Cinema and the absurde (2014)

Establishing structures: In winter 14/15 super filme conceptualized a constant series in cooperation with the Kulturforum Witten. On the one hand we tried to converge the academic life with the most important cultural institution in Witten. On the other hand we wanted to call for attention via the network of an institution – dispersing our approach of urbanist cinema.
Against the clichée: We put Camus’ structuring framing in relation to absurd cinema: “At any street corner the feeling of absurdity can strike any man in the face.” Overcoming viewing habits, letting expectations down, creating opacity – but also causing moments of absurd wit. The absurd does not pretend to be distant or abstract. It is close in spite of allowing distance. It generates an experience of being involved though introducing a critical position at the same time. Pushing open a gap for the completely different.
We recommend the following movies as different approaches to a critical approximation absurdity: Andersson’s Songs from the second floor (2002), Buñuel’s Das Gespenst der Freiheit (1975), Godard’s Une femme est une femme (1961) und Kubrick’s A Clockwork Orange (1971).