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TZUNTIL:20281029T010000Z
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DESCRIPTION:With: Karina Griffith (UdK Berlin) A workshop entitled “Project
 ing Wanjiru Kinyanjui” took place at Sinema Transtopia in June 2025. Its g
 oal was to check the 35mm print of Wanjiru Kinyanjui’s DFFB graduation fil
 m\, ‘Der Kampf um den heiligen Baum’ (‘The Battle of the Sacred Tree’\, 19
 95) held in the Deutsche Kinemathek’s archive and to take a ‘projection st
 udies’ approach to repairing the relationship between archives and Black G
 erman cinema. Comprising Kinyanjui herself along with projectionist Floria
 n Höhensteiger and ten participants\, the workshop examined the physical 3
 5mm reels and ‘read’ them to uncover the film’s screening history.Film pro
 fessor and curator Gabriel Menotti argues that cinema studies scholars nee
 d to be more like projectionists – studying the trajectory and condition o
 f analogue prints and fumbling in the dark to investigate the production a
 nd screening context of cinematographic works alongside their interpretati
 on. This proposition requires an examination of the “negative spaces in th
 e circuits” of these films.This case study demonstrates a model for inters
 ectional custodial film work and indexes the risks of excluding filmmakers
  from the process of archiving\, distributing and contextualizing their fi
 lms made in Germany.In English
DTSTART;TZID=Europe/Berlin:20261022T110000
DTEND;TZID=Europe/Berlin:20261022T110000
LOCATION:Si̇nema Transtopia
SUMMARY:Projecting Wanjiru Kinyanjui
TRANSP:OPAQUE
X-ALT-DESC;FMTTYPE=TEXT/HTML:With: Karina Griffith (UdK Berlin)&nbsp\;A wor
 kshop entitled “Projecting Wanjiru Kinyanjui” took place at Sinema Transto
 pia in June 2025. Its goal was to check the 35mm print of Wanjiru Kinyanju
 i’s DFFB graduation film\, ‘Der Kampf um den heiligen Baum’ (‘The Battle o
 f the Sacred Tree’\, 1995) held in the Deutsche Kinemathek’s archive and t
 o take a ‘projection studies’ approach to repairing the relationship betwe
 en archives and Black German cinema. Comprising Kinyanjui herself along wi
 th projectionist Florian Höhensteiger and ten participants\, the workshop 
 examined the physical 35mm reels and ‘read’ them to uncover the film’s scr
 eening history.Film professor and curator Gabriel Menotti argues that cine
 ma studies scholars need to be more like projectionists – studying the tra
 jectory and condition of analogue prints and fumbling in the dark to inves
 tigate the production and screening context of cinematographic works along
 side their interpretation. This proposition requires an examination of the
  “negative spaces in the circuits” of these films.This case study demonstr
 ates a model for intersectional custodial film work and indexes the risks 
 of excluding filmmakers from the process of archiving\, distributing and c
 ontextualizing their films made in Germany.In English
END:VEVENT
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