{"id":1123,"date":"2016-02-08T20:31:25","date_gmt":"2016-02-08T20:31:25","guid":{"rendered":"http:\/\/ellaraidel.com\/?p=1123"},"modified":"2017-09-09T11:45:55","modified_gmt":"2017-09-09T11:45:55","slug":"subversus","status":"publish","type":"post","link":"https:\/\/ellaraidel.com\/?p=1123","title":{"rendered":"SUBVERSES"},"content":{"rendered":"

SUBVERSES China in Mozambique<\/strong>, 45 Min., 2011, HD<\/p>\n

\"redworker\"<\/a><\/strong><\/p>\n

Raidel\u2019s SUBVERSES China in Mozambique<\/strong> displays the Chinese worker in Mozambique from within and without. Taking the voice of a Chinese worker in Africa as an entry point, the film concludes with commentaries done in the local slam poetry, which serves not only as the presence of subcultures in flux around the world, but also as the film\u2019s footnotes, referring the African oral tradition where history can be presented and thus told. The working conditions are stratified by socio-economical relations symbolized by the difference of colors and cultures. In the wave of globalization, the process of eliminating and reconstructing boundaries triggers mutual conflicts and struggles for power between local and foreign cultures, misplacing modernity resulting disorienting time and space. SUBVERSES detailing ethnic conflicts under the ever-present and uneven phenomenon of globalization comes into existence.<\/p>\n

SUBVERSES China in Mozambique<\/strong> – german<\/p>\n

Ella Raidels Dokumentarfilm SUBVERSES China in Mozambique<\/strong> beginnt mit Bildern eines chinesischen Gesch\u00e4ftsmannes, auf einer Terrasse \u00fcber den D\u00e4chern Maputos, am Handy verhandelnd. Er steht mit dem R\u00fccken zu uns, bleibt namen- und gesichtslos. Er r\u00fchmt seine Aussicht \u00fcber die Stadt und deren Sch\u00f6nheit, er tut das mit dem Stolz eines Kolonialisten. Damit ist der Ton gesetzt, SUBVERSES referiert stetig an zwei Kontinuit\u00e4ten, n\u00e4mlich an die von Afrikas kolonialem Erbe, das mit dem \u00f6konomischen Engagement aus Fernost einen neuen H\u00f6hepunkt zu erleben scheint: zum Teil subventioniert von europ\u00e4ischen Banken bauen chinesische Firmen die Infrastruktur Mozambiques. Dabei gehen sie nicht zimperlich vor, sondern ganz globalisierend und kapitalistisch, immer gem\u00e4\u00df den Regeln von Gewinnmaximierung. Dass Arbeiter Rechte h\u00e4tten, ist diesem Denken ebenso fremd, wie dass die Benachteiligung einheimischer Arbeiter eine Form von Rassismus sei. Aus dem Off wird der Text eines PR-Mitarbeiters einer jener chinesischen Firmen verlesen, der diese Strukturen blo\u00dflegt und befragt.
\nAndererseits gibt es die Br\u00fcche dieses kolonialistischen Narrativs, etwa in der Form chinesischer Migrationsgeschichten, die sich \u2013 historischen Inseln gleich \u2013 noch vor dem rezenten wirtschaftlichen Boom zugetragen haben; oder aber in der Form von Darstellungen afrikanischer Arbeiter und Selbstdarstellungen afrikanischer Poeten. Wir sehen, wie sich in den Arbeitern Frustration und \u00c4rger aufstaut, etwa in einem Interview auf einer Baustelle oder in einer Szene, in der ein Arbeiter Unregelm\u00e4\u00dfigkeiten in seiner Lohnabrechnung entdeckt. Die Slampoeten Maputos dagegen sind schon einen Schritt weiter: ihre Sub-Verses sind Ausdruck ihrer Autonomie. Sie bestimmen selbst, wie sie das Bild betreten und welchen Ton sie anschlagen. (Sylvia Szely)<\/em><\/p>\n

