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The Confessions of Winifred Wagner

Winifred, the geriatric daughter-in-law of the famed composer Richard Wagner, talks about her cultural and political influence during the Third Reich. Yet in contradiction to the films's title, Winifred confesses nothing. The contradictions within her discourse do, however, reveal the extent of her delusions and political commitment as an unrepentant fascist. She paradoxically describes herself as a completely apolitical being, adamant that her classification as a grade three Nazi at the end of the war was a grave injustice. Still Winifred cannot contain her amusement when she recalls that after the collapse of the Third Reich, she was the only person left in Germany who would admit that she was a Nazi.

The Confessions of Winifred Wagner

6.2 1978
Materialfilme II

Using minimal means, Materialfilme is conversely one of the absolutely maximal experiences possible in cinema. It's a masterpiece revealing film as a toxic material, an industrial material—a material that corrodes, that wears, that fractures and most of all, a material that can be purposefully manipulated. Extraordinarily active as a filmmaker, film collector and catalyst since the 1960s, Wilhelm Hein is one of film's true individualists; still absolutely dedicated to the moving image as a means of provocation, subversion and documentation of the most intimate type.

Materialfilme II

NR 1976
San Francisco Zephyr

"This is my first feature-length personal film which I started shooting while on a scholarship at the San Francisco Art Institute in 1975/6 and which was shot during a months-long lecture/film-showing-tour throughout the USA and Canada. The extensive postproduction work on an Optical Printer has been completed in Germany, and the reknown German bass-musician Eberhard Weber made the wonderful soundtrack while watching the film. To me this film is like an elaborate tapestry woven by thousands of fade-ins and fade-outs. It feels like stepping into a river and getting carried along." Bastian Clevé

San Francisco Zephyr

8.0 1978
The Endless Sandwich

Between the TV set and viewer, a function exists whereby the user switches on and off the appliance. I have reproduced this function and made it the content of the TV programme. Sandwich character of real process and reproduction process, of reflection and action. On the screen, a series of viewers is seen sitting in front of TV sets. A fault occurs in the last set shown, meaning the next viewer has to get up in order to repair the fault. This repair brings about a disruption in the next viewer’s screen. The disruption propagates itself until it reaches the real TV set, meaning the real viewer has to rise and eliminate the fault. Time delay: the real procedure is the conclusion of the reproduced procedure. (Peter Weibel)

The Endless Sandwich

NR 1970
We Can Only Help Ourselves

Gardi Deppe’s film follows women completing a six-week course of treatment in a health clinic (unique in West Germany at the time) for ‘working girls and women between the ages of 15 and 21.’ The film shows striking differences between the perception of the patients and the approach of the clinic and its exclusively male doctors. The women attribute their health problems to social and labour policies. The health clinic responds with medication, sports programs and occupational therapy. The film underlines the need for self-organization and ends with the realization that these women must develop their own strategies.

We Can Only Help Ourselves

NR 1974