Films of the SUN course Anthropological and Documentary Filmmaking, July 2011


Directed by Hadas Bar, Ian Cook, Anette Dujisin


Directed by Ewa Jarosz and Laerke Riis Paalsson


Directed by Norah Benarrosh-Orshoni and Kristen Eglinton


Directed by Akanksha Mehta and Anna Nikolaeva


Directed by Hanna Synková, Jonnabelle Asis, Ram Krishna Ranjan


Directed by Sona Lutherova, Tomas Hirt, Sergiu Novac and Kata Vársanyi


Directed by Ipek Oskay and Drago Zuparic-Illjic


more about the summer course

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Subjective Budapest Maps Exhibition

“The last two decades have brought wide-ranging changes in the life of Budapest: in the wake of the social and economic transformation that was brought about by the transition to democracy, urban and social space has been restructured. During the transition, the emergence of the private sector and the infusion of foreign capital radically altered the city. All these had an effect on Budapest’s development, on all aspects of the changes. Throughout the period, artists have reacted to these processes with acute sensitivity.”

Open from October 20 – 2 December

OSA

+ just found out that we have a colleague exhibiting so it is even more recommended.

More info:

More info here

Closed. (Synopsis of a photo essay)

Although the topic of my photo essay is a closed hospital, the photos are not only pictures of urban decay. There is more (story) to them than only the strong effect of the textures (broken glass, peeling paint) which convey the idea of slow destruction.

According to Barthes the act of taking a photo involves that the subject is transformed into object. For the viewer, the essence of a photograph, the punctum is a wholly personal connection; it is achieved when its viewer is able to turn the object back to a subject. And although in case of an edifice it seems less relevant talking about object/subject – it was the very subjectification that I felt while taking /looking at the pictures, due to the invisible but tangible history and stories linked to the place. I hope the photos convey something of that.

What happens to a building that has lost its function?

During 140 years, this building and the institution it hosted became intertwined. For some years now, the institution no longer exists – the edifice does, derelict. As it is impossible to enter the hospital, the barred windows turn out to be the only tools to communicate with the inside. The majority of the photos therefore concentrate on these places / objects that best exemplify the change that occurred to this building when it lost its meaning, the inner side of it. The perspective turned: windows that once gave sight from the inside to the outer world, now let us peep in to the vacant wards; the bars that were meant to keep people in, lock us out.

The different materials at/around the windows all show signs of decay, which makes even the bottle of antiseptic left on the windowsill seem out of place… This might be the point that shows us that it is not decay that is so disturbing about the place but rather the reason for it, the absence of humans, the aim of these objects and the building itself being there. The presence of such objects intensifies the absence of their users.

I’d welcome any feedback.

best,
kata

Diana’s lomtalanitas photo essay

Objects have stories… they possess biographies through which ‘their significance may radically alter’ (Miller, 1993). These stories are evolved and developed in the vision of ‘objects as properties’, rather than the consideration of the ‘properties of objects’. Objects, regarded as properties, become intrinsically linked to a larger context of belonging and therefore tell far richer stories than an object regarded as possessing a number of properties, signifying its mere materiality. Thus the struggle in a sense evolves around the very practice of sense-making and perception, which oscillates between the articulation of the object’s physical externality versus its internal symbolism.

Despite the easily detectable physical externality that the photograph so skilfully exposes, there is always an inherent symbolism, an internal story in each shot… perhaps – less easily disclosed, but is always possible to uncover once the static take of the object’s being is turned into the context of its dynamic becoming… And it is at the point of regarding the object within the context of becoming that two elements of temporal symbolism come together – ‘the object standing for time’ and ‘time controlling what the object stands for’ (Miller, 1993). Within
this very confrontation one can uncover the various reasons underlying the act of detachment…

By Diana

are you ready to move? (an ethnographic film)

This is my final project. Hope watching a man smoke for 2 minutes is not too boring. I’d appreciate any feedback and/or abuse.

Best,

Ian

Jewish District: Symbols, Places, and Practices

Hello all,

The project aims to depict how these two types of identities intervene in the “Jewish Quarter” by looking at symbols, places, and practices. By symbols we understand the Jewish symbols present in the 7th district and we were looking at how these symbols are contextualized and at the same time recontextualized. Places that were the unit of our analysis are Dohany Synagogue, as one of the most significant place for the ‘traditional’ representation of the “Jewish Quarter”, and Siraly as the place for ‘alternative’ to the official and traditional depiction of the district. What is referred by practices in our project is how people practice the space of the district, with an emphasis on the people in Synagogue and people in Siraly.

Synopsis of the Photo Essay

The outline of our project follows a structure in three parts that we entitled Symbols, Places, and Practices. The rational behind this structure follows the lines of our interaction with the field that led us from the obvious to the more intimate sides of the quarter. In practice such a firm distinction between the three does not exist. Symbols mark the places, they are interpreted and re-interpreted by the groups that reside in the quarter or visit it, practicing the place, and giving it new dimensions. To convey our representation of this identity, we organized the photo essay in these three parts. However, the borders of these three components were not clearly stated in the photo essay per se, precisely because they flow into each other.

Here is the full photo essay


Enjoy

Dumi and Esma

The Others

Dear All,

These black-and-white photos are posted in the permanent exhibition of the Hungarian National Museum and part of the outstanding Photo Collection of it. I am writing my MA thesis on the permanent exhibition of this museum, with the intention to find out what kind of message does it have, if any, in concerning with identity, Hungarian national idea etc. At the exhibition there are approximately 10 photos about “the significant others” for the Hungarians, the Germans and the Soviets as oppressing powers.
In my photo essay I am researching the similar characteristics among these photos in describing that group of people. I am looking for the visual techniques and images that provide hint for a certain evaluation of the group as well as if there is any motif or hidden intention that connect them (why and how these photos were chosen to exhibit and not others).

Melinda

Nepszinhaz Test Shots

Here are some shots from the window of my flat on Nepszinhaz utca. I plan to make a short film out of the window for my project, trying to some how capture the rhythm of life on the street. It fits into my thesis topic which regards gentrification and the district/street. I’d be happy/pleased/ecstatic if people could leave comments letting me know what they think of the angles, shot etc. I think it works quite well, but maybe the picture is too busy…? So that filming out of it static would not work… I would have to choose on what to focus. Nem tudom.

They are all in quite bad quality apart form the last one, so that they don’t take up too much space 🙂

Whoop whoop

Ian

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