This is the second part of Minimalen's project of screening Norwegian film art, decade by decade. We started in the 60s, now it's time to turn to the 70s.
The selection is based on the work the art initiative Atopia made with the project "Retrospective. Film and video art in Norway", a look back and a long-term research project which has led to an exhibition at the Stenersen Museum and a book. This writing of history is largely a pioneering effort, and in this way history is both made and preserved. Minimalen is proud to be able to redistribute this work.
The films in this program were largely created within a cinema tradition. Atopia's work has taken these movies out of the darkness of the cinema screening room and into the gallery, a key contextual turn. With this we take the movies back into the darkness to see what happens there.
Contact: National Library of Norway by Håvard Oppøyen, and Atopia by Farhad Kalantary.
ANJA BREIEN
Anja Breien established herself in the 70s as one of our most influential filmmakers, both in Norway and abroad. Always socially aware, and with a strong feminist voice, she was instrumental in establishing the "new Norwegian wave". Wives from 1975 was Breien's big breakthrough, a film that made critic Peter Cowie describe her as a Dogme director 20 years before it became a concept.
In the original Atopia selection, there were three 70's films by Anja Breien. Minimalen takes this opportunity to expand the program with two additional films, to get a complete overview of Breien's short films from the decade. We are pleased that she will be joining us to introduce the screening.
NOR 1971 | Exp. | 7 min |
ANSIKTER (FACES) En film om ansikter, om uttrykk, om situasjoner. Filmen tar utgangspunkt i et dikt av den danske lyriker Poul Borum. Opptakene er gjort i Munch-museet i Oslo og basert på ansiktene i Munchs bilder. A film about faces, about expression, about situations. The film is based on a poem by the Danish poet Poul Borum. It was shot in the Munch Museum in Oslo, and is based on the faces in his paintings. Script, editing: Anja Breien| Camera: Halvor Næss |
NOR 1972 | Doc. | 12 min |
MURER RUNDT FENGSELET (THE WALLS AROUND THE PRISON) Om fengselsvesenet, og om de innsattes situasjon sett innenfra og utenfra. About the prison system, and about the prisoners' situation seen from both inside and outside. Script, editing: Anja Breien | Camera: Halvor Næs |
NOR 1973 | Doc. | 20 min |
HERBERGISTENE (SHELTER) Reportasje om de uverdige boligforholdene og det trøstesløse Reportage about the unworthy living conditions and the dismal Script, camera: Anja Breien |
NOR 1974 | Doc. 11 min |
MINE SØSKEN, GODDAG (BROTHERS AND SISTERS, HELLO) Filmen følger kunstneren Arne Bendik Sjur inn i hans billedverden. Sjur ønsker med sin grafikk å berøre menneskenes liv, vår angst og fremmedhet overfor hverandre. The film follows the artist Arne Bendik Sjur into his art. Sjur
wants his graphics to touch people's lives, our anxiety and our Script: Anja Breien | Camera: Halvor Næss | Sound: Magne Mikkelsen | Editing: Anja Breien, Ola Solum |
NOR 1975 | Doc. | 33 min |
GAMLE (OLD PEOPLE) Om alderspensjonistenes situasjon i Norge i 1975. About the pensioners' situation in Norway in 1975. Script: Anja Breien, Espen Thorstenson | Camera: Halvor Næss | Sound: Svein Hovde | Editing: Espen Thorstenson |
NOR 1970 | Exp. | 7 min |
KOMPOSISJON (COMPOSITION) En filmatisk visjon, et portrett av den verden vi lever i. Fortid, nåtid og fremtid virvles om oss i massemedienes tidsalder. Vi forbruker våre naturgoder. Går alt liv sin undergang i møte? A cinematic vision, a portrait of our world. Past, present and future is whirled around us in the age of mass communications. We consume our natural resources. Is all life doomed?
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NOR 1971 | Exp. | 21 min |
VISUELT (VISUAL) Bildende tonekunst. Visual music.
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NOR 1971 | Exp. | 4 min |
NIXON VISIONS En del av Kjartan Slettemarks største prosjekt på 70-tallet: en lang rekke bearbeidede portretter av den amerikanske presidenten med utgangspunkt i en valgplakat fra 1971. Part of Kjartan Slettemark's biggest 70's project: a wide variety of processed portraits of the US president, made on the basis of an election poster from 1971. |
NOR 1971 | Exp. | 8 min |
GOLGATA (GOLGOTHA) Filmen, uten dialog, forsøker å fortelle med bilder og musikk at religionen kun brukes som et samfunnsregulerende middel. The wordless film is trying to use pictures and music to convey that religion is only used to control society. |
NOR 1972 | Doc. | 23 min |
VI ER ALLE BROILERE (WE ARE ALL BROILERS) Det siviliserte mennesket lever som en broiler og omvendt, og det er neppe særlig hyggelig for noen av dem. Civilized man lives like a broiler, and the other way around. That's hardly particularly pleasant for any of them.
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NOR 1977 | Exp. | 7 min |
ELG, EN FILM OM ÆLJ (A FILM ABOUT MOOSE) Harselas med norske samfunns- og kunstforhold fra kunstnergruppen Gruppe ELG. Ridicule of Norwegian society and art from the art collective Gruppe ELG.
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NOR 1977 | Exp. | 3 min |
A VIDEO POINT OF VIEW Kameraet fokuserer på en drøvtyggende kamel, lyden har blitt dubbet for å gi intrykk av en forvrengt diskurs om videokunst. The camera focuses on a cud-chewing camel; the sound has been dubbed to give the impression of a distorted discourse on video art.
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NOR 1977 | Doc. | 16 min |
DEN FINE PELSKÅPA DI (THE FANCY FUR COAT OF YOURS) En protestfilm mot utnyttelsen av dyr i pelsbransjen. A protest against the exploitation of animals in the fur trade.
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NOR 1978 | Exp. | 3 min |
DEN HVITE STREKEN (THE WHITE LINE) En hvit strek begynner å leve, og danser rundt blant natur og broer, biler og mennesker. A white line starts living, and dances around nature and bridges, cars and humans. |
NOR 1978 | Exp. | 15 min |
BLA BLA BLA Mere harselas med norske samfunns- og kunstforhold fra kunstnergruppen Gruppe ELG. More ridicule of Norwegian society and art from the art collective Gruppe ELG. |