\u00a0<\/a>\u00a0 <\/a>\"subversesflyer\"<\/a> <\/strong><\/p>\n

R\u00e4uberin<\/a>
\n“Durch die Sprache und die Bilder wird das ernste Thema von einer fesselnden Sch\u00f6nheit umgeben und die pers\u00f6nlichen Beobachtungen in den Kommentaren lassen Zuschauer_innen sehr nahe an die mozambikanische Realit\u00e4t heran.”<\/em><\/p>\n

http:\/\/www.aems.illinois.edu\/publications\/filmreviews\/chinainafrica.html<\/a>
\n“Ella Raidel\u2019s independent film is beautifully made. The silent stills of individual Mozambican and Chinese workers cutting into the former\u2019s grievances are quietly powerful…The documentary is artistically presented with passion and solicitude… “<\/em><\/p>\n

Screenings:<\/p>\n

International Filmfestival Rotterdam\/ Raiding Africa, 2011
\nCrossing Europe, Filmfestival Linz, Austria, (Local Artist Award), 2011
\nFestival International du Film PanAfricain Cannes
\nDOCKANEMA, Documentary Filmfestival Maputo
\nKulturvermerke Gmunden
\nDuisburger Filmwoche 2011
\nThis Human World Filmfestival Wien
\nTopkino Wien, 18.01.2012, 19 Uhr
\nAfrikanische Filmtage, Kinemathek Karlsruhe
\nAssociation for Asian Studies Conference Toronto, <\/strong>March 15-18, 2012
\nOKTOSKOP. Das Filmfestival im Fernsehen.
\nAfrika Filmfestival Leuven, Belgium
\nAfrica Hoje!, Documentary Filmfestival, Caixa Cultural Rio de Janeiro
\nAfrika Filmfestival K\u00f6ln, 2012
\nChina Dokumentarfilmfestival, Konfuziusinstitut Leipzig 2014<\/p>\n

Distributed by Sixpackfilm Vienna, www.sixpackfilm.com<\/p>\n

SUBVERSES China in Mozambique at Taipei Biennial Symposium and every Wednesday, 16:00, in the ‘Little Cinema’ at Taipei Fine Arts Museum<\/strong><\/p>\n

\"\"<\/p>\n

In SUBVERSES China in Mozambique, Ella Raidel investigated the contingent political- economic situation of growing Chinese investments in Africa, using a performative act of local and foreign workers as a poetic device. Taking the voice of a Chinese worker in Africa as an starting point, the film concludes with commentaries done in the local slam poetry, which serves not only which serve not only to underscore the presence of subcultures in flux around the world, but also as footnotes to the film, referring to the African oral tradition in the telling of history. Her method of filmmaking involves creating a discursive space that bridges the making of art and that of knowledge. Filmmaking in that sense can be seen as an artistic research, not only because of the processes involved in writing and shooting but also because of the complex archiving process in narratives, scenarios, subjects, and finally different politicized realities. The film SUBVERSES can also be read as a sequel of a Godard\u2019s attempts in establishing a self-governed TV in Maputo during the 1970\u2019s, which altogether serve as the production of the image in its self-reflexivity. It was Raidel\u2019s interest to choose Mozambique, a former Portuguese colony, as her destination for making the film. The post-colonial experience coded by the history of technology and film-making is an extra-diegesis dimension of the work.<\/p>\n

Taipei Biennial Symposium: 11th September 2016<\/p>\n

LIVE AMMO, MOCA TAIPEI 2011<\/strong><\/p>\n

\"\" <\/a><\/p>\n

\u827e\u62c9\u2027 \u745e\u5fb7 (Ella Raidel)
\n\u300a\u985b\u8986\u4e4b\u8a69\u300bSUBVERSES China in Mozambique \/\u9304\u50cf\u6295\u5f71Video, 45 Min., 2011<\/p>\n

