Karola Gramann has selected a programme for exff showing 7 films from Noll Brinckmann's oeuvre; the screening will be followed by a discussion between filmmaker and curator.

In Noll Brinckmann's work there has always been the connection between filmmaking, writing about film, and scholarly analysis and reflection. In a 2007 interview with Alexandra Schneider, she comments:

"Alexandra: Before you started making film, you worked as a film scholar. How did you get into filmmaking?

Noll: I didn't start out with a background in film studies, but out of curiosity. [...] I approached my projects from a lyrical or aesthetic impulse, not from a theoretical perspective, so there were hardly any tangible touches. But then, during the editing, the filmic work began to interest me theoretically as well, to that extent it was rather the other way around. When I sat at the editing table, I gained insights into cinematic aesthetics or had ideas about theory. [...] If I intuitively recognized that a cut resulted in a rhythmic flow, I tried to explore what regularity that was based on, for example, with color, when and how does continuity result, or which colors can be intensified in the montage. I liked to work with interspersed monochrome fields in order to achieve successive color increases. [...]

Al: What role did feminist film theory, as well as feminist theory networks and networking among artists, play in your filmmaking?

N: Maybe less consciously for the films than for the theory, or, better, for the whole life. If the whole of life is oriented in that direction, then the films are also born out of that spirit. But I haven't made feminist films programmatically."

(From an interview: The Primal Scene. Christine Noll Brinckmann. Films and Texts, Berlin, 2008 Arsenal experimental edition DVD)

In coorperation with Kinothek Asta Nielsen e. V.