the support of Germany) and individual forms of resistance. Her memories and accounts of Wolf’s life provoke the filmmaker to engage in a fundamental reflexion: She comes to understand how fact and fiction are intertwined in the global discourse. Her friend’s picture as a revolutionary pin-up would equally connect with either Asian genre cinema or a private video document. If October is the hour of revolution, November is the time of common sense afterward, though it is also the time of madness – Hito Steyerl considers from this perspective a relationship which began with a pose, and
Andrea Wolf took its implications so seriously that she was no longer satisfied with symbolic action. Wolf chose the Other of filmmaking, which was what made her into a true “icon”. (Bert Rebhandl)

https://nitro.download/view/9229768F1EB7981/november_(hito_steyerl,_2004).avi

Language(s):german
Subtitles:hardcoded english

The post Hito Steyerl – November (2004) first appeared on Cinema of the World.

Hito Steyerl is a Berlin-based artist and writer who’s new work, Liquidity Inc., is presented here. Liquidity Inc., which exhibited at the London Institute of Contemporary Art in April 2014, takes up liquidity as a concept in all of its physical, metaphorical, bodily, spiritual, meteorological and financial forms. In the main the film follows Jacob Wood a financial worker fired during the recent major economic crisis who now has a career in mixed martial arts.

Quote:
‘Steyerl’s films and essays take the digital image as a point of departure for entering a world in which a politics of dazzle manifests as collective desire. This is to say that when war, genocide, capital flows, digital detritus, and class warfare always take place partially within images, we are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand. Today the image world, Steyerl reminds us, is far from flat. And paradoxically it may be in its most trashy and hollowed out spots that we can locate its ethics. Because this is where forms run free and the altogether unseen and unrecognised toy with political projects at the speed of light. It is where spectacle and poverty merge, then split, then dance.’ – Brian Kuan Wood

http://www.nitroflare.com/view/E6F46C637995FCB/Hito_Steyerl_-_Liquidity_Inc.mkv

Language(s):English
Subtitles:None

The post Hito Steyerl – Liquidity Inc. (2014) first appeared on Cinema of the World.