\u827e\u62c9\u2027\u745e\u5fb7\u7fd2\u6163\u4ee5\u5f71\u50cf\u8a18\u9304\u7684\u5f62\u5f0f\u5448\u73fe\u5176\u5275\u4f5c\u7406\u5ff5\uff0c \u65e9\u671f\u4f5c\u54c1\u4e0d\u8ad6\u9396\u5b9a\u5feb\u7167\u5e97\u7684\u6c96\u6d17\u904e\u7a0b\u6216\u7f8e\u8853\u9928\u7684\u5eab\u623f\u7b49\uff0c \u90fd\u6307\u6d89\u4e0d\u53ef\u518d\u73fe\u7684\u771f\u5be6\u3002\u8fd1\u5e74\u6301\u7e8c\u9032\u884c\u7684\u7d00\u9304\u7247\uff0c\u9060\u8d74\u975e\u6d32\u83ab\u5c71\u6bd4\u514b\u62cd\u651d\u7576\u5730\u7684\u4e2d\u570b\u4eba\u751f\u6d3b\u60c5\u5f62\uff0c\u53ca\u5176\u8eab\u8655\u7570\u5730\u6642\uff0c\u5c0d\u65bc\u975e\u6d32\u7684\u6587\u5316\u793e\u6703\u89c0\u3002\u56e0\u70ba\u5168\u7403\u5316\uff0c \u8de8\u570b\u7684\u52de\u5de5\u9077\u5f99\u4e0d\u50c5\u767c\u751f\u5728\u5148\u9032\u570b\u5bb6\uff0c\u5728\u908a\u9672\u5730\u5340\u5be6\u969b\u66f4\u70ba\u5287\u70c8\uff0c\u800c\u885d\u7a81\u66f4\u5927\u3002
\n\u6b64\u6b21\uff0c\u745e\u5fb7\u7684\u300a\u985b\u8986\u4e4b\u8a69\u300b\u64ad\u653e\u4e2d\u570b\u52de\u5de5\u5230\u975e\u6d32\u5de5\u4f5c\u7684\u7d00\u9304\u7247\uff0c\u5728\u7247\u4e2d\u4e0d\u65b7\u7a7f\u63d2\u7576<\/p>\n

\u5730 \u300c\u9952\u820c\u8a69\u300d(poetry slam)\u7684\u8a55\u8ff0\uff0c\u4e00\u65b9\u9762\u662f\u5168\u7403\u6b21\u6587\u5316\u7684\u878d\u5408\u7d50\u679c\uff1b\u53e6\u4e00\u65b9\u9762\u4f5c\u70ba\u5f71\u50cf\u7684\u8a3b\u8173\uff0c \u5982\u540c\u975e\u6d32\u53e3\u8ff0\u6b77\u53f2\u7684\u50b3\u7d71\u3002\u5728\u5168\u7403\u5316\u6d6a\u6f6e\u4e2d\uff0c\u53bb\u7586\u754c\u5316\u53ca\u518d\u7586\u754c\u5316\u7684\u904e\u7a0b\uff0c\u5728\u5730\/\u5916\u4f86\u6587\u5316\u5834\u57df\u4e2d\u7684\u6b0a\u529b\u76f8\u4e92\u63a8\u64e0\uff0c\u4e43\u81f3\u65bc\u6642\u9593\u8207\u7a7a\u9593\u7684\u73fe\u4ee3\u6027\u932f\u7f6e\uff0c\u6210\u70ba\u7576\u4eca\u4e0d\u5747 \u8861\u7684\u5168\u7403\u5316\u7684\u7a2e\u65cf\u885d\u7a81\u7684\u5f71\u50cf\u8a18\u9304\u3002<\/p>\n

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SUBVERSES China in Mozambique displays the Chinese worker in Mozambique from within and without. Taking the voice of a Chinese worker in Africa as an entry point, the film concludes with commentaries done in the local slam poetry, which serves not only as the presence of subcultures in flux around the world, but also as the film\u2019s footnotes, referring the African oral tradition where history can be presented and thus told. <\/p>\n","protected":false},"author":3,"featured_media":1387,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[7],"tags":[19],"jetpack_featured_media_url":"https:\/\/ellaraidel.com\/wp-content\/uploads\/2016\/02\/format_subversus.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4JnJ4-i7","_links":{"self":[{"href":"https:\/\/ellaraidel.com\/index.php?rest_route=\/wp\/v2\/posts\/1123"}],"collection":[{"href":"https:\/\/ellaraidel.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ellaraidel.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ellaraidel.com\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ellaraidel.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1123"}],"version-history":[{"count":17,"href":"https:\/\/ellaraidel.com\/index.php?rest_route=\/wp\/v2\/posts\/1123\/revisions"}],"predecessor-version":[{"id":1794,"href":"https:\/\/ellaraidel.com\/index.php?rest_route=\/wp\/v2\/posts\/1123\/revisions\/1794"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ellaraidel.com\/index.php?rest_route=\/wp\/v2\/media\/1387"}],"wp:attachment":[{"href":"https:\/\/ellaraidel.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1123"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ellaraidel.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1123"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ellaraidel.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1123"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}