Let Him Eat Bread, 2008
12 minutes
Combining visual memories, which are detached from their own “reality”, the film Let him eat Bread extends the genre of documentary to question its own impossibility. Examining the tasks of framing as an act of transmission and connection, the film merges footage from Al Jazeera, clippings from different radio interviews, and quotes from diverse texts. The title of the film Let him eat Bread, taken from a New York Times article about noise pollution in the city of Cairo, refers to a metaphorical Arabic phrase which ultimately remains untranslatable, remaining foreign in itself. It revolves around the association, acceleration, compression, and prolongation of film-time as well as the manipulation and accentuation of the picture frame.
Self Portrait, 2010
10 minutes
A multi-faceted experimental montage using found footage, 16mm film, crumpled and scanned newspaper images, the computer camera, various texts and several cut up audio books.
Der Nebel (The Fog), 2009
11 minutes
In this intimate narrative, which takes as its premise the Little Ice Age at the end of the 18th century, the film Der Nebel extends the genre of found-footage-film to question its own clarity. Examining the act of seeing as an act of transmission, the film merges footage from Youtube with an extended shot of a ferry ride through the fog. The fog, a metaphor for capitalism, remains ultimately opaque, revolving around obscure allusions to the world’s financial crash.
Isolarium, 2009
9 minutes
Isolarium is a film that examines the interplay between disease and community and the isolation of the individual. The central motive is the surgical mask worn by groups of people arranged in unnatural and non-interactive still poses. 16mm and video are used interchangeably; the video ‘documents’ the filming and reveals a behind-the-scenes aspect which creates a corollary stripping of visual masks.
Sophie Hamacher works primarily with collage, reconfiguring media images by using documents and reclaiming them from their mere informative quality. She has written extensively on the relationship between art and document, and the unconscious or conscious witnessing of historical events through photography and film. Arranging visuals according to a need for the re-contextualization of media, she began employing images in order to question the difference between public and private and the possibility of documentation itself. She has directed, and written a collaborative film in Tehran, has co-curated the exhibition Überleben (2007), has taught and organized various seminars and workshops and is currently working on an documentary film about John Roemer, teacher and activist from Baltimore, who played a pivotal role in the civil rights movement.
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